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| Two (2) Sonatas For Violoncello And Basso Continuo, No.1 F Major, No.4 G Minor Violoncello, Basso continuo Schott
No. 1 F Major and No. 4 G Minor. Composed by Benedetto Marcello (1686-1739). Edi...(+)
No. 1 F Major and No. 4 G Minor. Composed by Benedetto Marcello (1686-1739). Edited by Gerhart Darmstadt. This edition: Saddle stitching. Sheet music. Cello Library. Classical. 24 pages. Schott Music #CB 64. Published by Schott Music
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| Nine Sonatas for Violoncello and Basso Continuo Violoncello, Basso continuo Ricordi
By Antonio Vivaldi. Arranged by Gian Francesco Malipiero, Fritz Zobeley. String ...(+)
By Antonio Vivaldi. Arranged by Gian Francesco Malipiero, Fritz Zobeley. String Solo. Size 9x12 inches. 37 pages. Published by Ricordi.
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| 18th Century Sonatas for Cello and Continuo Violoncello, Basso continuo Ricordi
Composed by Various. Edited by Alessandro Borin and Luigi Puxeddu. For Cello, Ba...(+)
Composed by Various. Edited by Alessandro Borin and Luigi Puxeddu. For Cello, Basso Continuo. String. Ricordi #NR140968. Published by Ricordi
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| Cello Concerto D Maj Set Violoncello, Basso continuo - Intermediate Schott
Cello, strings and basso continuo (ST CHOR) - intermediate SKU: HL.49001938(+)
Cello, strings and basso continuo (ST CHOR) - intermediate SKU: HL.49001938 Composed by Giovanni Battista Martini. Edited by Istvan Koloss. Sheet music. Concertino (Chamber Orchestra). Classical. Set of Parts. 72 pages. Duration 9'. Schott Music #CON 208-70. Published by Schott Music (HL.49001938). ISBN 9790001025003. Padre Martini was musical director in Bologna and a respected teacher of composition with whom studied Johann Christian Bach among others. Martini's compositions, between baroque and rococo as to style, are considered to be excellent works of Italian music of that time. The violoncello is treated by Martini as concertante instrument. The viola part can also be played by a third violin. $59.00 - See more - Buy online | | |
| Gamba Sonatas Wq 88, 136, 137 Violoncello, Basso continuo G. Henle
(Edition for Violoncello and Harpsichord With marked and unmarked string parts)....(+)
(Edition for Violoncello and Harpsichord With marked and unmarked string parts). By Carl Philipp Emanuel Bach (1714-1788). Edited by Wolfram Enlin. For Cello, Harpsichord, Viola da gamba (Score and Parts). Henle Music Folios. Softcover. G. Henle #HN991. Published by G. Henle
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| Antonio Vivaldi: Complete
Sonatas for Violoncello
and Bc. RV 39-47: Cello: Violoncello, Basso continuo [Sheet music] Barenreiter
Performance Score and Parts-This scholarly-critical edition is based on all the ...(+)
Performance Score and Parts-This scholarly-critical edition is based on all the known sources whether printed or handwritten that have come down to us for these frequently played pieces. By closely scrutinizing the source material the editor has arrived at interesting findings that considerably differ from earlier editions of these works. Rather than taking as her principal source Le Clerc’s 1740 print of Sonatas I to VI – an edition probably made without the composer’s consent – the editor has examined the Naples and Wiesentheid manuscripts prepared under Vivaldi’s direct supervision. The editor has also managed to identify a previously unknown source forSonata RV 44. All departures from the sources in the printed text and all editorial additions are listed in the critical report. Cellists are thus given ready access to every alternative reading including deleted bars and the many inevitable variants in articulation. A detailed preface provides essential information on sources and their assessment with a section on performance practice offering valuable suggestions on interpretation. All of Antonio Vivaldi's works for violoncello and continuo in a single edition Scholarly-critical edition for performance purposes Detailed preface on sources and performance practice (German/English) With new findings that considerably differ from earlier editions 'This edition is invaluable for all performers of the Sonatas .' (Ensemble January 2004) 'This is certainly the definitive edition of these works.'(Strings August/September 2003)
34.00 GBP - Sold by Musicroom UK Pre-shipment lead time: In Stock | |
| Gioachino Rossini: Duetto
for cello and double
bass: Trombone:
Instrumental Violoncello, Basso continuo Yorke Edition
It was a chance visit to a second hand bookshop in Nottingham that set me on the...(+)
It was a chance visit to a second hand bookshop in Nottingham that set me on the trail of Rossini's now well-known Duetto for cello and double bass. But the story begins earlier than that. In the 1960s I was studying the double bass at the Royal College of Music with Adrian Beers who was at that time principal of the English Chamber Orchestra on the front desk of the Philharmonia Orchestra and a member of the Melos Ensemble of London (then one of the leading ensembles of the world). I was working on the 'Dragonetti Concerto' as most young players do and I wanted to find out a bit about it. My teacher said he thought the autograph manuscript might be in the British Library which was all the encouragement I needed to secure a pass to the Reading Room so I could go and see for myself. There sure enough I found a large collection of Dragonetti's autograph manuscripts together with other bound volumes relating to his life. The papers had been lovingly collated and annotated by Vincent Novello one of Dragonetti's closest friends then deposited in the library before his departure to Italy in 1848 two years after Dragonetti's death. One of the volumes included a lot of letters about various engagements and music festivals copies of orders for strings Dragonetti wanted from Italy details about paintings he wanted to buy and numerous invitations to private functions. The manuscript of the 'Dragonetti Concerto' of course wasn't among the papers we now know it to have been written by Edouard Nanny a century or so later. One name that came up regularly in the documents was that of Sir George Smart. Smart had been a violinist in Salomon's orchestra and had played for Haydn at his London concerts in the 1790s. As a child he had learnt much about music from his father who had in turn been present at many of Handel's rehearsals when he was preparing some of his major works for the first time. Smart was also a fine keyboard player becoming organist of the Chapel Royal in 1822. As a conductor
9.50 GBP - Sold by Musicroom UK | |
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