Bernhard Romberg (1767-1841) probably was the greatest cello virtuoso of his time and compared to Paganini in his lifetime. He gave cello lessons at the famous Conservatoire de Paris among others.Romberg's popular Trio in E minor originally was the first part of the Trois Trios d'une Difficulté Progressive pour le Violoncelle Viola et Violoncelle Op. 38. The solo violoncello was accompanied by a viola and a second violoncello. The two other trios are much more difficult, with a lot of passage work, thumb position, tenor and violin clef.The Trio in E minor Op. 38/1 was arranged many times and scored for various combinations of instruments. This edition refers to the popular arrangement for violoncello and piano by Friedrich Gustav Jansen (1837-1910) which is ideal for music lessons and concerts.Also available is another arrangement of the Trio Op. 38/1 for three violoncellos (SE 1008). The easy bass part can be played by another student.This edition is part of the new Schott Student Edition series which offers varied literature at five different levels of difficulty, from 1 (easy) to 5 (difficult), for instrumental lessons:In print or electronic formatAvailable as printed editions or PDF downloadPractising - efficiently and with pleasureAccompanying tracks of the pieces available as downloads / Violoncelle Et Piano

für Violine (Klarinette), Violoncello und Klavier. Par MENDELSSOHN-BARTHOLDY FELIX. Le titre' Songs Without Words ', choisi par Felix Mendelssohn Bartholdy pour sa fameuse collection de pièces pour piano essentiellement vocale, est devenu populaire extraordinaire. Peu de temps après sa publication, il a provoqué une vogue des arrangements de chansons populaires. centaines de chansons pour piano solo ont été composées, prétendant représenter des mélodies célèbres, sans pièces supplémentaires solo vocal-oder. D'autre part, les différents personnages de la trempe et la richesse inépuisable de mélodies '' Romances sans paroles '' semblent offrir une prolongation de la limitation sonore du piano par des instruments supplémentaires. Il est devenu évident dès lors que ces travaux qui (a) contient une seconde voix ou (b) une antienne en raison de la fréquente répétition de phrases, devrait être attribué à divers autres instruments. Le plus populaire d'entre eux, n 4 dans la présente publication, dans laquelle le dialogue entre la voix supérieure et inférieure est entouré d'un riche partie de piano était en droit DUETTO par le compositeur lui-même. ' / Répertoire / Clarinette, Violoncelle et Clavier

Johannes Brahms:The Works for one Instrument and PianoJohannes Brahms' compositions for one instrument and piano have been standards in chamber music literature ever since their inception. These works were written with specific performers in mind and Brahms worked closely with them when refining the final texts. Nevertheless, we rarely approach the music taking into consideration the possibilities of the instruments for which Brahms wrote or the performing practices of the individual players who first performed these compositions, including Brahms himself.The New Urtext EditionsBärenreiter's pioneering new scholarly-critical editions of Brahms' works for one instrument and piano are edited by a team of musicologists who are also performers. They offer today's musicians not just a reliable musical text based on all known sources, but also a comprehensive approach to the works, which aims to place them in their historical context and to elucidate the complex of meanings that the composer wished his notation to convey to performers.In addition to the musical text these editions offer an informative Introduction laying out the genesis, publication history and reception of the works. At the same time there is a complete list of the sources, an explanation of the editorial procedures and a Critical Commentary. Also, each volume contains a detailed discussion of specific performing practice issues raised by individual works.An integral part of Bärenreiter's Brahms publication complex is a text booklet which approaches general performance practice issues of the 19th century with regard to e.g. tempo, rubato, rhythmic flexibility and articulation. Furthermore musicians will find valuable information concerning vibrato, portamento and bowing. Last but not least characteristics of Brahms' own piano playing as well as that of his circle and contemporaries are discussed.The violin and viola sonata editions come not only with an Urtext part freed from all editorial emendations, but also with an additional part including fingering and bowing based on the practices of Joseph Joachim and his colleagues. These markings especially draw on publications of the sonatas edited by Joachim's pupils Leopold Auer and Ossip Schnirlin as well as those by Brahms' associate Franz Kneisel. A similar approach has been used for the violoncello sonatas, drawing on performance markings by Robert Hausmann (for whom Brahms wrote the Sonata in F major), Hugo Becker, with whom Brahms performed it, and Julius Klengel who was also close to his circle.Bärenreiter's new Brahms complex also importantly brings two neglected works back into the player's hands, namely the splendid versions of the op. 120 sonatas, originally written for viola or clarinet and piano. Brahms' arrangements for violin and piano unaccountably disappeared from the standard repertoire early in the 20th century. In these versions Brahms did not simply adjust the solo part for the violin, he made many alterations to the piano part, casting thought-provoking light on the clarinet and viola versions.- A pioneering set of Urtext editions- String editions include an Urtext solo part and a second part with fingering as well as performance markings- Each edition offers a preface on performance practice aspects pertaining to the respective works- A separate text booklet includes pioneering texts on general issues of performance practice in the 19th century as well as on specific issues with regard to Johannes Brahms' chamber music / Violon Et Piano

The Works for one Instrument and PianoJohannes Brahms' compositions for one instrument and piano have been standards in chamber music literature ever since their inception. These works were written with specific performers in mind and Brahms worked closely with them when refining the final texts. Nevertheless, we rarely approach the music taking into consideration the possibilities of the instruments for which Brahms wrote or the performing practices of the individual players who first performed these compositions, including Brahms himself.The New Urtext EditionsBärenreiter's pioneering new scholarly-critical editions of Brahms' works for one instrument and piano are edited by a team of musicologists who are also performers. They offer today's musicians not just a reliable musical text based on all known sources, but also a comprehensive approach to the works, which aims to place them in their historical context and to elucidate the complex of meanings that the composer wished his notation to convey to performers.In addition to the musical text these editions offer an informative Introduction laying out the genesis, publication history and reception of the works. At the same time there is a complete list of the sources, an explanation of the editorial procedures and a Critical Commentary. Also, each volume contains a detailed discussion of specific performing practice issues raised by individual works.An integral part of Bärenreiter's Brahms publication complex is a text booklet which approaches general performance practice issues of the 19th century with regard to e.g. tempo, rubato, rhythmic flexibility and articulation. Furthermore musicians will find valuable information concerning vibrato, portamento and bowing. Last but not least characteristics of Brahms' own piano playing as well as that of his circle and contemporaries are discussed.The violin and viola sonata editions come not only with an Urtext part freed from all editorial emendations, but also with an additional part including fingering and bowing based on the practices of Joseph Joachim and his colleagues. These markings especially draw on publications of the sonatas edited by Joachim's pupils Leopold Auer and Ossip Schnirlin as well as those by Brahms' associate Franz Kneisel. A similar approach has been used for the violoncello sonatas, drawing on performance markings by Robert Hausmann (for whom Brahms wrote the Sonata in F major), Hugo Becker, with whom Brahms performed it, and Julius Klengel who was also close to his circle.Bärenreiter's new Brahms complex also importantly brings two neglected works back into the player's hands, namely the splendid versions of the op. 120 sonatas, originally written for viola or clarinet and piano. Brahms' arrangements for violin and piano unaccountably disappeared from the standard repertoire early in the 20th century. In these versions Brahms did not simply adjust the solo part for the violin, he made many alterations to the piano part, casting thought-provoking light on the clarinet and viola versions.- A pioneering set of Urtext editions- String editions include an Urtext solo part and a second part with fingering as well as performance markings- Each edition offers a preface on performance practice aspects pertaining to the respective works- A separate text booklet includes pioneering texts on general issues of performance practice in the 19th century as well as on specific issues with regard to Johannes Brahms' chamber music / Violon Et Piano

Par DVORAK ANTONIN. Dvorák composed the “Mass in D major” in 1887 at the suggestion of his patron Josef Hlávka for the inauguration of the Lužany castle chapel. It is written for choir and organ with sporadic passages for soloists, uses simple expressive devices and makes light technical demands. Thus, this work is easy to perform, also by amateur church choirs - all that is needed is a small choir and the solo parts can be sung by members of the choir. The full score includes additional violoncello and double bass parts edited for the first time. Dvorák had penned them himself in a transcription of the organ version./ Répertoire / Chant et Orgue

Keyboard fireworksAs early as 1743, while Handel was still alive, Francesco Geminiani produced an arrangement of the 'Water Music? for keyboard instruments, thereby making it possible to perform this popular work in domestic surroundings. Then, presumably in 1749, an unknown musician arranged the 'Music for the Royal Fireworks? for transverse flute or violin and harpsichord.In addition to these two contemporary versions, this edition also contains an arrangement by the editor for harpsichord or organ, based on the first edition. Though both early sources explicitly mention a harpsichord, the arrangements can also be performed effectively note-for-note on the organ.As the surviving anonymous version merely places a solo part and a figured bass on a two-stave system, our edition is accompanied by performance material with one part each for transverse flute/oboe/violin and violoncello/double bass,plus a figured bass realisation.- Musical text with arrangements by two Handel contemporaries as well as the editor's own arrangement for harpsichord or organ- All editorial additions are clearly marked- Equally effective when performed note-for-note on the organ / Ensemble Mixte

für Violoncello und Orchester. Par SCHNITTKE ALFRED. Schnittke’s first cello concerto was written during a near fatal time in his life, after having suffered a severe stroke in 1985, during which his heart stopped three times. Upon recovery he completed the concerto, the music becoming more dissonant and discordant, with the melodies more contorted. The first cello concerto was a monumental endeavor for large orchestra, and approximately 40 minutes in duration. The work was written for Schnittke’s close friend, Russian cellist Natalia Gutman. The solo part is most feverish and virtuosic, exhausting the performer both technically and emotionally. The last, fourth, movement creates an unusual structuralprogression, ending in what feels like a celestial, hymn-like prayer. Schnittke himself said: Suddenly I was given this finale from somewhere, and I’ve just written it down. Available here is the study score for Schnittke’s emotionally and technically demanding Cello Concerto No. 1. This Sikorski edition study score is well presented, and provides an excellent resource for study or perusal use./ Répertoire / Violoncelle et Orchestre

Edition : Paris, l'Auteur, Boivin, Leclerc, Roussel, 1737.Présentation de Jean Saint-Arroman : La terminologie des concertos de Leclair. Edition originale en parties séparées : Violino di concertino - Violino primo - Violino secondo - Alto viola - Violoncello e organo.En deux volumes, les douze très célèbres concertos opus VII et Opus X de J.M. Leclair, pour violon et orchestre à cordes. Le troisième concerto de l'opus VII peut se jouer à la flûte ou au hautbois. Les deux préfaces divisent les éléments d'interprétation (terminologie, agrémentation, effectif). / Instrument(s) Et Orchestre A Cordes, (Violon Et Orchestre A Cordes, Flûte Et Orchestre A Cordes, Hautbois Et Orchestre A Cordes) / 124 pages / niveau : 1 / Fac-Similés - Format: 24 X 33

The e minor Cello Sonata is the first work for one solo instrument and piano which the meticulous composer also had printed. In summer 1865 Brahms offered it to the publisher Simrock as a sonata 'whose two instruments are both absolutely easy to play? - and rightly so: contrary to the later F-major Sonata op. 99 (HN 1135), this early sonata is technically less demanding, yet musically more striking at the same time, so that it is a hit with amateurs and professionals alike. Our new edition is based on the new Brahms Complete Edition and thus boasts, besides in-depth comments, a musical text revised according to the latest scholarly findings- as always, the cello part is enhanced with additional markings. / Violoncelle Et Piano

Le Concerto pour violoncelle n o 1 en la mineur a une structure originale, ainsi que une partie intéressante et stimulante solo. Bien qu'il est à composition, il est facilement divisée en trois mouvements. Le thème principal de l'ouverture réapparaît plusieurs fois dans chacune des sections, qui donne à la pièce une unité et le sentiment de plénitude organique. Cette édition comprend: Un disque compact contenant l'exécution complète du concerto en stéréo numérique Une deuxième version stéréo numérique du concerto moins le soliste, indexé pour la facilité de la pratique et de la performance Les versions sélectionnées tempo lent de l'accompagnement des fins de pratique Une édition autorité de la performance de la partie solo, nouvellement gravé et imprimé sur papier ivoire de haute qualité / Violoncelle

Sebastian Lee est né à Hambourg en 1805 et formé par le Romberg élève Johann Nikolaus Prell. En tant que soliste, il a entrepris un voyage via Leipzig, Kassel et Francfort à Paris et, en 1832, a fait ses débuts avec succès au Théâtre Italien. En 1836, il a donné des spectacles à Londres, puis revint à Paris où il a travaillé en tant que violoncelle solo au Grand Opéra depuis plus de 30 ans. Un soliste et professeur, il publie son violoncelle Méthode op. 30 en 1845, qui est toujours disponible à Schott (ED 965).Ses peine connus 'Premiers pas dans violoncelle Jouer 'anthologie opus 101 contient 50 duos faciles dans la première position. La première partie de violoncelle est facile à jouer alors que la deuxième partie est un peu plus exigeant, mais encore jouable par les élèves. Une belle collection pour les leCons pour débutants, avec des morceaux très mélodieux couvrant tous les aspects techniques et musical de jouer du violoncelle. / 1 Ou 2 Violoncelle(s)