This edition of Mozart's 2 Divertimenti arranged for Violin (or Oboe) Cello (or Bassoon) and Piano by Elisabeth Naumann.

Oboe and Piano-Part of the ANGLO MUSIC PLAY-ALONG Series Philip Sparkes 15 INTERMEDIATE CLASSICAL SOLOS is aimed at the young instrumentalist who can play about an octave and a half and follows on from Sparkes 15 EASY CLASSICAL SOLOS. Specifically tailored to suit the individual instrument this book introduces the developing player to the world of the classics by using simple yet attractive melodies that fit their limited range.The carefully selected pieces include music from the 17th to the 19th century and cover a wide variety of styles from Handel to Tchaikovsky and from Clementi to Brahms.The book will provide invaluable additional material to complement anyteaching method and includes both Piano accompaniment and a demo/play-along CD.

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

If Bach Was A Cellist-The purpose of the series if Bach was a cellist is to live the fantasy that everything Bach wrote he wrote for the cello.The concerto in D minor (BWV 1043) for two violins string orchestra and continuo by Johann Sebastian Bach (1685-1750) is one of his most loved works. Indeed the slow movement may be one of the most popular and loved pieces in the instrumental literature. Traditionally it is believed to have been written in Köthen where he held the position of 'fürstlischer Kapellmeister' from 1717-1723 a town that saw the birth of the Brandenburg concertos and the solo works for violin and cello. The Dorian church mode (the absent Bflat in the key of Dminor) would also speak for the younger Bach. Recent research however has shown that the orchestral parts carefully written out by Bach himself and found among the papers of his son Carl Philip Emanuel date from around 1730. The sophistication of the composition also speaks for a later date than Köthen. The original score has been lost.Always in need of concert material for his 'Collegium Musicus' in Leipzig Bach made a version of the present concerto for two harpsichords (BWV 1062). The original key was transposed to C minor so that the top note would not exceed a D but remain within the range of a standard harpsichord. Another C minor concerto (BWV 1060) for two harpsi-chords often heard in an arrangement from the 1920's for violin and oboe by Max Schneider and Max Seiffert speaks for two concertos in D minor for two violins by Bach.When arranging an orchestral score for the pianoforte one has to remember that a double-bass sounds an octave lower than notated. This is a welcomed fact when dealing with two instruments that play the original solo parts an octave down. At the same time for a transcription of this kind the ambition must be to avoid the cello soloists playing in octaves with the violin tutti parts - which is what would happen were they to share the same material. This ambition made a piano reduction

Work for Oboe Violin Viola and Cello. Parts available: CH56341.This quartet was commissioned by the Institute of Contemporary Arts and written in the autumn of 1967. It is dedicated to Lady Norton and is the second of LennoxBerkeley’s three works written with the oboist the late Janet Craxton in mind the other two being his Sonatina OP 61 and Sinfonia Concertante OP 84.The work begins with a fairly extended introduction leading without a breakinto an Allegro. The whole composition is based on the internal of a third (sometime major sometimes minor) which is heard in the opening phrase of the introduction and again in the main theme of the Allegro though here in atotally different context. The allegro is in more or less traditional sonata form. The middle movement is a kind of Scherzo growing out of a rhythmical figure for the strings and a rapid arpeggio (major and minor chords) forthe oboe. This is a Presto; a more relaxed middle section corresponding to the Trio in a classical work is followed by a much shortened version of the Scherzo. The last movement is brief but very slow all four instrumentstaking up in turn a gently rocking figure that moves to and fro between two notes always a major or minor third apart. The music becomes more animated but returns to the opening figure and dies away each instrument droppingout one after the other leaving the cello alone in the last bar.

Anne Danican-Philidor's Italian influenced Sonata in D Minor for Oboe (or Flute) and Guitar (with Viola da Gamba/Cello ad lib) as edited by Johannes Tappert. The solo Oboe (or Flute) and Viola da Gamba/Cello parts are also included on separate insert.

Pièce En Sol Mineur Op. 5 is a piece for Oboe and Piano accompaniment composed by Gabriel Pierné. Its medium difficulty will enable intermediate players and above levels to play it and to appreciate its features. Really enjoyable this early work written in 1833 lasts approximately 2’30 and has been transcribed for many other instruments. It is perfect for recitals and concerts. The book contains the score and Oboe part. The score mentions the possibility of replacing the Oboe by a Violin or a Cello. Gabriel Pierné (1863-1937) won the Prix de Rome in 1882.The composer wrotemany chamber compositions Piano pieces symphonic music and some oratorios.

Cyril Scott was an English composer writer and poet. He was essentially a late romantic composer whose style was at the same time strongly influenced by impressionism. His harmony was notably exotic. Scott wrote around four hundred works which include two mature symphonies three operas three Piano concertos concertos for Violin Cello Oboe and Harpsichord several overtures four oratorios as well as a mass of chamber music.Scott composed his Concerto For Oboe & Orchestra in 1946. The three movements (Molto vigoroso Andante Pastorale:Tranquillo and Rondo giocoso: Allegronon troppo cadenza Con spirit) are published here with a Piano reduction of the orchestra accompaniment.Complete performance time of the entire piece is approximately 20 minutes.