B Minor. Par DVORAK ANTONIN. Like every other great 19th-century solo concerto, Dvorák ’s famous Cello Concerto was a collaboration between composer and virtuoso. It has long been known that certain solo passages in Dvorák ’s autograph score were actually written by the cellist Hanuš Wihan; but Bärenreiter’s edition now reveals that some details in the Orchestral parts are also in his writing, showing just how closely the two musicians were working together. The editor Jonathan Del Mar has painstakingly examined all the surviving sources, including two that have hitherto been either ignored or crucially undervalued, in order to produce anauthoritative edition which restores – for the first time since the original edition was published in 1896 - Dvorák ’s final and definitive version of the solo Cello part. This differs, in details, in almost every bar from the version found in all other modern editions, while hundreds of corrections have also been made to the Orchestral parts. - With Dvorák ’s final and definitive version of the solo Cello part. - With hundreds of corrections in the solo Cello part as well as the Orchestral parts. - With hitherto unknown details regarding the collaboration between Dvorák and Wihan. - With Dvorák ’s original Piano reduction. - With Feuermann's and Casals' alternatives to a passage in the first movement. - Full score, performance material (BA9045), Cello & Piano (BA9045-90) & Facsimile (BVK1849) available for sale./ Répertoire / Violoncelle et Orchestre

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

Par DVORAK ANTONIN. This study score is based on the score and complete performance material of Dvorák's famous B minor Cello Concerto (BA 9045) edited by Jonathan Del Mar and published in 2011. In addition the study score contains a Foreword by Dvorák scholar Jan Smaczny. Like every other major 19th-century cello concerto, Dvorák's concerto resulted from a collaboration between the composer and a virtuoso musician. Several passages in Dvorák's autograph were written by the cellist Hanus Wihan but Bärenreiter's edition now reveals that some details in the orchestral parts are also in his writing, showing just how closely the two musicians were working together. The editor Jonathan Del Mar has conscientiously examined every available source, including two that have hitherto been either ignored or crucially undervalued. His research has led to a benchmark edition that reconstructs, for the first time since its initial publication in 1896, Dvorák's definitive version of the solo part. It differs from previous editions in practically every measure and hundreds of corrections have also been made to the orchestral parts. - Includes Dvorák's final and definitive version of the solo cello part - Incorporates new discoveries regarding the collaboration between Dvorák and Wihan - With Feuermann's and Casals's alternative versions of a passage in the first movement - Detailed Foreword (Eng/Cz/Ger)/ Répertoire / Violoncelle et Orchestre

In 1922 Maurice Ravel heard the young Hungarian violin virtuoso and niece of Joseph Joachim, Jelly D'Aranyi, in concert in London. Following the performance, Ravel spent the remainder of the evening requesting D'Aranyi to play numerous gypsy tunes on her violin, probing her on the technical limits of the instrument. The result of this encounter is Ravel's virtuoso classic 'Tzigane?. Written originally for violin and piano or luthéal (a mechanism invented in 1919 that attaches to a piano, producing a sound similar to the rich overtones of the Cimbalon), the premiere took place in London in April 1924. The composer had finished the work only days beforehand. Ravel later orchestrated 'Tzigane? and both versions remain a 'must? for music-lovers and aspiring violinists today. Jelly D'Aranyi performed both versions regularly throughout her long career. This Urtext edition presents the first scholarly-critical edition of Ravel's masterpiece. It is published both in the orchestral version, complete with full score and performance material, as well as in the composer's earlier version for violin and piano. All known sources, including letters, have been drawn on for the new edition - one of the available sources, consulted for the first time, was a copy of 'Tzigane? from the estate of Jelly D'Aranyi, which is today part of a private collection. The version for piano and violin contains, besides the Urtext part, a second violin part as a facsimile with performance instructions by Jelly D'Aranyi. D'Aranyi's alterations and fingering reflect how Ravel must have heard the work in rehearsals and performance and as such are a document of early 20th century performance practice. The cooperation between Ravel and D'Aranyi is comparable to that of Brahms and Joachim working on the Brahms violin concerto.- First scholarly-critical Urtext edition of the work - Presented are both versions: for violin and orchestra and for violin and piano- Includes Jelly D'Aranyi's fingering / Violoncelle

Born in South Africa, but now an Irish citizen, Kevin Volans' musical idiom has been shaped by an unusually diverse range of experiences, including studies with Stockhausen in Cologne, field trips to South Africa to study traditional music, his own involvement with the New Simplicity movement, his collection of contemporary art and African textiles, friendships with composers like Morton Feldman and Gerald Barry, as well as a love of virtuoso piano music which he performs, broadcasts and records. While having an easily recognised, unique voice, Volans' music resists compartmentalisation. He is as comfortable working in conventional genres as embarking on innovative collaborations with artists of other disciplines.String Quartet #1 (White Man Sleeps) was written for the Kronos Quartet and was first performed by them in July 1986, London.The title 'White Man Sleeps' comes from a moment in nyanga Panpipe music where the performers leave off playing their loud pipes for a few cycles and dance only to the sound of their ankle rattles, to let the white landowner sleep - for a minute or two.'In composing this piece I drew from the following sources: the first movement owes something to the style of Basotho concertina music - the second and fourth movements are drawn from traditional Nyungwe music played by Makina Chirenje and his Nyanga panpipe group at Nsava, Tete, Mozambique, recorded and transcribed by Andrew Tracey (to be found in an article entitled 'The nyanga Panpipe dance' in African Music, Vol.5, #1 (1971) - the third movement derives from the San bow music (recorded by Tony Traill of the University of Witwatersrand) and from Basotho lesiba music, transcribed by myself - in the fifth movement I added my own invented folklore. My approach to the original music was anything but purist - it is played in Western tuning, filtered, slowed down by a few 'time-octaves?, cast into non-African metres (like the 13-beat pattern of the first dance) and redistributed between the players in several ways. I also used interlocking techniques where they were absent in the original models and vice versa' - Kevin VolansDuration 24 minutes. Parts available: CH61205. / Quatuor A Cordes (Conducteur)

This collection of etudes by the virtuoso Sebastian Lee was used as a standard work for cello lessons at the Paris Conservatoire back in the 19th century. For thorough technical training and education, the etudes remain just as relevant today. In this new edition, in two volumes, any departures from the original are clearly marked. In addition useful tips and suggestions for practising have been added. / Violoncelle

Virtuoso and Entertaining Pieces for Cello and Piano. À l'occasion de son 250e anniversaire, Schott Music a le plaisir de vous présenter Joy of Music. Des trésors découverts dans les archives historiques, réédités et présentés dans cette très belle collection. Des ?uvres en grande partie de l'époque romantique, pour des musiciens de niveau intermédiaire à confirmé à la recherche de nouveautés. / Niveau : Intermédiaire à Avancé / Recueil / Violoncelle et Piano

Unsurpassed in his day as a lute virtuoso, John Dowland (1563'1626) today continues to delight singers, musicians, and music lovers alike. This collection of 45 songs includes all the works in Dowland's original third and fourth books of lute songs, the composer's contributions to his son's anthology of 1610, and a dance for solo guitar. Content :
THE THRID AND LAST BOOKE
I. Farewell too fair
II. Time stands still
III. Behold a wonder here
IV. Daphne was not so chaste
V. Me, me and none but me
VI. When Phoebus first did Daphne love
VII. Say Love if ever thou didst find
VIII. Flow not so fast ye fountains
IX. What if I never speed'
X. Love stood amaz'd
XI. Lend your ears to my sorrow
XII. By a fountain where I lay
XIII. Oh what hath overwrought
XIV. Farewell unkind farewell
XV. Weep you no more, sad fountains
XVI. Fie on this feigning
XVII. I must complain
XVIII It was a time when silly bees could speak
XIX. The lowest trees have tops
XX. What poor astronomers are they
XXI. Come when I call (for two voices and two lutes)
A PILGRIMES SOLACE
I. Disdain me still
II. Sweet stay awhile
III. To ask for all thy love
IV. Love those beams
V. Shall I strive with words to move (Mignarda, a galliard is Dowland's title for the solo lute version of the lyre Shall I strive with words to move.
VI. Were every thought an eye
VII. Stay Time awhile thy flying
VIII. Tel me true Love (with chorus)
The next three with treble and bass viols ofr violin and cello:
IX. Go nightly cares
X. From silent night
XI. Lasso vita mia
XII. In this trembling shadow
XIII. If that a sinner's sighs
A three-part work:
XIV. Thou mighty God
XV. When David's life
XVI. When the poor cripple
XVII. Where sin sore wounding
XVIII. My heart and tongue were twins
The next with chorus:
XIX. Up merry mates
XX. Welcome black night
XXI. Cease these false sports
THREE AYRES FROM A MUSICALL BANQUET
Far from triumphing Court
Lady if you so spite me
In darkness let me dwell
GALLIART TO LACHRIMAE
A lute solo from A Pilgrimes Solace, transcribed for guitar