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William Bolcom
Sonata For Violincello
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Johannes Brahms:The Works for one Instrument and PianoJohannes Brahms' compositi...
(+)
Johannes Brahms:The Works for one Instrument and PianoJohannes Brahms' compositions for one instrument and piano have been standards in chamber music literature ever since their inception. These works were written with specific performers in mind and Brahms worked closely with them when refining the final texts. Nevertheless, we rarely approach the music taking into consideration the possibilities of the instruments for which Brahms wrote or the performing practices of the individual players who first performed these compositions, including Brahms himself.The New Urtext EditionsBärenreiter's pioneering new scholarly-critical editions of Brahms' works for one instrument and piano are edited by a team of musicologists who are also performers. They offer today's musicians not just a reliable musical text based on all known sources, but also a comprehensive approach to the works, which aims to place them in their historical context and to elucidate the complex of meanings that the composer wished his notation to convey to performers.In addition to the musical text these editions offer an informative Introduction laying out the genesis, publication history and reception of the works. At the same time there is a complete list of the sources, an explanation of the editorial procedures and a Critical Commentary. Also, each volume contains a detailed discussion of specific performing practice issues raised by individual works.An integral part of Bärenreiter's Brahms publication complex is a text booklet which approaches general performance practice issues of the 19th century with regard to e.g. tempo, rubato, rhythmic flexibility and articulation. Furthermore musicians will find valuable information concerning vibrato, portamento and bowing. Last but not least characteristics of Brahms' own piano playing as well as that of his circle and contemporaries are discussed.The violin and viola sonata editions come not only with an Urtext part freed from all editorial emendations, but also with an additional part including fingering and bowing based on the practices of Joseph Joachim and his colleagues. These markings especially draw on publications of the sonatas edited by Joachim's pupils Leopold Auer and Ossip Schnirlin as well as those by Brahms' associate Franz Kneisel. A similar approach has been used for the violoncello sonatas, drawing on performance markings by Robert Hausmann (for whom Brahms wrote the Sonata in F major), Hugo Becker, with whom Brahms performed it, and Julius Klengel who was also close to his circle.Bärenreiter's new Brahms complex also importantly brings two neglected works back into the player's hands, namely the splendid versions of the op. 120 sonatas, originally written for viola or clarinet and piano. Brahms' arrangements for violin and piano unaccountably disappeared from the standard repertoire early in the 20th century. In these versions Brahms did not simply adjust the solo part for the violin, he made many alterations to the piano part, casting thought-provoking light on the clarinet and viola versions.- A pioneering set of Urtext editions- String editions include an Urtext solo part and a second part with fingering as well as performance markings- Each edition offers a preface on performance practice aspects pertaining to the respective works- A separate text booklet includes pioneering texts on general issues of performance practice in the 19th century as well as on specific issues with regard to Johannes Brahms' chamber music / Violon Et Piano
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Sonata For Violin And Piano A Major Op. 100
17.60
Sonata For Violin And Piano A Major Op. 100
Violon et Piano
Barenreiter
Johannes Brahms:The Works for one Instrument and PianoJohannes Brahms' compositi...
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Johannes Brahms:The Works for one Instrument and PianoJohannes Brahms' compositions for one instrument and piano have been standards in chamber music literature ever since their inception. These works were written with specific performers in mind and Brahms worked closely with them when refining the final texts. Nevertheless, we rarely approach the music taking into consideration the possibilities of the instruments for which Brahms wrote or the performing practices of the individual players who first performed these compositions, including Brahms himself.The New Urtext EditionsBärenreiter's pioneering new scholarly-critical editions of Brahms' works for one instrument and piano are edited by a team of musicologists who are also performers. They offer today's musicians not just a reliable musical text based on all known sources, but also a comprehensive approach to the works, which aims to place them in their historical context and to elucidate the complex of meanings that the composer wished his notation to convey to performers.In addition to the musical text these editions offer an informative Introduction laying out the genesis, publication history and reception of the works. At the same time there is a complete list of the sources, an explanation of the editorial procedures and a Critical Commentary. Also, each volume contains a detailed discussion of specific performing practice issues raised by individual works.An integral part of Bärenreiter's Brahms publication complex is a text booklet which approaches general performance practice issues of the 19th century with regard to e.g. tempo, rubato, rhythmic flexibility and articulation. Furthermore musicians will find valuable information concerning vibrato, portamento and bowing. Last but not least characteristics of Brahms' own piano playing as well as that of his circle and contemporaries are discussed.The violin and viola sonata editions come not only with an Urtext part freed from all editorial emendations, but also with an additional part including fingering and bowing based on the practices of Joseph Joachim and his colleagues. These markings especially draw on publications of the sonatas edited by Joachim's pupils Leopold Auer and Ossip Schnirlin as well as those by Brahms' associate Franz Kneisel. A similar approach has been used for the violoncello sonatas, drawing on performance markings by Robert Hausmann (for whom Brahms wrote the Sonata in F major), Hugo Becker, with whom Brahms performed it, and Julius Klengel who was also close to his circle.Bärenreiter's new Brahms complex also importantly brings two neglected works back into the player's hands, namely the splendid versions of the op. 120 sonatas, originally written for viola or clarinet and piano. Brahms' arrangements for violin and piano unaccountably disappeared from the standard repertoire early in the 20th century. In these versions Brahms did not simply adjust the solo part for the violin, he made many alterations to the piano part, casting thought-provoking light on the clarinet and viola versions.- A pioneering set of Urtext editions- String editions include an Urtext solo part and a second part with fingering as well as performance markings- Each edition offers a preface on performance practice aspects pertaining to the respective works- A separate text booklet includes pioneering texts on general issues of performance practice in the 19th century as well as on specific issues with regard to Johannes Brahms' chamber music / Violon Et Piano
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Sonata For Violin And Piano D Minor Op. 108
17.60
Sonata For Violin And Piano D Minor Op. 108
Violon et Piano
Barenreiter
The Works for one Instrument and PianoJohannes Brahms' compositions for one inst...
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The Works for one Instrument and PianoJohannes Brahms' compositions for one instrument and piano have been standards in chamber music literature ever since their inception. These works were written with specific performers in mind and Brahms worked closely with them when refining the final texts. Nevertheless, we rarely approach the music taking into consideration the possibilities of the instruments for which Brahms wrote or the performing practices of the individual players who first performed these compositions, including Brahms himself.The New Urtext EditionsBärenreiter's pioneering new scholarly-critical editions of Brahms' works for one instrument and piano are edited by a team of musicologists who are also performers. They offer today's musicians not just a reliable musical text based on all known sources, but also a comprehensive approach to the works, which aims to place them in their historical context and to elucidate the complex of meanings that the composer wished his notation to convey to performers.In addition to the musical text these editions offer an informative Introduction laying out the genesis, publication history and reception of the works. At the same time there is a complete list of the sources, an explanation of the editorial procedures and a Critical Commentary. Also, each volume contains a detailed discussion of specific performing practice issues raised by individual works.An integral part of Bärenreiter's Brahms publication complex is a text booklet which approaches general performance practice issues of the 19th century with regard to e.g. tempo, rubato, rhythmic flexibility and articulation. Furthermore musicians will find valuable information concerning vibrato, portamento and bowing. Last but not least characteristics of Brahms' own piano playing as well as that of his circle and contemporaries are discussed.The violin and viola sonata editions come not only with an Urtext part freed from all editorial emendations, but also with an additional part including fingering and bowing based on the practices of Joseph Joachim and his colleagues. These markings especially draw on publications of the sonatas edited by Joachim's pupils Leopold Auer and Ossip Schnirlin as well as those by Brahms' associate Franz Kneisel. A similar approach has been used for the violoncello sonatas, drawing on performance markings by Robert Hausmann (for whom Brahms wrote the Sonata in F major), Hugo Becker, with whom Brahms performed it, and Julius Klengel who was also close to his circle.Bärenreiter's new Brahms complex also importantly brings two neglected works back into the player's hands, namely the splendid versions of the op. 120 sonatas, originally written for viola or clarinet and piano. Brahms' arrangements for violin and piano unaccountably disappeared from the standard repertoire early in the 20th century. In these versions Brahms did not simply adjust the solo part for the violin, he made many alterations to the piano part, casting thought-provoking light on the clarinet and viola versions.- A pioneering set of Urtext editions- String editions include an Urtext solo part and a second part with fingering as well as performance markings- Each edition offers a preface on performance practice aspects pertaining to the respective works- A separate text booklet includes pioneering texts on general issues of performance practice in the 19th century as well as on specific issues with regard to Johannes Brahms' chamber music / Violon Et Piano
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Bach, Jean-Sébastien : Suites, Partitas, Sonatas
46.95
Bach, Jean-Sébastien : Suites, Partitas, Sonatas
Piano seul
[Partition]
Barenreiter
?I think Bach would have forgiven me for embarking on these transcriptions. Whet...
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?I think Bach would have forgiven me for embarking on these transcriptions. Whether he would have forgiven the way I did it is, of course, another matter.? (Gustav Leonhardt)
The harpsichordist, conductor and organist Gustav Leonhardt was considered a pioneer of historical performance practice. Between 1968 and 1978 he made harpsichord transcriptions of several of Bach?s compositions for unaccompanied violin or violoncello. Now these transcriptions are being made available to us by his pupil, the famed harpsichordist Siebe Henstra, based on the handwritten notes that Leonhardt used for his own performances.
- Informative Foreword by early music specialist Skip Sempé (Ger/Eng)
- Editorial notes by the editor Siebe Henstra / Classique / Partition /
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12 Sonatas Op. 2 Heft 1 (VIVALDI ANTONIO)
23.60
12 Sonatas Op. 2 Heft 1 (VIVALDI ANTONIO)
Violine und Basso continuo, Violoncello ad libitum
[Conducteur et Parties séparées]
Schott
Par VIVALDI ANTONIO. Format: New Edition portrait/ Répertoire / Violon et Basse...
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Par VIVALDI ANTONIO. Format: New Edition portrait/ Répertoire / Violon et Basse Continue et Violoncelle Ad Libitum
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Sonata (Version For Piano And Violoncello) / Mélancolie For Violoncello And Piano
29.70
Sonata (Version For Piano And Violoncello) / Mélancolie For Violoncello And Piano
Violoncelle, Piano
-
Intermédiaire
Barenreiter
Cesar Franck's Sonata for Piano and Violin is one of the most treasured works in...
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Cesar Franck's Sonata for Piano and Violin is one of the most treasured works in the violin repertoire, a masterpiece of cyclic form with a gracefulness and expressive force almost paradigmatic for the age of musical Romanticism. This work was composed in 1886 and was dedicated to the Belgian violinist and composer Eugène Ysaÿe.Franck's friend, the cellist Jules Desart, was so impressed when he heard the Violin Sonata performed at the Société nationale de musique in Paris that he adapted the work for his instrument. This arrangement was first published in 1887 by inserting the cello part into the piano score of the original edition. For this purpose the piano score had received a new cover and the publisher had expanded the title of the composition to 'Sonate pour piano et violon ou violoncelle?. This version by the cellist Jules Delsart for piano and violoncello is the only arrangement of the work authorized by the composer and its first edition represents the main source for Bärenreiter's new scholarly-critical publication.Bärenreiter's new edition also includes a separate movement, 'Mélancolie?, first published after Franck's death in 1911, again for the same instrumentation, piano and violin or violoncello. This short piece is based on a solfège exercise and was written at the height of the composer's creative powers, at about the same time as his famous violin sonata.The edition is rounded off by an informative text on the genesis and reception history of the two compositions (Ger/Fr/Eng), a complete list of sources, editorial notes and a Critical Commentary (Eng).- Pioneering new Urtext edition- Informative text on the genesis and reception history of the two compositions (Ger/Fr/Eng)- Detailed Critical Commentary (Eng) / Violoncelle Et Piano
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Sonata For Pianoforte And Violoncello Op. 104
22.70
Sonata For Pianoforte And Violoncello Op. 104
Violoncelle, Piano
-
Intermédiaire
Barenreiter
Famous in his day, the Austrian composer and pianist Johann Nepomuk Hummel (1778...
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Famous in his day, the Austrian composer and pianist Johann Nepomuk Hummel (1778-1837) studied with Mozart and befriended Beethoven.Among his many works is a relatively late sonata for violoncello and piano composed in 1824 and published in 1826 - a delightful early Romantic piece in three movements supported by a capricious piano part.The expressive cello cantilena in the 'Romance? will capture the heart of every cellist.Our edition, edited by Mark Kroll, is the first scholarly-critical publication of this sonata. It is based on the first edition of 1826 and the autograph manuscript, which served as a master copy for the engraving.A comparison of the sources brought to light a number of details overlooked in the first edition, especially with regard to dynamics.- A must for all cellists and lovers of chamber music- Notes on performance practice in the Foreword (Ger/Eng)- Detailed Critical Commentary (Eng) / Violoncelle Et Piano
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Sonata No. 1 In D Minor Op. 109 For Violoncello And Piano (FAURE GABRIEL)
26.10
Sonata No. 1 In D Minor Op. 109 For Violoncello And Piano (FAURE GABRIEL)
Violoncelle, Piano
G. Henle
Par FAURE GABRIEL. Immediately after finishing his second Violin Sonata op. 108,...
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Par FAURE GABRIEL. Immediately after finishing his second Violin Sonata op. 108, Fauré started work on a sonata for Cello and Piano in early 1917, thus realising a long-conceived plan. In their predisposition and attitude, both works are very closely related. In the Cello sonata, a sombre, dramatic opening movement is also followed by a calm, relaxed slow middle movement and a graceful finale. The critical response to the first performances was subdued, but on account of increasing interest in Fauré ’s complete late chamber music, this sonata has recently been rediscovered as a substantial part of his oeuvre. The Henle Urtext edition constitutes the first criticaledition of this work. David Geringas, a master of his craft, supplied the markings in the Cello part. / Kolb, Fabian / Répertoire / Violoncelle et Piano
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Sonate Da Chiesa A Violino Solo E Violoncello O Basso Continuo - Opera Quarta
27.90
Sonate Da Chiesa A Violino Solo E Violoncello O Basso Continuo - Opera Quarta
Violon, Basse continue
Anne Fuzeau Productions
Sonate da Chiesa a violino solo e violoncello o basso continuo. Opera quarta. Ed...
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Sonate da Chiesa a violino solo e violoncello o basso continuo. Opera quarta. Edition : Amsterdam, Etienne Roger, s.d. (=c. 1704)Présentation de Nicolas Fromageot : Notice biographique - Terminologie. / Violon Et Basse Continue / 48 pages / niveau : 1 / Fac-Similés - Format: 24 X 32
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Works For Violoncello And Piano
156.10
Works For Violoncello And Piano
Violoncelle, Piano
G. Henle
Facilement identifiable par son ISBN 9790201841618 cette pièce Works for Violon...
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Facilement identifiable par son ISBN 9790201841618 cette pièce Works for Violoncello and Piano appartient à la collection désormais incontournable Linde, Bernhard Van Der.Composée pour Violoncelle par le célèbre compositeur Beethoven Ludwig Van ce sont les éditions Henle qui on eu l'honneur d'imprimer cette partition. / Violoncelle Et Piano / Edition Complète
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Antonio Vivaldi : Complete Sonatas for Cello and Basso Continuo
Violoncelle, Basse continue
Wiener Urtext
(Samtliche Sonaten fur Violoncello und Basso continuo). By Antonio Vivaldi (1678...
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(Samtliche Sonaten fur Violoncello und Basso continuo). By Antonio Vivaldi (1678-1741). Edited by Bernhard Moosbauer. Standard notation
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Mozart : Sonata In B-flat Major K.292 (196c) for Bassoon And Violoncello(Basso continuo)
Basson, Violoncelle
[Partition]
G. Henle
For Bassoon and Violoncello (Basso continuo). By Wolfgang Amadeus Mozart. Arrang...
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For Bassoon and Violoncello (Basso continuo). By Wolfgang Amadeus Mozart. Arranged by Wolfgang Kostujak. This edition: HN827. Chamber Music with Winds. Henle Music Folios. Urtext edition (Paper-bound). 39 pages. Published by G. Henle.
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6 Sonatas Op. 5 for Violoncello and Basso Continuo (H. 103-108) - 6 Sonatas Op. 5 for Violin and Basso Continuo (H. 109-114)
Violoncelle, Basse continue
Ut Orpheus
(Francesco Geminiani - Opera Omnia. Critical Edition directed by Christopher Hog...
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(Francesco Geminiani - Opera Omnia. Critical Edition directed by Christopher Hogwood). Composed by Francesco Geminiani (1687-1762). Edited by Christopher Hogwood. For Violoncello and Basso Continuo; Violin and Basso Continuo. Opera Omnia - Vol. 5. Early Music. Critical commentary. Op. 5 (H. 103-108, H. 109-114). 152 pages. Published by Ut Orpheus
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Gamba Sonatas Wq 88, 136, 137
Violoncelle, Basse continue
G. Henle
(Edition for Violoncello and Harpsichord With marked and unmarked string parts)....
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(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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Sonata Op 28 Vlc Solo Urtext
Violoncelle
G. Henle
Cello SKU: HU.HN780 Composed by Eugene Ysaye. Edited by Christian Bellisario. C...
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Cello SKU: HU.HN780 Composed by Eugene Ysaye. Edited by Christian Bellisario. Cello Solo, Strings, Repertoire, Solos. Sonata for Violoncello solo Op. 28. 20th Century, Classical. Softcover Book. 14 pages. G. Henle #HN780. Published by G. Henle (HU.HN780). 12.2 x 9.3 inches.
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Les Delices de la Solitude, Op. 20 (Bassoon / Cello)
Basson, Violoncelle
Schott
Six Sonatas - Volume 1. By Michel Corrette. Arranged by Gwilym Beechey. This edi...
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Six Sonatas - Volume 1. By Michel Corrette. Arranged by Gwilym Beechey. This edition: ED12209. Schott. 52 pages. Published by Schott Music.
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Johann Sebastian Bach: Flute sonatas, volume I (The four authentic sonatas with Violoncello part)
Flûte, Violoncelle, Piano (trio)
[Partition]
G. Henle
Four Authentic Sonatas - with a Violoncello Part. By Johann Sebastian Bach. Edit...
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Four Authentic Sonatas - with a Violoncello Part. By Johann Sebastian Bach. Edited by H. Eppstein. Flute. Pages: Score = VII and 60 * Fl Part = 22 * Vc Part = 7. Urtext edition without fingering-paper bound. Published by G. Henle.
(1)
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Bach - Sonatas Vol 1 Authentic Sonatas Flute/Piano
Flûte traversière et Piano
G. Henle
This item will ship directly from our Australia warehouse! Flute, Cello, Piano S...
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This item will ship directly from our Australia warehouse! Flute, Cello, Piano SKU: HU.HN269 Composed by Johann Sebastian Bach. Edited by Hans Eppstein. Woodwind, Repertoire, Collections. Flute Sonatas Vol. 1 Authentic Sonatas. Baroque, Classical. Softcover Book. 98 pages. G. Henle #HN269. Published by G. Henle (HU.HN269).
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Bach, Johann Sebastian: Flute sonatas volume II (3 Sonatas ascribed to J. S. Bach with Violoncello part)
Flûte traversière et Piano
[Partition]
G. Henle
Three Sonatas attributed to J.S. Bach - with a Violoncello Part - for Flute and ...
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Three Sonatas attributed to J.S. Bach - with a Violoncello Part - for Flute and Piano. By Johann Sebastian Bach. Edited by Hans Eppstein. Flute. Pages: Score = VII and 34 * Fl Part = 15 * Vc Part = 3. Urtext edition without fingering-paper bound. Published by G. Henle.
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Beethoven : Sonaten fur violoncello und klavier
Violoncelle, Piano
Wiener Urtext
(Sonatas for violoncello and piano). By Ludwig van Beethoven (1770-1827). Edited...
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(Sonatas for violoncello and piano). By Ludwig van Beethoven (1770-1827). Edited by Christiane Wiesenfeldt. For cello and piano. Standard notation
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Sonata no. 3 for Cello and Piano
Violoncelle, Piano
Praha
By Martino Bohuslav. Czech title: Sonata . 3 pro violoncello a klavir (rev. Vyd....
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By Martino Bohuslav. Czech title: Sonata . 3 pro violoncello a klavir (rev. Vyd., ed. A. BYezina). Published by Praha.
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12 Sonatas, Op. 2 - Book 2
Violon, Basse continue
Schott
For Violin and Basso Continuo (Violoncello ad lib.). By Antonio Vivaldi. Arrange...
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For Violin and Basso Continuo (Violoncello ad lib.). By Antonio Vivaldi. Arranged by Willi Hillemann. Schott. Size 9x12 inches. 64 pages. Published by Schott.
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12 Sonatas, Op. 2 - Book 1
Violon, Basse continue
Schott
For Violin and Basso Continuo (Violoncello ad lib.). By Antonio Vivaldi. Arrange...
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For Violin and Basso Continuo (Violoncello ad lib.). By Antonio Vivaldi. Arranged by Willi Hillemann. Schott. Size 9x12 inches. 76 pages. Published by Schott.
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Flute Sonatas (10) Complete in 3 volumes Volu
Peters
By George Frideric Handel. Edited by Woehl(Urtext). For flute (A recorder/violin...
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By George Frideric Handel. Edited by Woehl(Urtext). For flute (A recorder/violin), piano (cembalo) (violoncello ad lib). 3 Early Sonatas(a,e,b)(Halle 1710). Published by C.F. Peters.
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Johann Sebastian Bach: Four Flute Sonatas - BWV 1030, 1032, 1034, 1035
Flûte, Violoncelle
[Set de Parties séparées]
Barenreiter
Composed by Johann Sebastian Bach (1685-1750), edited by Hans-Peter Schmitz. Set...
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Composed by Johann Sebastian Bach (1685-1750), edited by Hans-Peter Schmitz. Set of performance parts (includes separate pull-out flute and cello parts) for flute and basso continuo (harpsichord, cello). Urtext of the New Bach Edition. With solo part, basso continuo part, keyboard realization and introductory text. 118 pages. Published by Baerenreiter-Ausgaben (German import). ISBN M006447992.
(4)
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Franz Xaver Richter : Sonatas
Flûte, Violoncelle, Piano (trio)
[Conducteur et Parties séparées]
Wiener Urtext
Selection. By Franz Xaver Richter. For flute (violin), harpsichord and violoncel...
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Selection. By Franz Xaver Richter. For flute (violin), harpsichord and violoncello (ad. Baroque. Level: 5. Full score and 2 parts. 88 pages. Published by Wiener Urtext Edition.
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Violin Sonatas Complete in 2 volumes Volume 1
Violon et Piano
Peters
By George Frideric Handel. Edited by Davisson, Ramin(Urtext). For violin (record...
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By George Frideric Handel. Edited by Davisson, Ramin(Urtext). For violin (recorder), piano (violoncello ad lib). Nos.1-3(A,g,F). Published by C.F. Peters.
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