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.?

Brahms completed his Cello Sonata Op.99 during the productive summer of 1886. The first public performance took place in Vienna on 24 November of the same year. Robert Hausmann played the Cello part and the composer himself was his partner at the Piano. Even though the work was generally received positively it took some years until it was fully appreciated and gained its irrevocable place in the Cello repertoire.Of particular value to the editors were the two early performance editions of the Cello Sonata Op.99 by Hugo Becker and Carl Friedberg as well as by Julius Klengel. Both cellists Becker and Klengel had aconnection to Brahms who very much admired and trusted Becker's playing and who performed together with Klengel. This edition not only incorporates Becker's and Klengel's performance markings but also Hausmann's for whom the piece was written. As such the Barenreiter edition comes with a Cello part marked with fingering and bowing by the editors which are based on the practices of Brahms' contemporaries. We also provide an unmarked Urtext part.An important part of this edition is the extensive Preface. Firstly it informs about the work's origin early performances its publication as well as early reception. Truly remarkable is the unique Performance Practice Commentary. Here the editors take the premise that already a few decades after Brahms' death a widening gulf developed between the composer's expectations and the performance practices of the early 20th century. In a very concrete and practical way the editors summarize some of the key issues in understanding Brahms' notation with regard to rhythm and timing dynamics and accentuation dots and strokes slurring and non legato Piano pedalling and overholding Piano arpeggiation and dislocation String Instrument fingering String Instrument harmonics and vibrato. In this way the edition offers an exciting and often surprising insight into Romantic musical interpretation.- A pioneering Urtext edition.- With an unmarked Urtext part.- With a second part including fingering and bowing based on the practices of contemporaries of Brahms.- With

Edition no.: BA9695 ISMN: 9790006536580 Volume / Series: Bärenreiters Cello Collection Editor: Sassmannshaus, Christoph Instrumentation of the work: Violoncello, Piano Product format: Piano reduction, Part(s), Teaching material Includes the following individual parts: Violoncello, Piano Binding: Stapled Pages / Format: 32/64 S. - 30,0 x 23,0 cm In the line with the series Bärenreiter's Concert Pieces which comprises editions geared towards young violinists, we are now publishing a separate collection for young cellists playing their first concerts. This edition contains 18 easy-to-learn concert pieces from the Baroque, Classical and Romantic periods including Dvorák’s Humoresque, Mendelssohn Bartholdy’s Song without Words, Fauré’s Berceuse and The Swan by Camille Saint-Saëns. The editor is Christoph Sassmannshaus, the grandson of the founder of The Sassmannshaus tradition, Egon Sassmannshaus. - Pieces for solo cello with piano accompaniment - Easy to medium difficulty - Ideal repertoire for cellists who have completed Early Start on the Cello, volumes 3 and 4 (BA 8998, BA 8999) A selection: Simonetti, Madrigal / Beethoven, Minuet / Dvorák, Humoresque / Wolf, Wiegenlied / Goltermann, Notturno / Klengel, Sarabande / Mendelssohn Bartholdy, Song without Words / Fauré, Sicilienne / Saint-Saëns, The Swan

In memory of Christopher Rowland. Originally a concerto for Cello and chamber orchestra now for Cello with a Piano reduction of the orchestral part.The concerto is in four movements which are played without a break: Meditation Intermezzo Toccata-Scherzo and Song. The work lasts for some 18 minutes and was scored for two oboes two horns timpani (doubling tubular bells) and strings(found here in a Cello/Piano form). It is organised in one large arch-shaped structure with two fast inner movements flanked by two outer slow ones. The solo cello opens the work reflectively and introduces core melodic material which is continuously developed throughout theconcerto. Gradually the strings enter then wind and timpani and build a pyramid twelve-note chord at the peak of which there is a dramatic climax. The music then subsides (solo cello again) but links to the two faster middle movements. The second movement Intermezzo has an ABA structure and in its middle section quotes the opening of Shostakovich's Third String Quartet (written in the same year as Christopher Rowland was born!). Indeed the ghost of Shostakovich looms large throughout the concerto in more ways than one. The Toccata-Scherzo is energetic and rhythmically-charged again using an ABA structure. Here the writing for solo cello is quite virtuosic but not I hope in a shallow sense. The music builds inexorably towards a powerful climax underpinned by the opening twelve-note chord's re-appearance together with a violent outburst from the timpani at which point a tonal resolution (on G) arrives through a pianissimo held chord on strings which leads directly to the final movement - Song. And so the music arrives at its emotional heart through a simple melody (present in other forms throughout the work) announced by solo cello at the very top of its register against a quiet backdrop of horns and strings. A solo oboe enters with cello in canonic reply and all the time the music builds in texture and

extrait de la musique de scène pour « Le Voyageur sans bagages »-A previously unreleased piece by Francis Poulenc published with permission from the Bibliothèque Historique de la Ville de Paris and Benoît Seringe secretary of the Association des amis de Francis Poulenc [Association of the Friends of Francis Poulenc]. Le Voyageur sans bagage [The Traveller Without Luggage] which had been premiered in 1937 with music by Darius Milhaud was reprised on 1 April 1944 at the Théâtre de la Michodière; Francis Poulenc was asked to compose new stage music. The entire unpublished score lay undiscovered until Bérengère del’Épine a librarian at the Bibliothèque Historique de la Ville de Paris announced the existence of a manuscript in the Association de la Régie Théâtrale collection. Poulenc finalised the score between 19 and 21 March 1944. It contains nine songs all written for a small instrumental ensemble including Oboe Clarinet Cello and Piano. However at the end of the manuscript the composer echoes the second song – Lent [Slow] – and creates another version for Cello and Piano; curiously the original version of the song has not been erased in the manuscript. Poulenc seems to suggest that we consider the piece for Cello and Piano that we have published here as a different piece of music. It was premiered on Wednesday 23 January 2013 by Marc Coppey accompanied by Jean-François Heisser in the organ auditorium of the Conservatoire National Supérieur de Musique et Danse de Paris (CNSMDP) during the symposium for the fiftieth anniversary of Poulenc’s death. Given in a dramatic context some elements allow us to get an idea of the character of the piece which Benoît Seringe Poulenc’s beneficiary judiciously chose to name Souvenirs. The main character of Anouilh’s play Gaston is suffering from amnesia at the end of World

It is impossible to imagine today's cello lessons without the works by Jean-Baptiste Bréval (1753-1823).This sonata is the first of the Six Sonates non difficiles pour le violoncelle Op. 40 (1795). To this day it remains popular among cello teachers and pupils alike. Because of its comfortable tonality and technical simplicity, it is an interesting classical sonata for cello students who are experienced in playing in first position and do not shy away from occasional excursions into other positions.As a performance piece, the sonata can be accompanied either by a second cello, as in Bréval's original version, by piano, or even by both instruments. The sonata is particularly suitable for music lessons and concertos in the popular version for violoncello and piano by Joachim Stutschewsky, which was revised for the Schott Student Edition by Rainer Mohrs and edited and prefaced by Beverly Ellis.The new Schott Student Edition series 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

Bohuslav Martinu (1890-1959) was a prolific Czech composer writing many large scale works. The composer moved to Paris in 1923 where he began experimenting in a variety of composition styles. Pastorales for Cello and Piano was published in 1931 and is made up of six pieces. Martinu himself was a violinist and the beginning of his experiments in composing for solo instruments saw him write for strings. Pastorales for Cello exemplifies the composer's influence of Stravinsky Debussy neoclassicism surrealism and jazz. The piece is excitingly virtuosic in its use of double stops complexrhythms chromaticism and ensemble between the Cello and Piano. As a varied substantial work for the Cello repertoire Martinu's Pastorales is essential for the advanced performer.

Cello and Piano. Par SQUIRE WILLIAM HENRY. William Henry Squire's Gondoliera for cello and piano evokes the dreamy magic of Venice and the barcarolles of Chopin, Fauré, Liszt and Mendelssohn. Performers and audiences who enjoy the three 'Venetian gondola songs' in Mendelssohn's Lieder ohne Worte will certainly derive pleasure from Squire's illustration of the watery half-light of the lagoon at dusk or daybreak and the chiarascuoro of a contrasting, brighter middle section in G major. Though not challenged technically beyond an intermediate level of difficulty of around Grade 6, cellists ideally must project the melody with truly vocal poise and bel canto spirit in this short work that is a real treasure for amateur and professional players alike./ Répertoire / Violoncelle et Piano

For Violoncello and Pianoforte-Felix Mendelssohn Bartholdy’s works for violoncello and piano occupy a special place within the repertoire of cellists and chamber musicians. The lyrical Song without Words (Romance sans paroles) is among the most popular of all teaching pieces.Mendelssohn was inspired by his contacts with the leading cellists of his day to write for this instrument. This unique Urtext edition contains all of Mendelssohn’s finished works for violoncello and piano as well as reconstructions and completions of his unfinished works for the same scoring. The editor R. Larry Todd has composed the cello part for the variations and has completed the graceful Assaitranquillo.Urtext edition containing all of Mendelssohn’s works for violoncello and piano in 2 volumesAlso includes reconstructions or completions of Mendelssohn’s unfinished works for violoncello and pianoInformative Foreword (Eng/Ger) and Critical Commentary (Eng) with facsimile pagesSpecial price for both volumes I and II (BA9098)

For Violoncello and Pianoforte-Felix Mendelssohn Bartholdy’s works for violoncello and piano occupy a special place within the repertoire of cellists and chamber musicians. The lyrical Song without Words (Romance sans paroles) is among the most popular of all teaching pieces.Mendelssohn was inspired by his contacts with the leading cellists of his day to write for this instrument. This unique Urtext edition contains all of Mendelssohn’s finished works for violoncello and piano as well as reconstructions and completions of his unfinished works for the same scoring. The editor R. Larry Todd has composed the cello part for the variations and has completed the graceful Assaitranquillo.Urtext edition containing all of Mendelssohn’s works for violoncello and piano in 2 volumesAlso includes reconstructions or completions of Mendelssohn’s unfinished works for violoncello and pianoInformative Foreword (Eng/Ger) and Critical Commentary (Eng) with facsimile pagesSpecial price for both volumes I and II (BA9098)

Version for Violoncello-César Franck's Sonata For Piano And Violin In A. Urtext edition for Cello.Unlike some of his other late works Franck?s Violin Sonata (HN293) composed in 1886 was well-received by thepublic and critics from the very start. The beautiful arrangement for Cello published in January 1888 distinguishes itself from the numerous other arrangements in that Franck expressly authorised it.The cellistJules Delsart who had heard a performance of the sonata in Paris in December 1887 was so delighted by it that he asked Franck?s permission to make a transcription of the Violin part for his own instrument. Delsartremained close to the original; he left the Piano part unaltered and transposed the Violin part only where necessary and appropriate into the lower register.

The autograph score of Lalo’s much played concerto is lost. Written in 1876 the only remaining sources are the first edition score and parts as well as the autograph Piano reduction by Lalo. Hugh Macdonald the highly acclaimed editor of French music has discovered that Lalo’s Piano reduction was used as a working score by Lalo himself. He continued to make alterations to the work in the reduction even after the work was officially published. These changes provide for many corrections in the solo part as we know it but also call for some orchestral passages to be re-orchestrated to match up with Lalo’s finalalterations.First ever critical edition of this romantic masterpiece.Preface in English / German / French.Score orchestral parts Piano reduction.First ever critical commentary (Eng) integrated in the score.Full score and parts (BA6999) and Cello & Piano reduction (BA6999-90) available for sale.

The present volume contains a selection of very easy recital pieces for Violoncello and Piano which can be played in the first position after 1-2 years of Cello lessons. The selected pieces are original works from the Renaissance period to the present day: from the Baroque minuet the classical sonatina or the Romantic character piece to contemporary music and tango blues or pop. The pieces are suitable for individual group and chamber music lessons for practising on one's own and especially for the first auditions concerts or competitions. The accompanying CD contains a full version of each piece as well as the piano accompaniment for playing along. The recordingsare intended for orientation and for making it easier to learn to play the pieces – for what is already going around in one's head will also be 'in the fingers' much faster. The CD also contains separately the piano part of each piece for playing along. A musical journey through 500 years of Cello music!

A collection of pieces that pay tribute to Gershwin's unique melodic genius which gave us such gems as Embraceable You Summertime I Got Rhythm 'S Wonderful and Lady Be Good. These and other favourites are arranged here as impressive Cello solos with Piano accompaniment. This book includes a separate Cello part.