Performance Score and Parts. Par VIVALDI ANTONIO. This scholarly-critical edition is based on all the known sources, whether printed or handwritten, that have come down to us for these frequently played pieces. By closely scrutinizing the source material, the editor has arrived at interesting findings that considerably differ from earlier editions of these works. Rather than taking as her principal source Le Clerc’s 1740 print of Sonatas I to VI – an edition probably made without the composer’s consent – the editor has examined the Naples and Wiesentheid manuscripts prepared under Vivaldi’s direct supervision. The editor has also managed to identify a previously unknown source for Sonata RV 44. All departures from the sources in the printed text and all editorial additions are listed in the critical report. Cellists are thus given ready access to every alternative reading, including deleted bars and the many inevitable variants in articulation. A detailed preface provides essential information on sources and their assessment, with a section on performance practice offering valuable suggestions on interpretation. This scholarly-critical edition is based on all the known sources, whether printed or handwritten, that have come down to us for these frequently played pieces. By closely scrutinizing the source material, the editor has arrived at interesting findings that considerably differ from earlier editions of these works. Rather than taking as her principal source Le Clerc's 1740 print of Sonatas I to VI & an edition probably made without the composer's consent & the editor has examined the Naples and Wiesentheid manuscripts prepared under Vivaldi's direct supervision. The editor has also managed to identify a previously unknown source forSonata RV 44. All departures from the sources in the printed text and all editorial additions are listed in the critical report. Cellists are thus given ready access to every alternative reading, including deleted bars and the many inevitable variants in articulation. A detailed preface provides essential information on sources and their assessment, with a section on performance practice offering valuable suggestions on interpretation. All of Antonio Vivaldi's works for violoncello and continuo in a single edition Scholarly-critical edition for performance purposes Detailed preface on sources and performance practice (German/English) With new findings that considerably differ from earlier editions 'This edition is invaluable for all performers of the Sonatas . ' (Ensemble January 2004) 'This is certainly the definitive edition of these works. '(Strings August/September 2003) / Répertoire d'Examen / Répertoire / Violoncelle et Basse Continue

The six sonatas for cello and basso continuo in this volume all belong to the ?Fondo Correr? collection held in the library of the conservatory of music ?Benedetto Marcello? in Venice. This valuable collection consists of about thirty printed editions and some 1600 original manuscripts from various sources. The majority of these works is composed by Venetian musicians among them Bonaventura Furlanetto one of the last masters at the Ospedale della Pietà Gaetano Latilla Andrea Bernasconi Giovanni Porta Giuseppe Sarti and Antonio Martinelli. The latter (Antonio Martinelli) was one of the best known music teachers at the Ospedali Grandi in Venice. The three sonatas edited in this volume are his only compositions for cello accompanied by basso continuo that survive today. First edition.

INSTRUMENTATION : CELLO AND BASSO CONTINUO DATE OF PUBLICATIONS : 05/04/2000 NUMBER OF PAGES : 20 ARRANGER : DARMSTADT, GERHART SERIES : CELLO LIBRARY

It was a chance visit to a second hand bookshop in Nottingham that set me on the trail of Rossini's now well-known Duetto for cello and double bass. But the story begins earlier than that. In the 1960s I was studying the double bass at the Royal College of Music with Adrian Beers who was at that time principal of the English Chamber Orchestra on the front desk of the Philharmonia Orchestra and a member of the Melos Ensemble of London (then one of the leading ensembles of the world). I was working on the 'Dragonetti Concerto' as most young players do and I wanted to find out a bit about it. My teacher said he thought the autograph manuscript might be in the British Library which was all the encouragement I needed to secure a pass to the Reading Room so I could go and see for myself. There sure enough I found a large collection of Dragonetti's autograph manuscripts together with other bound volumes relating to his life. The papers had been lovingly collated and annotated by Vincent Novello one of Dragonetti's closest friends then deposited in the library before his departure to Italy in 1848 two years after Dragonetti's death. One of the volumes included a lot of letters about various engagements and music festivals copies of orders for strings Dragonetti wanted from Italy details about paintings he wanted to buy and numerous invitations to private functions. The manuscript of the 'Dragonetti Concerto' of course wasn't among the papers we now know it to have been written by Edouard Nanny a century or so later. One name that came up regularly in the documents was that of Sir George Smart. Smart had been a violinist in Salomon's orchestra and had played for Haydn at his London concerts in the 1790s. As a child he had learnt much about music from his father who had in turn been present at many of Handel's rehearsals when he was preparing some of his major works for the first time. Smart was also a fine keyboard player becoming organist of the Chapel Royal in 1822. As a conductor

Cantata-Jesu meine Freude - Jesu my heart's treasure BuxWV 60for soloists (SSB) mixed chorus (SSB) bassoon & stringsDietrich Buxtehude (1637-1707) was organist of the St Marien church in Lübeck from 1668 until his death. He wrote many works for specific secular occasions feasts and celebrations etc. and although his positon did not require him to compose vocal music he left over 120 vocal works in a wide range of scorings style and length. Almost all texts are sacred and scorings vary from a single voice with instrument to nine voices with several instruments and continuo.Dietrich Buxehude’s chorale cantata“Jesu my Heart’s Treasure” is like many of the Lübeck master’s cantatas an opulent-sounding work which produces a grand effect with simple musical means. It is a piece which can be performed at many occasions in the liturgical domain and contains no noteworthy difficulties.- Score with parts (BA487) separate parts (BA487) and choral score (BA487-91) available for sale

for Violoncello and Harpsichord-Three Sonatas For Cello And Piano by Johann Sebastian Bach (1685-1750) edited by Hans Eppstein. Set of performance parts (includes separate pull-out cello part) for cello and piano (or harpsichord). Urtext of the New Bach Edition. 71 pages. Published by Baerenreiter-Ausgaben (German import). (BA.BA5210)

A minor - VC/BC - cello and basso continuo (harpsichord/piano); cello (viola da gamba) ad lib.editor: Ruf, Hugocomposer: Marcello, BenedettoÉditeur: Schott MusicSérie: Cello LibraryDifficulté: Intermediatepages: 20Die sechs Sonaten von Benedetto Marcello (1686-1739) gehören neben denjenigen von Antonio Vivaldi zu den bekanntesten Barockkompositionen für Violoncello und Basso continuo. Schon zu Lebzeiten des zu seiner Zeit durchaus berühmten Komponisten wurde die Sammlung in den wichtigen europäischen Musikmetropolen London, Paris und Amsterdam in Drucken angeboten. Auch wenn es einige unbequeme Griffverbindungen in diesen Sonaten gibt, die daher rühren dürften, dass Marcello mit einem fünfsaitigen, um eine e?-Saite ergänzten Cello rechnete, so sind sie doch von moderater Schwierigkeit und gehören zu den Standardwerken des Violoncellounterrichts.

for Flute Oboe Violin Violoncello and Basso continuo-If Telemann was regarded by his contemporaries as one of the greatest of all composers his star faced with the overwhelming presence of Bach and Handel paled in the course of the 19th century to the verge of contempt. This assessment changed radically during the course of the last century. Through the systematic exploration of his music Telemann once considered purely an instrumental composer has emerged into a highly cultivated culturally well-connected and enormously versatile artistic personality who left an indelible mark on the musical life of his time. Again and again we discover an individual approach in his works that seems to abandon the musical conventionsof his day both large and small.The Tafelmusik (Musique de Table) is a collection of chamber pieces for various ensembles arranged into 3 parts and is perhaps Telemann's most celebrated collection of music. Composed in 1733 the Tafelmusik clearly demonstrates Telemann's skill in handling a diversity of musical genres and a variety of instruments.- Urtext of the Telemann Edition

Befiehl dem Angel dass er Komm-Dietrich Buxehude?s Cantata ?Command the Angels that they come? is one of the most famous works of the Lübeck master who obtained striking results here with musically simple means.It contains no particular difficulties and makes a welcome addition to the repertoire of many choruses. Besides the score with enclosed instrumental parts the choral score and supplementary parts can be purchased separately.Mixed choir (SATB) Strings Basso continuoScore with one of each part (Violin I/II; Cello/Bass; Viola da gamba/Cello/ Basso continuo) (BA541)Additional separate parts availableChoral Score (BA541-91)

for Oboe, Strings and Basso Continuo. Par MARCELLO ALESSANDRO. Editeur(s) d'origine: Hervig, R. / Voxman, H./ Répertoire / Hautbois et Orchestre