This material is part of the worldwide Suzuki Method of teaching. Companion recordings should be used with this publications. In addition there are piano accompaniment books that go along with this material.

An exciting collection of classical tunes arranged for cellists of Grade 2 to 3 standard to enjoy. There are simple piano accompaniments and the CD contains inspiring demonstration and play-along backing tracks.

Richard Strauss
Romance pour violoncelle en Fa majeur
Peter Jost (Editeur)
Johannes Umbreit (Réduction pour piano)
Daniel Müller-Schott (Doigtés violoncelle)
Edition Urtext, reliure paperback
partie de corde avec ou sans indications de doigté
Quelques mois seulement après le parachèvement de sa Sonate pour violoncelle op. 6, Strauss composa une autre œuvre pour cet instrument: une Romance pour violoncelle et orchestre, qui resta non publiée de son vivant. Selon le manuscrit autographe, cette composition fut terminée le 27 juin 1883, et Strauss en réalisa lui-même également la réduction pour piano. Cette Romance passe pour l’une de ses œuvres de jeunesse les plus mûres, mais, malgré quelques exécutions publiques du reste bien accueillies, données par le violoncelliste solo de l’Orchestre de la cour de Munich Hanuš Wihan, alors très renommé, elle resta longtemps dans l’ombre de la Sonate pour violoncelle. Ce n’est qu’après la première publication posthume de l’œuvre en 1986 que cette pièce exclusive et singulière fut redécouverte par les milieux musicaux – et la voici maintenant aussi dans notre édition Henle Urtext très appréciée. / Partitions classique / Cordes / Violoncelle / HENLE VERLAG

Sonate pour violoncelle en Fa majeur op. 6
Peter Jost (Editeur)
Michael Korstick (Doigtés)
Johannes Moser (Doigtés violoncelle)
Edition Urtext, reliure paperback
partie de corde avec ou sans indications de doigté
Outre le Quatuor avec piano op. 13 et la Sonate pour violon op. 18, la Sonate pour violoncelle op. 6 fait partie des œuvres de musique de chambre les plus accomplies parmi l’œuvre de jeunesse de Strauss. Les influences de Mendelssohn, Schumann et Brahms se font sentir, mais laissent cependant assez de place à un langage sonore bien spécifique comportant souvent de surprenantes tournures rythmiques et mélodiques. La première version établie au printemps 1881 fut soumise par Strauss à une révision en profondeur au cours de l’hiver 1882/83: le mouvement initial fut fondamentalement retravaillé et les deux mouvements suivants furent intégralement composés à neuf.
Cela en valait apparemment la peine, car, après la première exécution à Dresde, le compositeur écrivit à sa mère: «Ma Sonate a extraordinairement plu, elle a obtenu des applaudissements colossaux, j’ai été félicité de toute part.» / Partitions classique / Cordes / Violoncelle / HENLE VERLAG

La partition Ballade (Piano Et Orchestre) Op19 Partie De Violoncelle a été composée pour Violoncelle. Cette partition musicale est éditée par une des nombreuses maisons d'édition française à savoir Leduc. Cette oeuvre musicale fait partie intégrante des oeuvres de style Classique. / Violoncelle / Partition

Joan Tower is one of this generation's most dynamic and colorful composers. Her bold and energetic music with its striking imagery and novel structural forms has won large enthusiastic audiences. This work for Cello and Pianowas written as a homage to Olivier Messiaen whose 'risk-taking' approach the composer felt had a special influence on her own works.

per violoncello e basso continuo Publié par Pejtsik Árpád Réalisation de la basse continue par Máriássy István Instrument: Violoncello and Piano Instrumentation: vlc, csemb. Série: EMB Urtext Genre: Baroque Pages: 112 pp Date du parution: Février 1995 1.sib maggiore RV 47 (F. XIV. No. 1, P.S. 4/5) 2.fa maggiore RV 41 (F. XIV. No. 2, P.S. 4/6) 4.sib maggiore RV 45 (F. XIV. No. 4, P.s. 4/8) 5.mi minore RV 40 (F. XIV. No. 5, P.S. 4/9) 6.sib maggiore RV 46 (F. XIV. No. 6, P.S. 4/10) 7.sol minore RV 49 (F. XIV. No. 9, -) 8.la minore RV 44 (F. XIV. No. 7, P.S. 6/10) 9.mib maggiore RV 39 (F. XIV. No. 8, P.S. 6/9)

Franz Schubert’s Sonata in A minor D. 821 was originally written for piano and arpeggione an instrument of the 1820s combining features of the guitar and the cello. This instrument was in use for just a short period of time so that the composition has now become standard repertoire for cello and piano and this is the version presented here. A handwritten violin part in the hand of Anton Diabelli kept by the Bibliothèque Nationale in Paris however shows that the sonata’s arpeggione part was initially arranged for violin long before the first print in 1871 introduced the well-known version for cello and piano. WienerUrtext also publishes Diabelli’s arrangement for violin and piano in a separate edition. Both editions are essentially based on Schubert’s autograph the cello part in principle relies on the first printed edition of 1871 the violin part is based on Diabelli’s arrangement. 

21 Pieces for Flexible String Ensemble-String Time Starters is an exciting new ensemble collection for beginner strings from the authors of the award-winning Fiddle Time series. A prequel to 'String Time Joggers' this collection provides inventive and enjoyable ensemble repertoire for groups of all sizes. This volume contains 21 pieces for Cello. 21 easy characterful ensemble pieces plus fun warm ups. Flexible scoring for Violin Viola Cello and Double Bass with Piano or CD accompaniment - from duets in any combination to large ensembles. The level approximately corresponds to the Starters books for Violin Viola and Cello - some parts use open strings only someuse open strings and first fingers and some use all fingers catering for groups of mixed ability. Pupil books for Violin Viola Cello and Double Bass with lively illustrations. Teacher's book with score including Piano part and a CD with performances and backing tracks for all pieces. Full performances and backing tracks also available to download from the Companion Website.

As a prestigious composer of the late 18th century Luigi Boccherini's (1743-1805) Rondo transcribed for the Cello by Paul Bazelaire contains many features which continue to make the composer's music popular and loved to this day. Known for his courtly gallant style Rondo originally composed for Violin and Harpsichord clearly exemplifies these qualities through the 2/4 time signature flourishing Cello lines and evocative chordal and rhythmic Piano accompaniment. Moreover syncopation rhythms and ornamentation heard throughout the piece create further excitement. All of these musical elementscombine to create a highly enjoyable piece for the Cello repertoire. In addition the clear print of separate Cello and Piano parts in this edition of Rondo add to this irresistable purchase for budding cellists.

Favourtie French Melodies-In creating these dozen arrangements I am unashamedly cherry-picking from a long and rich seam of French music. I feel confident that younger players and those relatively new to the cello will enjoy my selection. Forgive my tongue-in-cheek title for the book French Baguettelles (I'm half French so I don't feel too guilty!) for the music herein has more than a hint of garlic about it. Although there are certainly serious overtones to one or two pieces there is a healthy dollop of silliness to lighten the mood. Apart from Sur la Pont d'Avignon which was reportedly written in the 15th century Frère Jacques which was a popular 18th century song and Tambourin which wasin all probability also written in the 18th century (Gossec did however live well into the 19th century) all of the pieces come from composers who lived in the Romantic period. Ravel and Debussy were of course known for their impressionistic colours though for the most part it is the accompaniments which reveal this characteristic most fully. I have endeavoured to keep the piano parts playable by mere mortals conscious of the fact that cello teachers may not possess a virtuosic piano facility but may nevertheless wish to turn their hand to accompanying pupils for concerts festivals exams etc. Many of the pieces were originally written for the piano either in its solo capacity (Ravel's Pavane Pour une Infante Défunte Chabrier's Idylle Satie's Gymnopedie 1 Debussy's La Fille aux Cheveux de Lin) or in duet form (Fauré's Berceuse from 'Dolly Suite'). Three orchestral pieces Bizet's L'Arlésienne Offenbach's Can-Can and Saint-Saëns's Danse Macabre lend a welcome dramatic overtone to the book while Franck's exquisite Panis Angelicus originally conceived as a choral piece rounds off the selection admirably. In the main it is the cello's capacity for lyricism that has steered my choice of music so really open up your sound and enjoy yourself with these ageless melodies.I wish you bonne chance!Baguette: a thin loaf of

Prokfieff's Concertino For Cello And Orchestra was left unfinished at the time of the composer's death. From the extant material a performing version was prepared by Mstislav Rostropovich for Cello and Piano. Dmitri Kabalevsky then scored the completed Concertino for full Orchestra and the work was premiered by Rostropovich in 1960 at the Moscow Conservatoire. This edition contains the Cello part with a Piano reduction of the Orchesral Score.

Cello Part. This book contains nine pieces from ABRSM?s Grade 1 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.

Cello-Bass-Many selections in this volume are unique and until now have been inaccessible to the string ensemble repertoire. These pieces are intended for multiple strings for performance in the classroom as well as performance in concerts.Several players may be used on each part. Whenever possible every effort was made to keep the viola and violoncello/double bass parts melodic rather than simply filling in the various harmonic chord progressions. The piecesmaybe performed as a solo for each instrument (Violin 1 Violin 2 Viola or Cello) with piano accompaniment or as duets or trios as well as full orchestra. If performed with full orchestra the piano accompaniment is notnecessary. The string ensemble series meets all standards for ASTA with NSOA (American String Teachers Association/National School Orchestra Association) and Suzuki Association of the Americas Inc. Free piano accompaniment ANDensemble score downloads are available for use with this title.