Serenade from "the Snowman" by Erich Wolfgang Korngold (1897-1957). For Cello / Violin, Piano. Universal Violoncello Edition. Standard notation. Published by Universal Edition

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

Cello and Piano

SKU: BT.EMBZ14768

Composed by Franz Liszt. Book Only. Composed 2011. 76 pages. Editio Musica Budapest #EMBZ14768. Published by Editio Musica Budapest (BT.EMBZ14768).

Not many people know that Franz Liszt arranged some of his piano pieces for the cello, with piano accompaniment, and that these versions of the works appeared in print during the maestro's lifetime. Árpád Pejtsik selected two of these for this volume compiled to mark Liszt's jubilee: Elegies I and II. The other compositions by Liszt that appear in the collection were likewise originally works for piano: the Ave Maria and Cantique d'amour (pieces from the Harmonies poétiques et religieuses cycle) were transcribed by a pupil of Liszt, Robert Pflughaupt the cello version, transposed into G major, of the E Major Consolation is by Jules de Swert, solo cellist in the Weimar orchestraof those days that of the Angelus (the opening piece in Volume 3 of the cycle entitled Years of Pilgrimage ) is by Lothar Windsperger, a German composer who lived at the turn of the 19th-20th century. The Valse oubliée No. 1 was transcribed by Liszt s virtuoso piano pupil Ferruccio Busoni Notturno, which became famous as the third piece in the Liebesträume series, is a transposed version of the original song ( O lieb, so lang du lieben kannst ) made by the editor of this volume.

Not many people know that Ferenc Liszt arranged some of his piano pieces for the cello, with piano accompaniment, and this version of the works appeared in print during the maestro's lifetime. Árpád Pejtsik selected two of these forthis volume compiled to mark Liszt's jubilee: Elegy I and Elegy II. The other compositions by Liszt that appear in the collection were likewise originally works for piano: the Ave Maria and Cantique d'amour(pieces from the Harmonies poétiques et religieuses cycle) were transcribed by a pupil of Liszt, Robert Pflughaupt; the cello version, transposed into G major, of the E major Consolation is by Jules de Swert, solo cellistin the Weimar orchestra of those days; that of the Angelus (the opening piece in Volume 3 of the cycle entitled Years of Pilgrimage) is by Lothar Windsperger, a German composer who lived at the turn of the 19th-20thcentury.

Nur Wenigen ist bekannt, dass Liszt einige seiner Klavierstücke auch für Violoncello mit Klavierbegleitung bearbeitet hatte, und dass diese Version der Werke noch zu Lebzeiten des Komponisten in Druck erschien. In diesem Band nahm Árpád Pejtsik zwei dieser Stücke, die I. und II. Elegie auf. Die anderen Liszt-Kompositionen in der Sammlung sind auch ursprünglich Klavierwerke: der Bearbeiter ist beim Ave Maria und Cantique d'amour (Stücke aus dem Zyklus Harmonies poétiques et religieuses) der Liszt-Schüler Robert Pflughaupt. Von Jules de Swert, der damals Solocellist des Weimarer Orchesters war, wurde die in G-Dur transponierte Violoncelloversion der E-Dur Consolation, und vonLothar Windsperger, dem an der Wende zum 20. Jahrhundert lebenden deutschen Komponisten, das Angelus (das Eröffnungsstück des III. Bandes des Zyklus Pilgerjahre) bearbeitet.

Cello; Piano Accompaniment (Cello Part And Piano Score)

SKU: HL.49046442

Cello and Piano. Composed by Richard Strauss. String Solo. Classical. Softcover. 80 pages. Duration 1560 seconds. Schott Music #CB301. Published by Schott Music (HL.49046442).

ISBN 9781540094780. UPC: 842819113003.

The Cello Sonata Op. 6 was composed over an apparently frequently interrupted period of three years, an extraordinarily long time for Strauss's early creative phase. The compositional process spawned two independent versions of the work, the first of which is published for the first time on the basis of the text in the Critical Edition of the Works of Richard Strauss in the current editionas a practical musical text. The genesis of the two versions and the reasons for revision can only be reconstructed in part: only one of the surviving autographs bears a date and the second version only survives in printed form. What is more, Strauss did not communicate in greater detail on this composition in correspondence with his family and friends. There are enormous differences between the two versions of the Sonata: Strauss deleted the entire second and third movements Larghetto and Allegro vivace, replacing them with a newly composed Andante and Finale. In the first movement, Allegro con brio, Strauss retained the thematic-motivic material and compositionally complex passages such as the three-voice fugue in the developmentsection (from bar 241 in the first version and bar 275 in the second version) almost intact in the new version of the sonata, but also undertook extensive alterations, particularly in the structure of the piano part, the motivic-thematic development of the movement and its harmony which became far more ambitious.12 Particular attention should be drawn to the repetitive accompaniment of the con espressione theme beginning in bar 32 and the significantly shorter development in the first version. The current printed edition of the first version of Richard Strauss's Cello Sonata now makes it possible to follow Strauss's compositional development during this period. The significance of the differences between the versions also mean that two sonata compositions for violoncello and piano by Richard Strauss with fundamental disparities in their underlying character are now available for performance.

Set of Parts Cello; Chamber Music; Piano Accompaniment; Violin (Ensemble)

SKU: HL.51481532

Set of Parts for Violin, Cello and Piano. Composed by Felix Bartholdy Mendelssohn. Henle Music Folios. Classical. Softcover. G. Henle #HN1532. Published by G. Henle (HL.51481532).

UPC: 840126989298. 9.25x12.25x0.357 inches.

After the great success of his first Piano Trio in d minor op. 49, some five years passed before Mendelssohn set to work on a new composition for this formation. But then the c-minor Trio came into being in a relatively short period in March/April 1845 and was published around a year later. Much more sombre in character than the sibling work, this second trio is also considered much more difficult in terms of technique (above all in the piano part). Thus, it has always stood somewhat in the shadow of the earlier trio. However, chamber music aficionados generally regard it as the more mature and challenging work in terms of compositional technique. The trio, taken from the volume Mendelssohn • Piano Trios HN 957, is now available from Henle for the first time also as a practical single edition.

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By Claude Debussy. Edited by Gregor Piatigorsky, Jeffrey Solow. Arranged by Gregor Piatigorsky. For cello and piano. Published by Theodore Presser Company.

6 Easy Concert Pieces. Composed by Arnold Trowell. Edited by Beverley Ellis. This edition: Saddle stitching. Sheet music. Schott Student Edition. 6 leichte Stucke fur Violoncello und Klavier. Classical. Softcover. Op. 4/7-12. 40 pages. Schott Music #SE 1050. Published by Schott Music

Cello; Piano Accompaniment (Cello Part And Piano Score)

SKU: HL.48025366

Cello and Piano. Composed by Hans Winterberg. Boosey & Hawkes Chamber Music. Classical. Softcover. Bote & Bock #M202538104. Published by Bote & Bock (HL.48025366).

UPC: 196288194279.

Hans Winterberg, born in Prague in 1901, lived through almost the entire period of the 20th century and was influenced as a composer by its most important artistic innovations. Already a brilliant pianist as an adolescent, he studied with Alois Hába and Alexander von Zemlinsky in Prague. Both his life and his music reflect the Austrian-Czech-Jewish cultural symbiosis; he saw himself as a bridge builder between Western and Eastern, i.e. Slavic, cultures. Owing to his Jewish ancestry, he was deported to the Terezin concentration camp after the annexation of Czechoslovakia by Nazi Germany. He was the only Jewish representative of the Czech musical avant-garde of the 1920s and 1930s to survive the Shoah and, in 1947, followed his non-Jewish wife and their daughter to the FRG in the course of the expulsion of the German-speaking population from Czechoslovakia. Winterberg's fascinating oeuvre, which was kept under lock and key in a German music archive for years after his death, is now being made accessible in first editions due to a cooperation between the Exilarte Center for Banned Music at the University of Music in Vienna and Boosey & Hawkes. The first printed edition is Winterberg's Cello Sonata, composed in 1951, in which all the characteristics of his unmistakable personal style come to the fore: dance-like energy, polyrhythm, intimate yet unsentimental melos, subtle handling of folkloristic material, and an unerring sense of form and balance. This work is of medium technical and great interpretative difficulty.

(Cello Part And Piano Score)

SKU: HL.48186482

Composed by Reynaldo Hahn. Leduc. 24 pages. Alphonse Leduc #AL30749. Published by Alphonse Leduc (HL.48186482).

Reynaldo Hahn: Works for cello and piano [AL 30 749] For quite some time, posterity remembered Reynaldo Hahn (1874-1947) for just a handful of songs and the operetta Ciboulette, overlooking the incredible diversity of a catalogue as eclectic as it is appealing. Yet his chamber music contains many little-known treasures: thus, cellist Steven Isserlis, in his preface, hastens to hail the first modern edition of these two scores, which he regularly plays in recital, so much does their beauty enchant the audience. Published in 1911, the Two Improvisations on Irish Airs for cello and piano turn out to be the transcription of his first and third Preludes for piano four hands (1894). These folk themes come from the collection Songs of Old Ireland, published 12 years earlier by Charles Villiers Stanford: gracefully and tenderly, The Little Red Lark unfurls a melancholic tune of which the regular foundation respects the breadth of phrase typical of folk songs; in The Willow-Tree, the lover begs his beloved in vain to take him in her arms one last time before he lies down, lifeless, in the shade of the tree. Beyond this sensitive exploration of the Irish soul, Hahn offers us a journey into the past: the Variations chantantes sur un air ancien develop a theme borrowed from Cavalli?s opera Xerse. In this aria (1660 version: Act IV, sc. 6), Ambassador Periarco dreams of moving away from court intrigues to be able to taste the pleasures ?to which the gods have destined him?. Reynaldo Hahn?s variations succeed in maintaining the sweet simplicity of this theme, as noble as it is refined. Let us wager that this publication will delight cellists and pianists alike: it contains some nuggets. Deux improvisations sur des airs irlandais (The Little Red Lark, The Willow-Tree) Variations chantantes sur un air ancien.