Best of Cello Classics' contains 15 popular performance pieces for cello and piano from four centuries. The Baroque works also contain a continuous bass part. Apart from standard works and 'classics' such as the famous sonatas by Breval (C major), de Fesch (D minor), Vivaldi (E minor) or Saint-Saëns' 'The Swan' from 'The Carnival of Animals', this volume also contains lesser known works, like Recercada primera by Ortiz, sonatas by Cirri and Romberg, as well as some charming little character pieces by Lee, Goltermann, Nölck and Trowell. The majority of the works can, for the most part, be played in the first four positions. Some pieces containing a few notes in the neck positions are nevertheless easily playable as well. / Violoncelle Et Piano

Par HOLST GUSTAV. Invocation was composed in 1911 and first performed on May 2nd of that year in the Queen's Hall, London, by May Mukle with the New Symphony Orchestra conducted by Landon Ronald. The work received several performances with Piano accompaniment before 1914, but with the public success of The Planets , it became one of many works that Holst never had time to revise or publish. A certain amount of editing of dynamics and phrasing has been necessary, and the Piano reduction has occasionally been slightly adjusted to match the orchestral accompaniment more closely. The separate Cello part has been edited by Julian Lloyd-Webber. / Niveau : Elémentaire / Répertoire / Violoncelle et Piano

Par BRIDGE FRANK. These four pieces for Cello and Piano accompaniment, were composed separately between the years 1901 and 1910 and appeared in print in several different versions, ranging from piano solo to full orchestra. They were all primarily written, however, for cello and piano so appear here in their original form. The editor - Julian Lloyd Webber - has been responsible for the addition of bowings and fingerings. / Niveau : Assez Facile / Répertoire / Violoncelle et Piano

These four pieces were composed separately between the years 1901 and 1910 and appeared in print in several different versions, ranging from piano solo to full orchestra. They were all originally written, however, for cello and piano. The editor - Julian Lloyd Webber - has been responsible for the addition of bowings and fingerings.

Arrangement: Max. Par CARSE ADAM. Cello part and Piano part The seven pieces for cello in this collection are of a slightly more challenging level of difficulty than those of Fiddler's Nursery, which, like Fiddle Fancies, have been transposed and edited for young cellists by noted teacher Wendy Max. As ever, Carse fits the solo and accompaniment together to make a complete musical picture, testing both the player's technical skills and imaginative gifts. The seven pieces encompass a variety of moods and styles, ranging from the tranquillity of Sweet Sorrow, Bluebell Chimes and Sadness to the exuberance of Swinging, Hopping Dance, WaltzSteps and the ever-popular Frog Dance./ Répertoire / Violoncelle et Piano

The 12 pieces in Volume 2 are structured to follow the same progression of finger patterns introduced in the 'Early Start? method, Volumes 2 and 3. The later repertoire in this volume includes a careful introduction of downward and upward extensions.The 'Cello Recital Album?, Volume 2 (BA 8995), can be used as a supplement to the 'Early Start on the Cello? method, Volumes 2 and 3 (BA 8997 and BA 8998).Collections of recital pieces for the cello: - Charming collections of easy pieces in first position - Each cello part is supported by a piano accompaniment for student performances - Alternately a second cello part allows duo playing with the teacher during lessons. This early introduction to chamber music brings joy and satisfaction to the young cellist and teaches the student to hear the music as a whole. - The two volumes (BA 8994, Ba 8995) are designed as companion publications to the Early Start on the Cello method. However, they work equally well as a supplement to any other cello method. - A variety of rarely published works by well-known cellists and pedagogues such as Wilhelm Fitzenhagen, Hugo Schlemüller, and August Nölck make these publications attractive to teachers and students. / Violoncelle Et Piano

Suite pour violoncelle et piano. Par LAKS SIMON. Simon Laks (1901-1983), who moved from Warsaw to Paris in 1926 at the age of 25, belonged to the large group of composers from Central and Eastern European countries who went down in 20th-century music history as the „École de Paris“. Slavic temperament amalgamated in their music with French esprit, the folklore of their native countries combined with the stylistic elements of neoclassicism and jazz typical of the time. As a member of the „Association of Young Polish Musicians“, Laks quickly made his way into French musical life. However, his career was ended with the beginning of World War 2 due to the collaboration of the Vichy government with Nazi Germany. Internment in 1941 was followed by deportation to Auschwitz in 1942. Laks survived the Shoah as a member and later leader of a camp band in Birkenau, which he testified to in his moving book Music in Auschwitz. After the traumatic experiences, Laks did not return to regular compositional activity until the 1960s, producing an opera, songs, and chamber music works, some of which were awarded important composition prizes. At the peak of this optimistic creative phase, he composed incidental music for Peretz Hirschbein's famous Yiddish comedy Dem Schmids Techter (The Blacksmith's Daughters), which premiered in New York in 1918, for a new production of the play at the Théâtre de l’Entrepôt in Paris. Along with Prokofiev's Overture on Hebrew Themes and Shostakovich's cycle From Yiddish (Jewish) Folk Poetry, it is one of the most significant 20th-century explorations of art music with Jewish folklore – homage to a culture irreparably destroyed. From the original score, Holger Groschopp compiled two suites, for violoncello and piano and piano solo, that capture the essence of Lak‘s enchanting drama music. The premiere recording of the suites with Holger Groschopp and Adele Bitter was awarded the Opus Klassik 2023 in the category Editorial Achievement of the Year. . / Date parution : 2024-01-06/ Répertoire / Violoncelle et Piano

Original Version - Edition for Cello and Piano. Par SCHUMANN ROBERT. Schumann’s Cello Concerto Rediscovered In her first Urtext edition for Edition Peters, internationally renowned cellist Josephine Knight reveals Robert Schumann’s original version of his Cello Concerto in A minor Op. 129 – a piece he actually called a ‘Concertstück’ – removing generations of inauthentic editorial interventions. This is the only available modern scholarly edition of the work as Schumann originally conceived it, and restores the text from October 1850, based on the composer’s manuscript held in the Biblioteka Jagiellonska in Kraków. This Full Score matches the separately available edition for Cello and Piano (EP 73488). Matching orchestral material is also available from the publisher. Only modern Urtext edition based on Schumann’s original 1850 manuscript Many new corrections and clarifications, especially to the cello part Scholarly preface detailing history of the work and this edition by editor Josephine Knight, Piatti Professor of Cello at the Royal Academy of Music London Cello Part contains Josephine Knight's fingering and bowing suggestions Critical Commentary Cello and piano edition available separately from Edition Peters: orchestral parts available for rental Recording of the Concertstück featuring Josephine Knight available from Dutton Robert Schumann’s tragic last years have mired many of his greatest works in unnecessary doubt. The story of the suppression of his Violin Concerto by well-meaning friends is relatively well-known. Few, however, know that the version of the Cello Concerto that is routinely heard today is so far from Schumann’s original conception of the work – not only in details of phrasing and articulation, but also featuring a different ending with a bold final flourish from the cello. Composed in a burst of inspiration in two weeks in October 1850 shortly after he and Clara had moved to Düsseldorf, Schumann (who in 1850 was still in good health) never heard the piece performed. In an effort to promote a performance of the work, he gave the score to the cellist Robert Emil Bockmühl. Bockmühl made revisions that Schumann resisted, and the hoped-for performance never happened. Schumann’s health failed and he died aged just 46 in 1856. The Concerto, in an already substantially revised form, was premiered in 1860 but it was not given significant recognition until it was championed by Pablo Casals in the 20th century by which time (and since) the text for the work had accreted additions and alterations from generations of soloists. Now Josephine Knight, Piatti Professor of Cello at the Royal Academy of Music, London has returned to the original 1850 manuscript of the work, which is in the Biblioteka Jagiellonska in Kraków, to reveal Schumann’s original thoughts for the first time in a modern Urtext edition. The edition reflects Schumann’s original conception of the work as a Concertstück and restores Schumann’s musical text, free of posthumous interventions. ‘My ultimate wish,’ says the editor, ‘is to give performers both access to, and confidence that they are playing from, an edition which is a true representation of the piece in its original form, no matter how much more difficult this might be. I found that incorporating the changes enabled the piece to take on a completely different character – one that is lighter and happier, even “cheerful”, as Schumann himself described the work.'/ Répertoire / Violoncelle et Piano

Par ECCLES HENRY. Henry Eccles left behind a number of smaller works most of which were written for violins or flutes. However, the most famous is this Sonata in G minor. Though often played in transcription by violinists and especially by double bass players, the sonata was originally published for cello in four movements – Prelude, Courante, Sarabande and Gigue – accompanied by a figured bass. Little is known about Henry Eccles. Neither his birth nor his death date has been firmly established, ranging respectively between 1675-85 and 1735-45. It is not even certain that he composed this sonata. He probably hailed from London and later served at the court of Louis XV in France. The editorChristoph Sassmannshaus, is the grandson of Egon Sassmannshaus, the founder of the “Early Start” series of string methods. / Niveau : 3 / Répertoire / Violoncelle et Piano

Die schönsten klassischen Werke bearbeitet für Violoncello und Klavier. Par . / Niveau : Moyen - Avancé / Date parution : 2022-10-12/ Recueil / Violoncelle et Piano

Category: String SeriesFormat: Book & CDInstrument: CelloInstrumentation: Cello (with Piano Acc.)Level: Level 2-3The arrangements in this new series were written especially for violin, viola, and cello, taking into account the specific needs of each instrument. All the arrangements are completely compatible with each other and can be played in small ensembles or as solos. Each book features a specially designed piano accompaniment that can be easily played by a teacher or intermediate piano student, and a carefully crafted removable part, complete with bowings, articulations, and keys well suited for the Level 2-3 player. Each song on the fully orchestrated accompaniment CD includes a demo track, which features a live string performance, followed by the play-along track by itself. Titles are: Diamonds Are Forever * For Your Eyes Only * From Russia with Love * Goldfinger * The James Bond Theme * Live and Let Die * Nobody Does It Better * On Her Majesty's Secret Service * Thunderball * Tomorrow Never Dies * The World Is Not Enough * You Only Live Twice.

This Concerto en Ut mineur for cello and piano was first published in 1947 by Editions Salabert, being attributed to Johann Christian Bach with harmonization by Henri Casadesus. Certain musicological studies after its publication proved that the Concerto should not have been attributed to Johann Christian Bach after all, as it had actually been composed 'in the style of Bach? some two centuries later. Nevertheless, the Concerto has been a success and is today often performed and studied closely. This edition of the Concerto is a new version of the original score enriched with an introduction and history in French, English and Italian. / Violoncelle Et Piano

Pièce inédite de Francis Poulenc, publiée avec l'autorisation de la Bibliothèque historique de la ville de Paris et de Benoît Seringe, secrétaire de l'Association des Amis de Francis Poulenc. Le 1er avril 1944, Le Voyageur sans bagage d'Anouilh, qui avait été créé en 1937 avec de la musique de Darius Milhaud, est repris au Théâtre de la Michodière. Francis Poulenc a été sollicité afin d'écrire une nouvelle musique de scène. On ignorait tout de cette partition inédite, jusqu'au jour où Bérengère de l'Epine, conservateur à la Bibliothèque historique de la ville de Paris, nous signala l'existence d'un manuscrit dans le fonds de l'Association de la Régie théâtrale. Poulenc mit au point sa partition entre le 19 et le 21 mars 1944. Elle comprend neuf numéros, tous écrits pour un petit effectif instrumental réunissant un hautbois, une clarinette, un violoncelle et un piano. Cependant, à la fin de son manuscrit, le compositeur reprend le #2 Lent et en donne une seconde version, pour violoncelle et piano. Curieusement, la version originale de ce numéro n'est pas biffée dans le manuscrit. Poulenc semble nous inviter à considérer comme un morceau distinct cette pièce pour violoncelle et piano dont nous proposons ici l'édition. Elle a été créée par Marc Coppey, accompagné de Jean-François Heisser, lors du concert donné durant le colloque organisé pour le cinquantenaire du décès de Poulenc, le mercredi 23 janvier 2013, salle d'orgue du Conservatoire National Supérieur de Musique et de Danse de Paris (CNSMDP). Quelques éléments sur le contexte dramatique permettront de se faire une idée du caractère du morceau, que Benoît Seringe, ayant droit Poulenc, a judicieusement choisi d'intituler Souvenirs. Le personnage principal de la pièce d'Anouilh, Gaston, a été retrouvé amnésique à la fin de la Première Guerre Mondiale. Plusieurs familles le réclament. On veut voir en lui un parent disparu. Les Renaud se montrent particulièrement tenaces - mais Gaston ne parvient à se reconnaître dans l'enfant et le jeune homme dont on lui trace le portrait : un être violent et sans scrupule. Au tableau 3 de l'acte I, resté seul un moment, écrasé par l'histoire de cet autre lui-même qu'il découvre peu à peu, indigné par le désir des personnes qui l'entourent de le ramener à elles au détriment de celui qu'il voudrait être désormais, il se murmure ces paroles : ' Vous avez tous des preuves, des photographies ressemblantes, des souvenirs précis comme des crimes? je vous écoute tous et je sens surgir peu à peu derrière moi un être hybride où il y a un peu de chacun de vos fils et rien de moi '? C'est sur ces mots que Poulenc a choisi de placer le #2 de sa partition de musique de scène. Comme il le fait souvent, il emprunte à une composition antérieure une part de son matériau. Dans ce cas précis, il réutilise pour le début du morceau la section ' Lent et mélancolique ' de l'Histoire de Babar, composée entre 1940 et 1945, créée en 1946 (à moins que ce ne soit Babar qui réutilise l'idée musicale du Voyageur). Le héros-éléphant s'est décidé à partir pour retrouver la grande forêt. Il a embrassé la vieille dame, lui a promis de revenir, l'a rassurée : jamais il ne l'oubliera. Restée seule, la vieille dame, triste et pensive, se demande quand elle reverra son ami Babar. La situation est similaire à celle du Voyageur sans bagage : solitude, tristesse, instant de trouble et de retour sur soi, crainte de l'oubli, présence des souvenirs? / Violoncelle Et Piano (Ou 2 Violoncelles)

Soon after its composition in 1886, Camille Saint-Saëns asked Auguste Durand that Le Carnaval des animaux, which he thought of as a parodic fantasia, should only appear in print posthumously. He probably believed that this entertainment would tarnish the seriousness of the rest of his oeuvre. The Carnaval was therefore published in February 1922, two months after the composer's death. Nevertheless the composer contravened the restrictions he had imposed: in 1886 Charles-Joseph Lebouc obtained the authorization to make and publish a transcription for piano and cello of the penultimate piece in this musical bestiary: no.13, Le Cygne . This arrangement, which became a bravura piece for cello, was an immense success each listener compelled to imagine a majestic swan gliding across a lake , a success which Saint-Saëns was obliged to accept. / Violoncelle / Durand