Sonata for Solo Violoncello

Bernhard Romberg (1767-1841) probably was the greatest cello virtuoso of his time and compared to Paganini in his lifetime. He gave cello lessons at the famous Conservatoire de Paris among others.Romberg's popular Trio in E minor originally was the first part of the Trois Trios d'une Difficulté Progressive pour le Violoncelle Viola et Violoncelle Op. 38. The solo violoncello was accompanied by a viola and a second violoncello. The two other trios are much more difficult, with a lot of passage work, thumb position, tenor and violin clef.The Trio in E minor Op. 38/1 was arranged many times and scored for various combinations of instruments. This edition refers to the popular arrangement for violoncello and piano by Friedrich Gustav Jansen (1837-1910) which is ideal for music lessons and concerts.Also available is another arrangement of the Trio Op. 38/1 for three violoncellos (SE 1008). The easy bass part can be played by another student.This edition is part of the new Schott Student Edition series which offers varied literature at five different levels of difficulty, from 1 (easy) to 5 (difficult), for instrumental lessons:In print or electronic formatAvailable as printed editions or PDF downloadPractising - efficiently and with pleasureAccompanying tracks of the pieces available as downloads / Violoncelle Et Piano

?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 /

Edited From The Sources And Realization Of The Figured Bass By Bernhard Moosbauer. Provided With Notes On Interpretation By Gerhardt Darmstadt.. Par VIVALDI ANTONIO. Les neuf sonates pour violoncelle et basse continue, par Antonio Vivaldi sont parmi les plus célèbres oeuvres violoncelles de l'époque Baroque. Grâce à leurs exigences techniques modérées, les pièces sont partie intégrante des leçons de musique ainsi que de fabrication de musique privée. Mais même pour la scène professionnel de la musique au début, ils forment un accent du répertoire violoncelle. La nouvelle édition de la Wiener Urtext édition répond aux besoins et exigences de tous les trois groupes cibles semblables, fournissant un texte musical fiable n'est plus fondé sur la première édition de Paris non autorisée par Le Clerc and Boivin, mais sur une copie de Naples révisé de Vivaldi lui-même ainsi que sur les deux autres manuscrits associés avec le compositeur de la Bibliothèque Nationale de Paris et de la bibliothèque de musique des comtes de Schönborn à Wiesentheid. Hormis la partie solo, l'édition comprend une note de piano (clavecin) avec réalisé basse continue, qui devrait être très bienvenue aux élèves et amateurs. Une partie de continuo latent basso a été ajouter.../ Répertoire / Violoncelle Solo, Clavecin ou Piano Violoncelle Co

The purpose of these transcriptions in the first position is to enable the young violoncello pupil to play and enjoy Bach after one year or less of instruction.Bach's Suites for Solo Violincello and Sonatas for Violoncelloand Piano are so difficult technically that years of practice are required before a student can attempt to play them.It is hoped that these pieces will prove to be a useful addition to the limited repertoire of thebeginning cellist.

Ed. by/ A cura di Cesare Fertonani-The series Eighteenth Century Italian Music includes compositions of special historical and musical significance. Each edition is based on the original sources to off er performers works that satisfy clear critical and musicological criteria.This anthology includes ten sonatas carefully selected from among those written by ten of the most important eighteenthcentury Italian composers of cello music: Luigi Boccherini Sonata VI G. 4 - Antonio Caldara Sonata ottava -Francesco Geminiani Sonata op. V n. 2 H. 104 - Carlo Graziani Sonata op. II n. 3 - Salvatore Lanzetti Sonata op. I n. 5 - Benedetto Marcello Sonata op. I n. 1 - Giovanni Battista Pergolesi Sinfonia avioloncello solo - Giovanni Benedetto Platti Sonata quarta - Nicola Porpora Sinfonia a violoncello solo - Antonio Vivaldi Sinfonia a violoncello solo RV 39

All cellists are familiar with Debussy’s sonata which he only composed in 1915 three years before his death. Debussy had however already written two works for Violoncello and Piano in 1882 when hewas only 20 years old. They largely remained hidden from the public eye because the autograph of the “Intermezzo” – the sole source for this work – was inaccessible for decades. Today Henle Publishers arein the fortunate position of being able to present an Urtext edition of the “Intermezzo” also including the “Scherzo” that was posthumously published in 1995. The fingerings and bowings were provided byJeffrey Solow (Violoncello) and Eckart Sellheim (Piano).

Johann Christoph Friedrich Bach was the eldest surviving son of Johann Sebastian Bach and his second wife Anna Magdalena Wulcken; he was born in Leipzig in 1732. His father gave him his first music instruction. After his initial studies in law he devoted himself entirely to music. In 1750 he entered the services of Count Wilhelm zu Buckeburg where he first of all was engaged as the Count's chamber musician (Hochgraflicher Schaumburg-Lippischer Cammer-Musicus) later as orchestral director a post which he held until his death in 1795. The 'Buckeburg Bach' is described as an amiable and devout person who was highly respected and esteemed for his 'rectitude greatness of soul readiness to oblige and kindness' (Schlichtegroll Nekrolog). He was an exceedingly industrious and gifted composer in whom one couldnot fail to recognise that the spirit of his great father had also been communicated to him' (Dulon). Johann Christoph Friedrich Bach's Sonata A Violoncello Solo Col Basso appears in print for the first time with this edition. The autograph which served as source was held at the time in the University Library at Tubingen depot of the former Prussian State Library under the call-mark Mus. ms. autogr. Bach P 382 which has subsequently been moved to the Staatsbibliothek zu Berlin Preussischer Kulturbesitz. For practical use the accompaniment has been realised from the unfigured Bass. - Piano reduction and separte parts for Cello and Basso continuo.

Edition specially prepared for the ABRSM & TRINITY GUILDHALL exam syllabuses-Vivaldi was familiar with the technique and idiomatic qualities of the cello and writing for the cello seems to have drawn from Vivaldi a special empathy: there is a degree of seriousness and expressive depth which is encountered much less consistently in his violin music. Perhaps it has something to do with the cello's low register since similar qualities inform his writing for bassoon.This Urtext edition edited by Bettina Hoffmann provides you with a clear and accurate realisation of the composer’s original intentions with thoroughly detailed editorial markings and suggestions. The solo cello part is also included on a separate insert.

For Violone-Very little is known about the two sonatas which appear here in their original keys. They were placed in the library of the Music School in Oxford at the end of the seventeenth century in a form convenient for playing (i.e. unbound). The library was catalogued by Hake between 1850 and 1855 and the sonatas were eventually bound in 1855 with other instrumental and vocal manuscripts of the same period some of which are dated 1698.The sonatas are both inscribed on the title page Sonata Violone Solo. Col Basso per l'Organo o Cembalo. A third sonata bears the words Sonata Violino e Violoncino … di Giovannino del Violone. Giovannino (=Little or Young John) musthave been a performer and although the third sonata has been copied by a different hand it is conceivable that Giovannino is a connecting link between the three. He cannot however be assumed to be their author.The Violone was a six-stringed instrument with frets and there is evidence to suggest that the Contrabasso of the same period was similar but probably a little larger; the Violoncino (=Little Violone or Violoncello) must have been smaller. The word 'Violone' was also used as a collective term embracing all members of the Viol family which means that the sonatas might well have been written for a tenor or a bass Viol and not necessarily a Violone as such. Indeed when they are played on a Violone or Double Bass the continuo bass line must be played at a lower pitch than the solo instrument to prevent inversion of the intended harmony. (The use of a Violone/Double Bass continuo or 16' organ tone would overcome this problem.)The editor has added no ornaments or embellishments to the solo part as it appears in the original manuscript. It is open to debate whether a Violone player owing to the very nature of his instrument would have used any but the simplest melodic decorations. Nevertheless the performer should acquaint himself thoroughly with those seventeenth century traditions that are known today (see Dart

Edition for Violoncello-Like his father Carl Philipp Emanuel Bach wrote three sonatas for Viola Da Gamba. They were written during his time at the Berlin court of Frederick the Great and gave the excellent Viola Da Gamba player in the courtorchestra a chance to show his virtuosic skills. While the two Sonatas Wq 136 and 137 have a basso continuo Bach followed his father’s example as far as the Sonata in g minor Wq 88 wasconcerned: the right and left hands of the Harpsichord compete with the solo instrument in three equal parts. These sonatas can also be played very effectively on the Cello; the fingerings in the marked copies provide helpfulsuggestions.

?l?gie for Violoncello and Piano op. 24-Following the enthusiastic reception of his first Violin Sonata (HN980) it was clear to Faur? that he would continue to write chamber music. In 1880 he wrote a little piece for cello and piano that was intended as theslow movement for a sonata. However Faur? gave up the sonata project instead publishing the piece under the title ??l?gie. It was so successful that Faur? was urged by the publisher to write further pieces. Theconductor ??douard Colonne commissioned a version of the ??l?gie for orchestra in 1895 which was premi?red two years later. As usual our Urtext edition contains both a marked and an unmarked solo part.

Johann Sebastian Bach's Sonatas and Partitas for Violin Solo are among the most famous masterpieces of their kind. Unlike the closely related Suites for Violoncello Solo the Violin solos have survived in an autograph manuscript of the composer on the basis of which alone a largely reliable musical text is available. However this manuscript is a copy of previous draft copies or even further fair copies of the composer. Wiener Urtext Edition uses an early copyist's copy from Köthen as a secondary source which has not been valued very highly as a source until now. Despite its closeness to the extant autograph one cannot rule out thepossibility that this copy might be traced back to another original manuscript by Bach. At any rate some obvious mistakes of the extant fair copy can be clarified on the basis of its text; in addition it provides a number of articulations not indicated elsewhere (some even with alternatives) which are examples of how these works can be performed according to their time of origin. In the Notes of Interpretation Dagmar Glüxam explains the relationship between the musical-rhetorical contents of Bach's musical text and their adequate performance thus showing how absurd many a performance instruction of established interpretive editions is.

Very little is known about the two sonatas which appear here in their original keys. They were placed in the library of the Music School in Oxford at the end of the seventeenth century in a form convenient for playing (i.e. unbound). The library was catalogued by Hake between 1850 and 1855 and the sonatas were eventually bound in 1855 with other instrumental and vocal manuscripts of the same period some of which are dated 1698.The sonatas are both inscribed on the title page Sonata à Violone Solo. Col Basso per l'Organo o Cembalo. A third sonata bears the words Sonata à Violino e Violoncino … di Giovannino del Violone. Giovannino(=Little or Young John) must have been a performer and although the third sonata has been copied by a different hand it is conceivable that Giovannino is a connecting link between the three. He cannot however be assumed to be their author.The Violone was a six-stringed instrument with frets and there is evidence to suggest that the Contrabasso of the same period was similar but probably a little larger; the Violoncino (=Little Violone or Violoncello) must have been smaller. The word 'Violone' was also used as a collective term embracing all members of the Viol family which means that the sonatas might well have been written for a tenor or a bass Viol and not necessarily a Violone as such. Indeed when they are played on a Violone or Double Bass the continuo bass line must be played at a lower pitch than the solo instrument to prevent inversion of the intended harmony. (The use of a Violone/Double Bass continuo or 16' organ tone would overcome this problem.)The editor has added no ornaments or embellishments to the solo part as it appears in the original manuscript. It is open to debate whether a Violone player owing to the very nature of his instrument would have used any but the simplest melodic decorations. Nevertheless the performer should acquaint himself thoroughly with those seventeenth century traditions that

For Solo Clarinet in A/Bass Clarinet in B-flat Flute (Piccolo Alto Flute) Horn in F Trombone Piano Violin Viola Violoncello and Double Bass. Crockett's Dance Concerto for clarinet in A doubling on bass clarinet and wind ensemble riffs on the theme of its premiere event at the Smithsonian dancing the night away until dawn. The work's form plays out as if the soloist were performing a set as the leader of some sort of dance band on this--or another planet. An expanded version for thirty-three musicians and a piano reduction (titled Dance Sonata) are also available from the publisher. Duration: c. 18 minutes.