Sonata for Cello

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. It may also serve as a way for cellists to get close to Bach through works other than the six solo suites and the three gamba sonatas.Cello Concerto in C minor for two cellos and piano. C minor becomes a powerful key in Bach's hands. It sets the tone of the composition weight is added and one can even sense how it directs Bach's thought-process. The present concerto exists as BWV 1060 for two harpsichords but if Bach was a cellist his prefered version would have been for two cellos.

Best of Cello Classics' contains 15 popular performance pieces for cello and piano from four centuries. The Baroque works also contain a continuous bass part. Apart from standard works and 'classics' such as the famous sonatas by Breval (C major), de Fesch (D minor), Vivaldi (E minor) or Saint-Saëns' 'The Swan' from 'The Carnival of Animals', this volume also contains lesser known works, like Recercada primera by Ortiz, sonatas by Cirri and Romberg, as well as some charming little character pieces by Lee, Goltermann, Nölck and Trowell. The majority of the works can, for the most part, be played in the first four positions. Some pieces containing a few notes in the neck positions are nevertheless easily playable as well. / Violoncelle Et Piano

13 pieces of easy to intermediate standard ideal for lessons and concerts. As well as popular Baroque sonatas by the likes of Vivaldi and de Fesch, there are also some charming, lesser-known compositions by Lanzetti and Zocarini. Also included are Classical sonatas by J. C. F. Bach, Stephen Paxton and Beethoven alongside pieces from the Romantic era including Mendelssohn's Song Without Words Op. 109, Fauré's Sicilienne Op. 79 as well as two little pieces by Goltermann. / Violoncelle Et Piano

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 a connection 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 an extensive Performance Practice Commentary- For further information on Romantic performance practice we recommend the text booklet: 'Performance Practices in Johannes Brahms' Chamber Music?, BA 9600 / Violoncelle Et Piano

The first three movements of Johannes Brahms' E minor Cello Sonata were composed in 1862, the last movement was written in 1865. During the first years of its performance the work was received with mixed enthusiasm. By the end of Brahms' life, however, it was widely performed and by the first decades of the 20th century it was firmly embedded in the repertoire of many distinguished cellists. It was notably Robert Hausmann's advocacy of the work which seems to have contributed greatly to its promotion.Of particular value to the editors were the three early performance editions of the Cello Sonata op. 38 by Cornelius van Vliet and Edwin Hughes, Hugo Becker and Carl Friedberg, as well as Julius Klengel. The cellists' van Vliet, Becker and Klengel's fingering and bowing allows for a better understanding of their performance practice. As such, the Bärenreiter 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 works' origins, 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 in 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 an extensive Performance Practice Commentary- For further information on Romantic performance practice we recommend: ?Performance Practices in Johannes Brahms' Chamber Music', text booklet BA 9600 / Violoncelle Et Piano

Unlike some of his other late works, Franck's Violin Sonata (HN 293), composed in 1886, was well-received by the public 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 cellist Jules 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. Delsart remained close to the original- he left the piano part unaltered and transposed the violin part only where necessary and appropriate into the lower register. / Violon

This collection features a wide selection of original works from the Renaissance, Baroque and Modern eras arranged for two cellos. Focusing on easy repertoire Duets for Fun will provide hours of enjoyment for aspiring musicians wishing to discover new material as well as develop their playing.This collection is ideal for use as teaching material, or for playing at home or in a concert with a friend. / 2 Violoncelles

Cello Part. This book contains nine pieces from ABRSM?s Grade 3 Cello syllabus from 2024, three pieces chosen from each of Lists A, B and C ? ideal for both Practical and Performance Grade exams. The pieces have been carefully selected to offer an attractive and varied range of styles, creating a collection that provides an excellent source of repertoire to suit every performer. The book also contains helpful footnotes and, for those preparing for exams, useful syllabus information.An edition with piano accompaniment and audio is also available - it includes downloadable recordings of all nine pieces, plus piano accompaniment tracks.

The Suzuki Method® of Talent Education is based on Dr. Shinichi Suzuki's view that every child is born with ability, and that people are the product of their environment. According to Dr. Suzuki, a world-renowned violinist and teacher, the greatest joy an adult can know comes from developing a child's potential so he/she can express all that is harmonious and best in human beings. Students are taught using the 'mother-tongue' approach. Now available as Book and CD Kit. Titles: Sonata in G Major (Allegro, Grave, Vivace) (Sammartini) * Allegro Appassionato, Op. 43 (Saint-Saëns) * Elegié (Fauré) * Scherzo (van Goens). / Violoncelle

The Suzuki Method® of Talent Education is based on Dr. Shinichi Suzuki's view that every child is born with ability, and that people are the product of their environment. According to Dr. Suzuki, a world-renowned violinist and teacher, the greatest joy an adult can know comes from developing a child's potential so he/she can express all that is harmonious and best in human beings. Students are taught using the 'mother-tongue' approach. Now available as a Book and CD kit. Titles: Sonata in E Minor, Op. 14, #5 (Largo, Allegro, Largo, Allegro) (Vivaldi) * Danse Rustique, Op. 20, #5 (Squire) * Arioso from Cantata 156 (Bach) * Rondo from Concerto #4, Op. 65 (Goltermann). / Violoncelle

Par SUZUKI SHINICHI. Suzuki Cello School: Cello Part Volume 5 contains 5 classical pieces for Cello. For the student: This volume is part of the worldwide Suzuki method of teaching. The companion recording should be used along with this publication. A Piano accompaniment book is also available for this material. For the teacher: In order to be an effective Suzuki teacher, ongoing education is encouraged. Each regional Suzuki association provides teacher development for its membership via conferences, institutes, short-term and long-term programs. In order to remain current, you are encouraged to become a member of your regional Suzuki association, and, if not already included, the International Suzuki Association. For the parent: Credentials are essential for any Suzuki teacher you choose. We recommend you ask your teacher for his or her credentials, especially those related to training in the Suzuki method. The Suzuki Method experience should foster a positive relationship among the teacher, parent and child. / Pédagogie / Méthode / Violoncelle