Volumes 1 and 2. Composed by Felix Bartholdy Mendelssohn (1809-1847). Edited by R. Larry Todd. This edition: urtext edition. Paperback. Performance score and part, anthology. 99/27, 54/19 pages. Published by Baerenreiter Verlag (BA.BA9098).

Volume 2. Composed by Felix Bartholdy Mendelssohn (1809- 1847). Edited by R. Larry Todd. This edition: urtext edition. Paperback. Performance score and part, anthology. 54/19 pages. Published by Baerenreiter Verlag

Volume 1. Composed by Felix Bartholdy Mendelssohn (1809- 1847). Edited by R. Larry Todd. This edition: urtext edition. Paperback. Performance score and part, anthology. 99/27 pages. Published by Baerenreiter Verlag

Cello, Piano SKU: HU.HN621 Composed by Antonin Dvorak. Edited by Milan Pospisil. Strings, Repertoire, Solos. Silent Woods Op. 68 No.5. Softcover Book. 20 pages. G. Henle #HN621. Published by G. Henle (HU.HN621). 12.2 x 9.2 x 0.1 inches.

Composed by Felix Bartholdy Mendelssohn (1809-1847). Edited by R. Larry Todd. This edition: urtext edition. Stapled. Barenreiter Urtext. Performance score, Part(s). Opus 109. Baerenreiter Verlag #BA10934. Published by Baerenreiter Verlag

Cello and piano

SKU: VD.ED13801

Composed by Jan Freidlin. Classical. Score, solo part. 33 S. Part. + 11 S. Stimme pages. Verlag Dohr #ED13801. Published by Verlag Dohr (VD.ED13801).

ISBN 9790202028018. 12 x 9 inches.

Composed by Ralph Vaughan Williams (1872-1958). Edited by Julian Lloyd Webber. For solo cello and orchestra. Level A-B (very easy to easy). Cello part and piano reduction. 36 pages. Duration 15 minutes. Published by Oxford University Press

Composed by Henry Eccles (1671-1742). Edited by Christoph Sassmannshaus. Stapled. Barenreiter's Concert Pieces. Performance score , Part(s). 7/10 pages. Baerenreiter Verlag #BA10699. Published by Baerenreiter Verlag

Violin 1 (solo: vc - 2.2.2.2 - 2.2.0.0 - timp - str)

SKU: BR.OB-5283-15

Urtext. Composed by Robert Schumann. Edited by Joachim Draheim. Orchestra; stapled. Orchester-Bibliothek (Orchestral Library). A key work of the romantic concerto repertoirePiano reduction annotated by Robert Schumann. Solo concerto; Romantic. Part. 12 pages. Duration 23'. Breitkopf and Haertel #OB 5283-15. Published by Breitkopf and Haertel (BR.OB-5283-15).

ISBN 9790004332832. 10 x 12.5 inches.

Robert Schumann's Violoncello Concerto op. 129 can be regarded as the first great concerto for this instrument's repertoire. It is thus somewhat surprising that this work had an extremely problematic reception history at the outset.Schumann wrote the score in 1850, during his Dusseldorf years, but there was neither a concrete occasion nor a soloist for a world premiere. After its publication, more years elapsed before the world premiere. It was only towards the end of the 19th century that Schumann's Cello Concerto finally made its breakthrough as a repertoire piece. The Urtext edition is based on the original print of the parts and the piano reduction, which had still been supervised by Schumann. In addition, the autograph of the score was consulted for purposes of comparison. The internationally renowned soloist Heinrich Schiff took part in the preparation of the edition for violoncello and piano. His experiences have been incorporated into his arrangement of the solo part. With his comments, Schiff also provides valuable tips on the interpretation of the work.

A key work of the romantic concerto repertoireThe piano reduction by Robert Schumann contains the unsigned solo part as well as the solo part arranged and annotated by Heinrich Schiff.

Woodwinds (solo: vc - 2.2.2.2 - 2.2.0.0 - timp - str)

SKU: BR.OB-5283-30

Urtext. Composed by Robert Schumann. Edited by Joachim Draheim. Orchestra; Folder. Orchester-Bibliothek (Orchestral Library). A key work of the romantic concerto repertoirePiano reduction annotated by Robert Schumann. Solo concerto; Romantic. Set of parts. 78 pages. Duration 23'. Breitkopf and Haertel #OB 5283-30. Published by Breitkopf and Haertel (BR.OB-5283-30).

ISBN 9790004332887. 10 x 12.5 inches.

Robert Schumann's Violoncello Concerto op. 129 can be regarded as the first great concerto for this instrument's repertoire. It is thus somewhat surprising that this work had an extremely problematic reception history at the outset.Schumann wrote the score in 1850, during his Dusseldorf years, but there was neither a concrete occasion nor a soloist for a world premiere. After its publication, more years elapsed before the world premiere. It was only towards the end of the 19th century that Schumann's Cello Concerto finally made its breakthrough as a repertoire piece. The Urtext edition is based on the original print of the parts and the piano reduction, which had still been supervised by Schumann. In addition, the autograph of the score was consulted for purposes of comparison. The internationally renowned soloist Heinrich Schiff took part in the preparation of the edition for violoncello and piano. His experiences have been incorporated into his arrangement of the solo part. With his comments, Schiff also provides valuable tips on the interpretation of the work.

A key work of the romantic concerto repertoireThe piano reduction by Robert Schumann contains the unsigned solo part as well as the solo part arranged and annotated by Heinrich Schiff.

Violin 2 (solo: vc - 2.2.2.2 - 2.2.0.0 - timp - str)

SKU: BR.OB-5283-16

Urtext. Composed by Robert Schumann. Edited by Joachim Draheim. Orchestra; stapled. Orchester-Bibliothek (Orchestral Library). A key work of the romantic concerto repertoirePiano reduction annotated by Robert Schumann. Solo concerto; Romantic. Part. 12 pages. Duration 23'. Breitkopf and Haertel #OB 5283-16. Published by Breitkopf and Haertel (BR.OB-5283-16).

ISBN 9790004332849. 10 x 12.5 inches.

Robert Schumann's Violoncello Concerto op. 129 can be regarded as the first great concerto for this instrument's repertoire. It is thus somewhat surprising that this work had an extremely problematic reception history at the outset.Schumann wrote the score in 1850, during his Dusseldorf years, but there was neither a concrete occasion nor a soloist for a world premiere. After its publication, more years elapsed before the world premiere. It was only towards the end of the 19th century that Schumann's Cello Concerto finally made its breakthrough as a repertoire piece. The Urtext edition is based on the original print of the parts and the piano reduction, which had still been supervised by Schumann. In addition, the autograph of the score was consulted for purposes of comparison. The internationally renowned soloist Heinrich Schiff took part in the preparation of the edition for violoncello and piano. His experiences have been incorporated into his arrangement of the solo part. With his comments, Schiff also provides valuable tips on the interpretation of the work.

A key work of the romantic concerto repertoireThe piano reduction by Robert Schumann contains the unsigned solo part as well as the solo part arranged and annotated by Heinrich Schiff.

By Antonin Dvorak (1841-1904). Edited by Jonathan Del Mar. For cello and orchestra. This edition: Urtext. Solo part and piano reduction. Opus 104. Published by Baerenreiter Verlag

Composed by Johannes Brahms (1833-1897). Edited by Clive Brown / Neal Peres Da Costa / Kate Bennett Wadsworth. For cello and piano. This edition: Urtext edition. Stapled. With an Urtext solo part by Clive Brown and a solo part with bowing and fingering by Kate Bennett Wadsworth; Fingering in the piano part by Neal Peres Da Costa; Performance Practice Commentary by C. Brown, N. P. Da Costa and K. B. Wadsworth. Level 3. Score and part. Text Language: German/English. Opus 38. Published by Baerenreiter Verlag

Chamber Music cello, piano

SKU: CF.B3417

Composed by David Carlson. SWS+Insert. Premiered January 17, 1993 by Emil Miland and Robin Sutherland. Classical. Set of Score and Parts. With Standard notation. Composed 1992. Carl Fischer Music #B3417. Published by Carl Fischer Music (CF.B3417).

ISBN 9780825859274. UPC: 798408059279. 9 X 12 inches.

Commissione d by Chamber Music America, this beautiful neo-romantic work was first performed on January 17, 1993 by Emil Miland and Robin Sutherland. A substantial work at 20 minutes, the sonata, alternates between lyrical writing and music with a scherzo-like feel that is both lively and animated. Sonata for Cello and Piano is written in one movement that flows extremely well with an intertwined cohesiveness between the two players. A memorable piece for a cello recital!

12 Recital Pieces in First Position for Cello and Piano or Two Celli. Edited by Christoph Sassmannshaus / Melissa Lusk. Stapled. Baerenreiter's Sassmannshaus. Performance score, parts. 16/23/21 pages pages. Published by Baerenreiter Verlag

18 Recital Pieces in First Position for Cello and Piano or Two Celli. Edited by Christoph Sassmannshaus / Melissa Lusk. Stapled. Baerenreiter's Sassmannshaus. Performance score, parts. 22/24/17 pages pages. Published by Baerenreiter Verlag

Urtext. Composed by Pauline Viardot-Garcia (1821-1910). Edited by Miriam-Alexandra Wigners. Breitkopf and Haertel #EB 8887. Published by Breitkopf and Haertel

By Martino Bohuslav. Czech title: Sonata . 3 pro violoncello a klavir (rev. Vyd., ed. A. BYezina). Published by Praha.

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).

Chamber Music Cello, Piano

SKU: PR.114418630

Composed by Stacy Garrop. Set of Score and Parts. With Standard notation. 24+8 pages. Duration 13 minutes. Theodore Presser Company #114-41863. Published by Theodore Presser Company (PR.114418630).

ISBN 9781491114063. UPC: 680160642724. 9 x 12 inches.

The film noir genre of 1940s cinema typically includes a strong but flawed male lead (often a detective), a beautiful woman who coerces the male into committing murder or is a killer herself (a “femme fatale”), and a twisting plot line that involves one or more homicides. These movies typically are shot in black and white, with emphasis on shadows and light, alcohol and cigarettes, trench coats and fedoras. Most of the story lines do not have happy endings. Inspired by this genre, NOIR VIGNETTES consists of four movements, each depicting an aspect of film noir: Murder at Midnight, Loaded Gun, Femme Fatale, and Last Cigarette.
In the mid-1940s, film critics in France noticed a trend emerging in movies from the United States, which they coined film noir (which translates to “black film”). These movies were dark, moody, and pessimistic, reflecting the agitation and anxiety present in society following World War II. Several characteristics are commonly found in many of these movies, including a strong but flawed male lead (often a detective), a beautiful woman who either coerces the male lead into committing murder for her or is a killer herself (a “femme fatale”), and a twisting, turning plot line that involves one or more homicides. Additionally, there are several visual elements that these movies share: many are shot in black and white, with great emphasis on the use of shadows and light; alcohol and cigarettes are heavily consumed by men and women alike; and men typically wear trench coats and fedoras. Most of the story lines do not have happy endings. Examples of film noir include Orson Welles’ The Lady from Shanghai, Billy Wilder’s Double Indemnity, and John Huston’s The Maltese Falcon.NOIR VIGNETTES consists of four movements, each depicting a different aspect of film noir: Murder at Midnight, Loaded Gun, Femme Fatale, and Last Cigarette.This piece was commissioned by the University of Illinois Research Board on behalf of double bassist Michael Cameron; and it also published for Double Bass and Piano (114-41811). The cello version is transcribed by the composer.-- Stacy Garrop.

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: VD.ED20253

Composed by Harry Schroder. Classical. Score, solo part. 14 S. Part. + 6 S. Stimmen pages. Verlag Dohr #ED20253. Published by Verlag Dohr (VD.ED20253).

ISBN 9790202042533. 12 x 9 inches.