Variations fur Pianoforte and Violoncello op. 66 WoO 45, WoO 46

Beethoven?s three sets of cello variations comprise the ?Twelve Variations on a Theme from H?ndel?s Oratorio ?Judas Maccabeus?? (WoO 45) the ?Twelve Variations on the theme ?Ein M?dchen oder Weibchen?? (op.66) from Mozart?s opera ?Die Zauberfl?te? and the ?Seven Variations on the duet ?Bei M?nnern welche Liebe f?hlen?? (WoO 46) also from ?Die Zauberfl?te?.These works have existed in many different editions some of which have from time to time been (tacitly) reprinted with corrections to keep up to date with the latest scholarship. This new B?renreiter Urtext edition however is the first to give all Beethoven?s rhythms in the violoncello part correctly.Beethoven?s autograph manuscript of op.66 is lost; the critical commentary (English) includes a complete facsimile of the violoncello part from the only surviving source (the first edition) illustrating the various problems encountered in determining the best musical text.With numerous corrections in the violoncello partIncluded in the critical commentary is a complete facsimile of the violoncello part of op. 66 as it appeared in the first edition

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 Piano Violin Viola Violoncello and Double Bass-Piano Quintet in A major Op.post.114 D 667 (Trout Quintet)for Piano Violin Viola Violoncello and Double BassDuring the summer months of the years 1819 1823 and 1825 Schubert spent several weeks with his friend and interpreter of his lieder Johann Michael Vogl in Vogl?s home town of Steyr in Upper Austria. Vogl made Schubert acquainted with the musical circles of the town particularly with the home and circle of Sylvester Paumgartner the musical patron of Steyr at that time. Schubert?s relations with Steyr and with Paumgartner in particular were vividly recounted by Schubert?s friend Albert Stadler who also came from Steyr in his memorandums addressed toFerdinand Luib in 1858. Stadler?s report is the only source concerning the origin of the Quintet.?You are probably familiar with Schubert?s Quintet for pianoforte violin viola violoncello and double bass with the variations on his ?Trout?. He wrote it at the express wish of my friend Sylvester Paumgartner who was utterly enchanted with the delightful little song. He wanted the piece to have the form and scoring of Hummel?s Quintet recte Septet still new at that time. Schubert finished the piece quickly and kept the score himself . . .?.This account shows that the piece was written upon Paumgartner?s suggestion but gives no information about the time and place of composition. However one can assume that Schubert composed it in 1819 for Steyr.Urtext of the New Schubert EditionPiano score & set of parts (BA5608) available for sale