Cello Concerto No. 2 Op. 126 Piano Score Dsch New Collected Works Vol 49

für Violoncello und Klavier / for Violoncello and Piano-Camille Saint-Saëns Allegro Appassionato Op. 43 for Cello and Piano. Urtext edition score.At the beginning of the 1870s Saint-Saëns displayed a particular partiality for theVioloncello. He composed his first Cello sonata in December 1872 immediately after having completed the first Cello concerto. It was presumably directly after this that he wrote the Allegro Appassionato for Celloand Piano op. 43 that also appeared in a version for Orchestra three years later.We do not know why he wrote the work but it is likely that after having written two weighty works for Cello Saint-Saëns wanted towrite something ?easier? that was also suitable as an encore. In this Henle Urtext edition David Geringas has kindly provided the fingering and bowing for the brilliant Cello part.

Par VIVALDI ANTONIO. Throughout his life, Antonio Vivaldi wrote almost thirty instrumental works that use the cello as a solo instrument. Vivaldi knew how to tailor his music to the cello and in doing so, helped to establish this still young instrument in the music of that time. The Concerto RV 531 is the only double concerto in Vivaldi?s ?uvre for two solo violoncellos. The two solo parts take centre stage with virtuosic passages but lie on the instrument so well that they can be comfortably mastered by advanced students. The edition is based on the careful evaluation of Vivaldi?s autograph score which is the main source and several inconsistencies found in previous editions have been clarified. At the same time the edition allows for a flexible realisation of this concerto: it can be performed by a full tutti orchestra or by one performer per part. The cello part in the basso continuo group can be played by orchestral cellists or by the soloists./ Répertoire / 2 Violoncelles et Piano

Trio (Op. 10) was composed c.1940 and first published in 1943. It is scored for Clarinet Cello and Piano. One of Frankel’s earliest works it is light and pleasing showing how the composer was first influenced by jazz and classical chamber music before he later turned to larger symphonic works and started experimenting with serialism. Benjamin Frankel (1906-1973) was a British composer and musician. He is best remembered for writing over one hundred film and television scores including The Man In The White Suit and The Battle Of The Bulge but he also wrote eight symphonies and many smaller works such as his ViolinSonata and Concerto which were written for Max Rostal.

Edition for piano two violins viola and violoncello-Edition for piano two violins viola and violoncello (2-piano reduction with 1 each of the string parts) 'Mr. Mozart Kapellmeister wishes to announce to the most worthy public the appearance in print of three of his recently contrived piano concertos. These three concertos may be performed not only with a large orchestra including wind instruments but also a quattro that is with two violins one viola and violoncello. They will be issued early in April of this year (1783).' As this advertisement shows it was Mozart's intention to keep the accompaniment part flexible in his piano concertos K.413-5 and as we know from a letter Mozart wrote to his father inK.449 as well. In addition to orchestral forces it is also possible to use a chamber setting with string instruments one to a part. This chamber music edition accommodates this option thereby enriching Mozart's charming chamber music with piano. These editions of Mozart's Piano Concertos are based on the Urtext editions published in the New Mozart Edition. In the present arrangement for two pianos the solo Part - as well as the strings - are unchanged and thus identical with the version in the NMA. The piano arrangement adheres to the original orchestral score. Chamber music editions available for: Piano Concerto No.11 in F major K.413 BA4875Piano Concerto No.12 in A major K.414 BA4877Piano Concerto No.13 in C major K.415 BA4879Piano Concerto No.14 in E-flat major K.449 BA4871

Original Version - Edition for Cello and Piano. 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 Jagiello?ska in Kraków. It is presented in a beautifully printed edition for cello with Schumann?s original piano reduction. 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 Matching orchestral material available separately from Edition Peters 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 Jagiello?ska 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. It is presented in a beautifully printed edition for cello, with Schumann?s original piano reduction. Matching orchestral material is also available from the publisher. ?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.?

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 Hanu? 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.

Double Concerto in a minor op.102-The cellist Robert Hausmann had actually requested a Cello concerto - but Brahms paired the Cello with a Violin in his 'Double Concerto'. The unusual work has already been available as part of the newBrahms Complete Edition for several years.Using Brahms? original Piano reduction Johannes Umbreit has produced a playable Piano setting that optimally renders the colourfulness of the score. The fingerings andbowings for the string parts have been supplied by the experienced soloists Frank Peter Zimmermann and Heinrich Schiff. The orchestral parts based on the Complete Edition are available from Breitkopf & Härtel (PB/OB 16104).

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