Six Great Cello Concertos

SKU: BR.OB-5509-23

The concertos in A minor and B flat major were first written as violoncello concertos between 1750 and 1753. They thus rank among the very first concertos for solo cello in Germany.

ISBN 9790004338490. 9 x 12 inches.

The concertos in A minor, B flat major and A major were first written as violoncello concertos between 1750 and 1753. They thus rank among the very first concertos for solo cello in Germany. The A minor Concerto, composed in 1750, is performed quite frequently today. C. P. E. Bach most likely wrote the Concerto in B flat major Wq. 171 as the last of the little work group in 1753 in Potsdam, at the court of King Frederick the Great. He reworked the composition for flute and harpsichord shortly thereafter. Various sources prove that copies of the work had made it known quite extensively in the second half of the 18th century. In his new Urtext edition, Ulrich Leisinger bases himself on two reliable manuscripts.

SKU: BR.PB-5509

The concertos in A minor and B flat major were first written as violoncello concertos between 1750 and 1753. They thus rank among the very first concertos for solo cello in Germany.

ISBN 9790004211694. 9 x 12 inches.

The concertos in A minor, B flat major and A major were first written as violoncello concertos between 1750 and 1753. They thus rank among the very first concertos for solo cello in Germany. The A minor Concerto, composed in 1750, is performed quite frequently today. C. P. E. Bach most likely wrote the Concerto in B flat major Wq. 171 as the last of the little work group in 1753 in Potsdam, at the court of King Frederick the Great. He reworked the composition for flute and harpsichord shortly thereafter. Various sources prove that copies of the work had made it known quite extensively in the second half of the 18th century. In his new Urtext edition, Ulrich Leisinger bases himself on two reliable manuscripts.

SKU: HL.49019221

ISBN 9790001180672. UPC: 841886018136. 9.0x12.0x0.092 inches.

Georg Goltermann (1824-1898) left a plethora of works for his instrument, including seven cello concertos which still play an important role in the cello literature of today. In addition, he composed a large number of character pieces, including romances, reveries, nocturnes and serenades. Rooted entirely in the romantic spirit of their time with regard to style, they are relatively short pieces of medium difficulty. It is not least due to its melodic and harmonic catchiness that the rather easy Reverie in G minor Op. 92/2 enjoys great popularity both in lessons and in concerts. The expression marking 'Allegro appassionato' refers to the fundamental character of the piece which demands, in particular, an expressive vibrato rich in modulation.

SKU: BR.OB-5509-27

The concertos in A minor and B flat major were first written as violoncello concertos between 1750 and 1753. They thus rank among the very first concertos for solo cello in Germany.

ISBN 9790004338506. 9 x 12 inches.

The concertos in A minor, B flat major and A major were first written as violoncello concertos between 1750 and 1753. They thus rank among the very first concertos for solo cello in Germany. The A minor Concerto, composed in 1750, is performed quite frequently today. C. P. E. Bach most likely wrote the Concerto in B flat major Wq. 171 as the last of the little work group in 1753 in Potsdam, at the court of King Frederick the Great. He reworked the composition for flute and harpsichord shortly thereafter. Various sources prove that copies of the work had made it known quite extensively in the second half of the 18th century. In his new Urtext edition, Ulrich Leisinger bases himself on two reliable manuscripts.

SKU: BR.OB-5509-12

The concertos in A minor and B flat major were first written as violoncello concertos between 1750 and 1753. They thus rank among the very first concertos for solo cello in Germany.

ISBN 9790004338452. 9 x 12 inches.

The concertos in A minor, B flat major and A major were first written as violoncello concertos between 1750 and 1753. They thus rank among the very first concertos for solo cello in Germany. The A minor Concerto, composed in 1750, is performed quite frequently today. C. P. E. Bach most likely wrote the Concerto in B flat major Wq. 171 as the last of the little work group in 1753 in Potsdam, at the court of King Frederick the Great. He reworked the composition for flute and harpsichord shortly thereafter. Various sources prove that copies of the work had made it known quite extensively in the second half of the 18th century. In his new Urtext edition, Ulrich Leisinger bases himself on two reliable manuscripts.

SKU: BR.OB-5509-16

The concertos in A minor and B flat major were first written as violoncello concertos between 1750 and 1753. They thus rank among the very first concertos for solo cello in Germany.

ISBN 9790004338476. 9 x 12 inches.

The concertos in A minor, B flat major and A major were first written as violoncello concertos between 1750 and 1753. They thus rank among the very first concertos for solo cello in Germany. The A minor Concerto, composed in 1750, is performed quite frequently today. C. P. E. Bach most likely wrote the Concerto in B flat major Wq. 171 as the last of the little work group in 1753 in Potsdam, at the court of King Frederick the Great. He reworked the composition for flute and harpsichord shortly thereafter. Various sources prove that copies of the work had made it known quite extensively in the second half of the 18th century. In his new Urtext edition, Ulrich Leisinger bases himself on two reliable manuscripts.

SKU: BR.OB-5509-19

The concertos in A minor and B flat major were first written as violoncello concertos between 1750 and 1753. They thus rank among the very first concertos for solo cello in Germany.

ISBN 9790004338483. 9 x 12 inches.

The concertos in A minor, B flat major and A major were first written as violoncello concertos between 1750 and 1753. They thus rank among the very first concertos for solo cello in Germany. The A minor Concerto, composed in 1750, is performed quite frequently today. C. P. E. Bach most likely wrote the Concerto in B flat major Wq. 171 as the last of the little work group in 1753 in Potsdam, at the court of King Frederick the Great. He reworked the composition for flute and harpsichord shortly thereafter. Various sources prove that copies of the work had made it known quite extensively in the second half of the 18th century. In his new Urtext edition, Ulrich Leisinger bases himself on two reliable manuscripts.

SKU: BR.OB-5509-15

The concertos in A minor and B flat major were first written as violoncello concertos between 1750 and 1753. They thus rank among the very first concertos for solo cello in Germany.

ISBN 9790004338469. 9 x 12 inches.

The concertos in A minor, B flat major and A major were first written as violoncello concertos between 1750 and 1753. They thus rank among the very first concertos for solo cello in Germany. The A minor Concerto, composed in 1750, is performed quite frequently today. C. P. E. Bach most likely wrote the Concerto in B flat major Wq. 171 as the last of the little work group in 1753 in Potsdam, at the court of King Frederick the Great. He reworked the composition for flute and harpsichord shortly thereafter. Various sources prove that copies of the work had made it known quite extensively in the second half of the 18th century. In his new Urtext edition, Ulrich Leisinger bases himself on two reliable manuscripts.

SKU: HL.48016381

UPC: 073999163810.

SKU: BR.MR-2195B

A variable solo concerto in A minor

ISBN 9790004488423. 9 x 12 inches.

The concertos in A minor, B flat major and A major constitute a small but amazingly flexible group in Carl Philipp Emanuel Bach's work catalogue. They were written as violoncello concertos between 1750 and 1753, and have all been transmitted in alternative versions as flute and harpsichord concertos as well. C. P. E. Bach wrote the Cello Concerto in A minor Wq 170 at the Berlin court of King Frederick the Great. The flute version Wq 166 was probably written shortly thereafter, even if the only surviving source dates from after the composer's death. We can see how interchangeable the solo instruments were through the amazing circumstance that editor Ulrich Leisinger was able to draw upon the version for harpsichord solo Wq 26 for this new edition. The cadenzas to the first and second movements proved to be easily adaptable to the flute, which should inspire soloists to create their own versions.

A variable solo concerto in A minor.

SKU: BR.OB-15121-23

ISBN 9790004340158. 10 x 12.5 inches.

Schumann's A minor concerto is considered as the ultimate romantic piano concerto. Since the Schumann anniversary year 2010, musicians will be able to base their performance on a complete Urtext edition. The state of the sources is unfortunately patchy, as the original version of the first movement, a Phantasie of 1841 that was given two trial performances, can no longer be reconstructed. On the other hand, the posthumously published score raises certain questions, since it diverges from the editions (solo part and orchestral parts) authorized by Schumann and published in 1846, after the first performance. The pianist Mitsuko Uchida contributed the fingering for the version for two pianos. Schumann's great solo concertos are thus available in their entirety from Breitkopf, in editions prepared with the expert help of major interpreters: the Cello Concerto with Heinrich Schiff and the Violin Concerto with Thomas Zehetmair. Dans l'incomparable qualite de gravure de la plus ancienne maison d'edition musicale au monde! (L'education musicale).

SKU: BR.OB-15121-16

ISBN 9790004340134. 10 x 12.5 inches.

Schumann's A minor concerto is considered as the ultimate romantic piano concerto. Since the Schumann anniversary year 2010, musicians will be able to base their performance on a complete Urtext edition. The state of the sources is unfortunately patchy, as the original version of the first movement, a Phantasie of 1841 that was given two trial performances, can no longer be reconstructed. On the other hand, the posthumously published score raises certain questions, since it diverges from the editions (solo part and orchestral parts) authorized by Schumann and published in 1846, after the first performance. The pianist Mitsuko Uchida contributed the fingering for the version for two pianos. Schumann's great solo concertos are thus available in their entirety from Breitkopf, in editions prepared with the expert help of major interpreters: the Cello Concerto with Heinrich Schiff and the Violin Concerto with Thomas Zehetmair. Dans l'incomparable qualite de gravure de la plus ancienne maison d'edition musicale au monde! (L'education musicale).

SKU: BR.OB-15121-15

ISBN 9790004340127. 10 x 12.5 inches.

Schumann's A minor concerto is considered as the ultimate romantic piano concerto. Since the Schumann anniversary year 2010, musicians will be able to base their performance on a complete Urtext edition. The state of the sources is unfortunately patchy, as the original version of the first movement, a Phantasie of 1841 that was given two trial performances, can no longer be reconstructed. On the other hand, the posthumously published score raises certain questions, since it diverges from the editions (solo part and orchestral parts) authorized by Schumann and published in 1846, after the first performance. The pianist Mitsuko Uchida contributed the fingering for the version for two pianos. Schumann's great solo concertos are thus available in their entirety from Breitkopf, in editions prepared with the expert help of major interpreters: the Cello Concerto with Heinrich Schiff and the Violin Concerto with Thomas Zehetmair. Dans l'incomparable qualite de gravure de la plus ancienne maison d'edition musicale au monde! (L'education musicale).

SKU: BR.OB-15121-27

ISBN 9790004340165. 10 x 12.5 inches.

Schumann's A minor concerto is considered as the ultimate romantic piano concerto. Since the Schumann anniversary year 2010, musicians will be able to base their performance on a complete Urtext edition. The state of the sources is unfortunately patchy, as the original version of the first movement, a Phantasie of 1841 that was given two trial performances, can no longer be reconstructed. On the other hand, the posthumously published score raises certain questions, since it diverges from the editions (solo part and orchestral parts) authorized by Schumann and published in 1846, after the first performance. The pianist Mitsuko Uchida contributed the fingering for the version for two pianos. Schumann's great solo concertos are thus available in their entirety from Breitkopf, in editions prepared with the expert help of major interpreters: the Cello Concerto with Heinrich Schiff and the Violin Concerto with Thomas Zehetmair. Dans l'incomparable qualite de gravure de la plus ancienne maison d'edition musicale au monde! (L'education musicale).

SKU: CF.CAS63

ISBN 9780825889387. UPC: 798408089382. 8.5 x 11 inches. Key: D major.

Originally written for string quartet, this fantastic characteristic piece from Glazunov is a welcome addition to the string orchestra repertoire, as arranged by Deborah Baker Monday. Well-suited for the more advanced ensemble, it contains excellent musical opportunities and the chance to play the music of a prominent Russian composer. Deborah's setting stays very true to the original, but enhances it for use by the full ensemble. Alert your contest/festival music committee to this worthy new piece for high school string orchestras.
Alexander Glazunov (1865–1936) lived during a very transitional period of Russian music history, active as a composer, conductor, and teacher. He was a part of the Romantic school of Russian music following in the tradition of Tchaikovsky, like his fellow composers Borodin and Rimsky-Korsakov.During his years at the conservatory he instructed many students who chose to pursue the modern trends set forth by Debussy. Stravinsky, Shostakovich, and even Prokofiev took instruction from Glazunov. Although they considered him old-fashioned, he was remembered as a stabilizing influence during transitional times.Glazunov’s music stayed within the category of Russian Romanticsm: nationalistic with classical formality. His list of works includes numerous symphonies, concertos, piano and vocal works, and chamber works including seven string quartets.Op. 15 was first given the title “Suite” (a collection of dances), and after a friend’s recommendation he changed the name to “Novelettes”. The five movements are of contrasting style, but beautifully reminiscent of their particular themes:I. Alla SpagnuolaII. OrientaleIII. Interludium in modo anticoIV. ValseV. All’ UnghereseThis movement is very well adaptable for string orchestra. The original string quartet moodis light, using harmonics and pizzicato, but there are forceful sections which allow for strong sectional playing (especially with the cello and bass orchestral sound). There is very much interesting melodic material offered for all instruments which lends itself to a fantastic string orchestra arrangement. Conductors will find material in all sections which provide greatopportunities for rehearsal.The form is a large ABA with a D.C. al fine, but the sections are not square by any means.There is lots of energy and momentum in the material of both sections, as well as a modalcharacter which gives the music an exotic sound. Bowing patterns abound in all sections formore great teaching opportunities.

About Carl Fischer Concert String Orchestra Series

Thi s series of pieces (Grade 3 and higher) is designed for advancing ensembles. The pieces in this series are characterized by:

• Expanded use of rhythms, ranges and keys but technical demands are still carefully considered
• More comprehensive bowing techniques
• Viola T.C. included
• Careful selection of keys and degree of difficulty for advancing musicians

SKU: HL.50488067

ISBN 9790080039489. A/4 inches. Janos Szebenyi.

Already during his lifetime Rossler-Rosetti enjoyed great popularity. His operas and symphonies achieved great success, most of them appeared in printing. His Requiem was first performed at Prague at a memorial festival dedicated to Mozart. He composed several concertos for piano, violin, violoncello, flute, clarinet, bassoon, corno and various ensembles. Out of his 14 flute concertos the here published Concerto in G major is to be found on page 25 of the thematic catalogue Breitkopf supplement XII (1778). The contemporary handwritten orchestral parts of the work are preserved at the King Stephen Museum at Szekesfehervar. It got into the possession of the Museum in 1951 with therich book- and music-collection of the family Verebi-Vegh.

Rossler-Rosetti genoss noch bei Lebzeiten grosse Popularitat. Seine Opern und Sinfonien erzielten grossen Erfolg, ein beideutender Teil davon ist auch im Druck erschienen. Sein Requiem wurde in Prag 1792 anlasslich der Mozart-Gedenkfeierlichkei t aufgefuhrt. Er komponierte viele Konzerte fur Klavier, Violine, Violoncello, Flote, Klarinette, Fagott, Horn und verschiedene Ensembles. Von seinen vierzehn Flotenkonzerten ist das hier erscheinende G-Dur Konzert in Breitkopfs thematischem Katalog Supplement XII (1778) auf Seite 25 erwahnt. Das Werk wird im zeitgenossischen Manuskript der Orchesterstimmen im Istvan Kiraly (Konig Stephan) Museum zu Szekesfehervar aufbewahrt,wohin es 1951 mit der reichen Bucher- und Notensammlung der Familie Vegh von Vereb gelangte.

SKU: HL.50488068

ISBN 9790080039496. 0.102 inches. Janos Szebenyi.

Already during his lifetime Rossler-Rosetti enjoyed great popularity. His operas and symphonies achieved great success, most of them appeared in printing. His Requiem was first performed at Prague at a memorial festival dedicated to Mozart. He composed several concertos for piano, violin, violoncello, flute, clarinet, bassoon, corno and various ensembles. Out of his 14 flute concertos the here published Concerto in D major is to be found on page 25 of the thematic catalogue Breitkopf supplement XII (1778). The contemporary handwritten orchestral parts of the work are preserved at the King Stephen Museum at Szekesfehervar. It got into the possession of the Museum in 1951 with therich book- and music-collection of the family Verebi-Vegh.

Rossler-Rosetti genoss noch bei Lebzeiten grosse Popularitat. Seine Opern und Sinfonien erzielten grossen Erfolg, ein beideutender Teil davon ist auch im Druck erschienen. Sein Requiem wurde in Prag 1792 anlasslich der Mozart-Gedenkfeierlichkei t aufgefuhrt. Er komponierte viele Konzerte fur Klavier, Violine, Violoncello, Flote, Klarinette, Fagott, Horn und verschiedene Ensembles. Von seinen vierzehn Flotenkonzerten ist das hier erscheinende D-Dur Konzert in Breitkopfs thematischem Katalog Supplement XII (1778) auf Seite 25 erwahnt. Das Werk wird im zeitgenossischen Manuskript der Orchesterstimmen im Istvan Kiraly (Konig Stephan) Museum zu Szekesfehervar aufbewahrt,wohin es 1951 mit der reichen Bucher- und Notensammlung der Familie Vegh von Vereb gelangte.

SKU: CF.YAS13F

ISBN 9780825848339. UPC: 798408048334. 8.5 X 11 inches. Key: G major.

IApart from some of his Sonatinas, Opus 36, Clementi's life and music are hardly known to the piano teachers and students of today. For example, in addition to the above mentioned Sonatinas, Clementi wrote sixty sonatas for the piano, many of them unjustly neglected, although his friend Beethoven regarded some of them very highly. Clementi also wrote symphonies (some of which he arranged as piano sonatas), a substantial number of waltzes and other dances for the piano as well as sonatas and sonatinas for piano four-hands.In addition to composing, Clementi was a much sought after piano teacher, and included among his students John Field (Father of the 'Nocturne'), and Meyerbeer.In his later years, Clementi became a very successful music publisher, publishing among other works the first English edition of Beethoven's Violin Concerto, in the great composer's own arrangement for the piano, as well as some of his string quartets. Clementi was also one of the first English piano manufacturers to make pianos with a metal frame and string them with wire.The Sonatina in C, Opus 36, No. 1 was one of six such works Clementi wrote in 1797. He must have been partial to these little pieces (for which he also provided the fingerings), since they were reissued (without the fingering) by the composer shortly after 1801. About 1820, he issued ''the sixth edition, with considerable improvements by the author;· with fingerings added and several minor changes, among which were that many of them were written an octave higher.IIIt has often been said, generally by those unhampered by the facts, that composers of the past (and, dare we add, the present?), usually handled their financial affairs with their public and publishers with a poor sense of business acumen or common sense. As a result they frequently found themselves in financial straits.Contrary to popular opinion, this was the exception rather than the rule. With the exception of Mozart and perhaps a few other composers, the majority of composers then, as now, were quite successful in their dealings with the public and their publishers, as the following examples will show.It was not unusual for 18th- and 19th-century composers to arrange some of their more popular compositions for different combinations of instruments in order to increase their availability to a larger music-playing public. Telemann, in the introduction to his seventy-two cantatas for solo voice and one melody instrument (flute, oboe or violin, with the usual continua) Der Harmonische Gottesdienst, tor example, suggests that if a singer is not available to perform a cantata the voice part could be played by another instrument. And in the introduction to his Six Concertos and Six Suites for flute, violin and continua, he named four different instrumental combinations that could perform these pieces, and actually wrote out the notes for the different possibilities. Bach arranged his violin concertos for keyboard, and Beethoven not only arranged his Piano Sonata in E Major, Opus 14, No. 1 for string quartet, he also transposed it to the key of F. Brahm's well-known Quintet in F Minor for piano and strings was his own arrangement of his earlier sonata for two pianos, also in F Minor.IIIWe come now to Clementi. It is well known that some of his sixty piano sonatas were his own arrangements of some of his lost symphonies, and that some of his rondos for piano four-hands were originally the last movements of his solo sonatas or piano trios.In order to make the first movement of his delightful Sonatina in C, Opus 36, No. 1 accessible to young string players, I have followed the example established by the composer himself by arranging and transposing one of his piano compositions from one medium (the piano) to another. (string instruments). In order to simplify the work for young string players, in the process of adapting it to the new medium it was necessary to transpose it from the original key of C to G, thereby doing away with some of the difficulties they would have encountered in the original key. The first violin and cello parts are similar to the right- and left-hand parts of the original piano version. The few changes I have made in these parts have been for the convenience of the string players, but in no way do they change the nature of the music.Since the original implied a harmonic framework in many places, I have added a second violin and viola part in such a way that they not only have interesting music to play, but also fill in some of the implied harmony without in any way detracting from the composition's musical value. Occasionally, it has been necessary to raise or lower a few passages an octave or to modify others slightly to make them more accessible for young players.It is hoped that the musical value of the composition has not been too compromised, and that students and teachers will come to enjoy this little piece in its new setting as much as pianists have in the original one. This arrangement may also be performed by a solo string quartet. When performed by a string orchestra, the double bass part may be omitted.- Douglas TownsendString editing by Amy Rosen.

About Carl Fischer Young String Orchestra Series

Thi s series of Grade 2/Grade 2.5 pieces is designed for second and third year ensembles. The pieces in this series are characterized by:
--Occasionally extending to third position
--Keys carefully considered for appropriate difficulty
--Addition of separate 2nd violin and viola parts
--Viola T.C. part included
--Increase in independence of parts over beginning levels

SKU: BR.OB-5300-26

You will find the original cadenzas under Mo zart, 36 Cadenzas for his own Piano Concertos. The edition EB 8577 Bu soni, Cadenzas for W. A. Mozart's Piano Concertos also contains cadenzas for t. Solo concerto; Classical. Part. 8 pages. Duration 35'. Breitkopf and Haertel #OB 5300-26. Published by Breitkopf and Haertel (BR.OB-5300-26).

ISBN 9790004335130. 10 x 12.5 inches.

Robert Levin's brilliant and inspired recording (with Christopher Hogwood and the Academy of Ancient Music) and Breitkopf's new edition have two things in common: their historically well-founded approach and the editorial team consisting of Robert Levin and Cliff Eisen. Here, Urtext signifies an eschewal of a final version that never existed and that Mozart himself had never even envisaged. On the contrary, Levin and Eisen pursue an editorial philosophy tailored to Mozart and his music: Standardization is the greatest aesthetic threat in the performance of Mozarts concertos. To prepare the score of the new edition, the editors were able to consult the autograph, located in Krakow, for the very first time. The new edition clearly incorporates a much broader base of findings than any previous edition, including the NMA. At the same time, the score and piano reduction offer a wealth of additional information on performance practice gleaned from further authentic sources, including observations on continuo practice, instruments, size and disposition of the orchestra, ornaments, tempo and character, cadenzas and flourishes.

SKU: AP.36-52703112

ISBN 9781621567479. UPC: 679360715857. English.

This collection from Vivaldi's great set of concertos features movements from Spring and Autumn. A nice collection for the advancing student quartet as well as extra repertoire for the working quartet. Includes an optional Violin 3 substitute part for Viola.

These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months.