Cello and piano (original scoring: vagb,orch)

SKU: BR.EB-7430

Composed by Giuseppe Tartini. Edited by Walter Heinz Bernstein. Solo instruments; Softcover. Edition Breitkopf. Thanks to the increasing concern for historically accurate interpretations of early music, the viola da gamba once again belongs to the more frequently played Instruments. This new edition makes the work accessible again to its original solo Instrument. Baroque period. Piano reduction. 56 pages. Duration 15'. Breitkopf and Haertel #EB 7430. Published by Breitkopf and Haertel (BR.EB-7430).

ISBN 9790004173947. 9 x 12 inches.

Thanks to the increasing concern for historically accurate interpretations of early music, the viola da gamba once again belongs to the more frequently played Instruments. This new edition makes the work accessible again to its original solo Instrument.

Choral Cello, Piano, alto 1, alto 2, soprano 1, soprano 2

SKU: CF.CM9625

Composed by Jimmy Baas. Sws. Performance Score. 16 pages. Duration 3 minutes, 49 seconds. Carl Fischer Music #CM9625. Published by Carl Fischer Music (CF.CM9625).

ISBN 9781491156988. UPC: 680160915545. 6.875 x 10.5 inches. Key: Bb major. English, English. William Butler Yeats.

The Everlasting Voices is the perfect blend of textural variety and harmonic interest for the advanced treble ensemble. Employing a powerful text, Baas' vocal layering coupled with piano and optional cello make this compelling piece a programming must!.
O sweet everlasting Voices, be still; Go to the guards of the heavenly fold And bid them wander obeying your will, Flame under flame, till Time be no more; Have you not heard that our hearts are old, That you call in birds, in wind on the hill, In shaken boughs, in tide on the shore? O sweet everlasting Voices, be still. This SSAA choral work by Jimmy Baas was comissioned by the Lumberton HS Varsity Treble Choir. The opening and closing lines of the poem, O sweet everlasting voices, be still provide the perfect bookends for two larger sections of the poem. These two sections are equally divided into verses. The opening line is used once again as a transition between the verses. The previously mentioned lines, O sweet everlasting voices, are overlapped as different layers of voices enter and sustain. A fifth and sixth voice, the cello and piano accompaniment take part in these layers as well. The words be still are very much a part of the mood each time as the everlasting voices become quiet and still. The two verses feature different voices within the SSAA choir. Verse 1, the sopranos, and verse 2 the altos. There are many moments in this piece to explore the full range and color of the SSAA choir. The piano and cello play an important part throughout, making this piece an excellent choice for any festival women's chorus.
O sweet everlasting Voices, be still;Go to the guards of the heavenly foldAnd bid them wander obeying your will,Flame under flame, till Time be no more;Have you not heard that our hearts are old,That you call in birds, in wind on the hill,In shaken boughs, in tide on the shore?O sweet everlasting Voices, be still.This SSAA choral work by Jimmy Baas wascomissioned by the Lumberton HS Varsity Treble Choir.The opening and closing lines of the poem, “O sweeteverlasting voices, be still” provide the perfect bookendsfor two larger sections of the poem. These two sectionsare equally divided into verses. The opening line is usedonce again as a transition between the verses.The previously mentioned lines, “O sweet everlastingvoices,” are overlapped as different layers of voices enterand sustain. A fifth and sixth voice, the cello and pianoaccompaniment take part in these layers as well.The words “be still” are very much a part of the moodeach time as the everlasting voices become quietand still.The two verses feature different voices within the SSAAchoir. Verse 1, the sopranos, and verse 2 the altos. Thereare many moments in this piece to explore the full range andcolor of the SSAA choir. The piano and cello play an importantpart throughout, making this piece an excellent choice for anyfestival women’s chorus.

Cello and piano

SKU: BO.B.3652

Composed by Jordi Cervello. Published by Editorial de Musica Boileau (BO.B.3652).

Sonata for cello and piano was written between September and October of 2010. It is made up of three movements, each of which has unique characteristics. The first, Allegro appassionato, is monothematic, although the theme itself is presented in several ways. Following a vigorous start featuring cello cadenza, the movement is developed with a lively feel, alternating lyrical fragments with other energetic ones. Its conclusion is resounding.
Meanwhile, the second movement, Quasi un lamento, is introspective and fragile. A long melody is sustained by a delicate and transparent piano accompaniment, evoking once again the theme of the first movement and concluding with a Lento of descending piano harmonies while the cello follows, in octaves, with heartfelt glissando.

The third movement, Scherzando-Allegro, is a light-hearted game between the piano and the cello. The main theme is repeated once again, this time with a binary time signature. The cello uses ricochet (the rebounding of notes in a bow stroke), as well as natural and artificial harmonies in quick time. The piano part unfolds completely naturally, excluding any gratuitous artifice.

The piece lasts approximately 20 minutes.

Cello and piano (solo: vc - 2.2.2.2 - 4.2.3.0 - timp - str)

SKU: BR.EB-10802

Urtext. Composed by Edouard Lalo. Edited by Peter Jost. Arranged by J. Schiff and J. Umbreit. Solo instruments; Softbound. Edition Breitkopf.

The first definitive author's version - In Cooperation with G. Henle Verlag

Solo concerto; Romantic. Piano reduction. 92 pages. Breitkopf and Haertel #EB 10802. Published by Breitkopf and Haertel (BR.EB-10802).

ISBN 9790201808024. 9.5 x 12 inches.

In the past years, French music has become a focal point of Breitkopf's orchestral library. With Edouard Lalo's popular violoncello concerto, these new editions of French music now bring publishers Breitkopf and G. Henle together once again in another example of their proven cooperation. Peter Jost, an expert on French music who established his claim to expertise through his Debussy, Franck and Saint-Saens editions, ensures a flawless Urtext edition which is based for the first time on the autograph piano reduction. This piano-cello score shows traces of several layers of arrangements, the last two of which were obviously not taken into account in the first edition. The new edition thus offers a wealth of new, authentic readings.A carefully researched text with clear and spacious printing highlights this sympathetic collaboration of two esteemed publishing houses, Breitkopf & Hartel and Henle. (Mary Nemet, Strings).

From The Barber of Seville . Composed by Gioachino Rossini (1792-1868). Edited by Gregor Piatigorsky. Arranged by Mario Castelnuovo-Tedesco. With Standard notation. Carl Fischer #B002670. Published by Carl Fischer (CF.B2670).

Score and Parts Bassoon; Cello; Piano Accompaniment (Score & Parts)

SKU: HL.50606503

For Basoon, Cello, and Piano (or 2 Cellos and Piano) Score and Pa. Composed by Máté Bella. EMB. Classical, Contemporary. Softcover. 16 pages. Editio Musica Budapest #Z15196. Published by Editio Musica Budapest (HL.50606503).

ISBN 9781705190661. UPC: 196288126799.

A special piece - a special story: In 2020, a renowned architect approached a composer to create a new piece of music for his daughter's wedding, which the happy father could give to the young couple as a wedding present. In earlier eras of private patronage, such a story would have been natural, but in the 21st century it is an odd story. The composition subtly alludes to the occasion: against the background of the piano, a duet of two instruments tells the story of a serene love (the piece can either be performed with a bassoon and a violoncello, or with two violoncellos). Mate Bella, who moves at home among different musical styles, shapes the song of lovers longing for each other in a way reminiscent of barcarolas sung by Venetian gondoliers.

Volume 1 Cello; Piano Accompaniment (Cello Part And Piano Score)

SKU: HL.48024686

Tarantelle - Trois Andante - Marche chinoise. Composed by Jacques Offenbach. Edited by Jean-Christophe Keck. Boosey & Hawkes Chamber Music. Classical. Softcover. 48 pages. Bote & Bock #M202535332. Published by Bote & Bock (HL.48024686).

ISBN 9781540058768. UPC: 888680952938.

Jacqu es Offenbach was not only a composer of inexhaustible imagination, but also a virtuoso cellist. Even after his first years in Paris, he liked to perform as a musician again and again. To mark his 200th birthday in 2019, the Offenbach Edition Keck OEK publishes original compositions by the 'Mozart of the Champs-Elysees' for 'his' instrument plus piano accompaniment. The pieces are suitable for amateur studies and concert performances alike - not only in the anniversary year! Some of them were already available in older separate editions, some of them have been unpublished until now. In the present edition, they are published in three volumes according to their musical relation, based on the multiple award-winning editorial standards of the OEK. Vol. 1 contains dance-like pieces (Tarantelle / Trois Andante / Marche chinoise), Vol. 2 baroque-style parodies (Musette / Chant des mariniers galants dapres Rameau / Tambourin dapres Rameau) and Vol. 3 Romantic character pieces (La Course en traineau / Introduction et valse melancolique / Reverie au bord de mer / Deux ames au ciel).

Cello; Piano Accompaniment (Cello Part And Piano Score)

SKU: HL.48024688

Le Course en traineau, Introduction et valse melancolique, Feverie au bord de mer, Deux ames au ciel. Composed by Jacques Offenbach. Edited by Jean-Christophe Keck. Boosey & Hawkes Chamber Music. Classical. Softcover. 56 pages. Bote & Bock #M202535356. Published by Bote & Bock (HL.48024688).

ISBN 9781540058782. UPC: 888680952952.

Jacqu es Offenbach was not only a composer of inexhaustible imagination, but also a virtuoso cellist. Even after his first years in Paris, he liked to perform as a musician again and again. To mark his 200th birthday in 2019, the Offenbach Edition Keck OEK publishes original compositions by the 'Mozart of the Champs-Elysees' for 'his' instrument plus piano accompaniment. The pieces are suitable for amateur studies and concert performances alike - not only in the anniversary year! Some of them were already available in older separate editions, some of them have been unpublished until now. In the present edition, they are published in three volumes according to their musical relation, based on the multiple award-winning editorial standards of the OEK. Vol. 1 contains dance-like pieces (Tarantelle / Trois Andante / Marche chinoise), Vol. 2 baroque-style parodies (Musette / Chant des mariniers galants dapres Rameau / Tambourin dapres Rameau) and Vol. 3 Romantic character pieces (La Course en traineau / Introduction et valse melancolique / Reverie au bord de mer / Deux ames au ciel).

Cello; Piano Accompaniment (Cello Part And Piano Score)

SKU: HL.48024687

Musette - Chant des mariniers galants d'apres Rameau - Tambourin d'apres Rameau. Composed by Jacques Offenbach. Edited by Jean-Christophe Keck. Boosey & Hawkes Chamber Music. Classical. Softcover. 52 pages. Bote & Bock #M202535349. Published by Bote & Bock (HL.48024687).

ISBN 9781540058775. UPC: 888680952945.

Jacqu es Offenbach was not only a composer of inexhaustible imagination, but also a virtuoso cellist. Even after his first years in Paris, he liked to perform as a musician again and again. To mark his 200th birthday in 2019, the Offenbach Edition Keck OEK publishes original compositions by the 'Mozart of the Champs-Elysees' for 'his' instrument plus piano accompaniment. The pieces are suitable for amateur studies and concert performances alike - not only in the anniversary year! Some of them were already available in older separate editions, some of them have been unpublished until now. In the present edition, they are published in three volumes according to their musical relation, based on the multiple award-winning editorial standards of the OEK. Vol. 1 contains dance-like pieces (Tarantelle / Trois Andante / Marche chinoise), Vol. 2 baroque-style parodies (Musette / Chant des mariniers galants dapres Rameau / Tambourin dapres Rameau) and Vol. 3 Romantic character pieces (La Course en traineau / Introduction et valse melancolique / Reverie au bord de mer / Deux ames au ciel).

Cello and piano

SKU: BR.EB-32083

Urtext. Composed by Camillo Schumann. Edited by Maria Kliegel. Solo instruments; stapled. Edition Breitkopf.

With supplementary violoncello part marked by Maria Kliegel

Sonata; Late-romantic. Score. 108 pages. Breitkopf and Haertel #EB 32083. Published by Breitkopf and Haertel (BR.EB-32083).

ISBN 9790004186299. 9 x 12 inches.

There are many composers about whom it is believed, today, that they composed conservatively, or against the taste of their time. The question is also raised, today, which extract of this large amount of effective and high-quality music, unknown for the most part, should receive our attention; which of it is worth rediscovering or re-editing. Camillo Schumann is one of the most important representatives of these composers, but his works are still largely unknown today. He was born on 10 March 1872 in Konigstein, Saxony. His musical language combines the sound world of Brahms with the grand, late-romantic Liszt School. He wrote piano parts of incredible power and virtuosity, approaching the sounds of Rachmaninoff. His wonderfully individual melodic language makes these works a valuable testimony to a composer who never had his due recognition. The cello sonatas Opp. 59 (EB 32082) and 99 (EB 32083) are the first of three works for this combination. Op. 59 was composed around 1905/06, Op. 99 followed in 1932. Nothing is known so far of the circumstances of the composition of this work, including for whom it was composed. However, it is quite evident that Schumann wrote it, like most of his works, primarily for his own concerts and befriended musicians. The extensive entries in the piano part bear witness to a considerably practical approach. Crossed-out bars, notes added or crossed out in chords as well as a number of revisions of other kinds are more the rule than the exception. The composer's own fingerings written in the piano part also underline this assumption. The present edition contains two solo-parts each. One clean Urtext-part free of any additions from the editor and a second one with bowing marks and fingerings by Maria Kliegel who recorded both sonatas for the first time with the label Naxos. Both sonatas show evident resemblance to the works of this combination by Johannes Brahms and are therefore a must have for ambitious cellists.

With supplementary violoncello part marked by Maria Kliegel.