A Welsh Prayer (cello and piano). For cello and piano. The original version of A Welsh Prayer for SATB choir and two harps was commissioned by Holywell Music and the North Wales International Music Festival as a gift to celebrate the 65th birthday of His Royal Highness The Prince of Wales.

The Elegy for Cello and Piano Op. 2 was the first piece written by Ian Venables for solo instrument and Piano. Written in 1980 for the 'cellist Anthony Gammage, it is as an elegy for an unreturned love, and has all the melodic and harmonic fingerprints of Venables's mature style: combining tender lyricism with passionate intensity. / Violoncelle Et Piano

Three Pieces for cello and piano received its premiere on 9th June 1999 at St Cyprian's Church Marylebone performed by Susie Winkworth (Cello) and Tamami Honma (piano). Duration c. 8 minutes.

In memory of Christopher Rowland. Originally a concerto for Cello and chamber orchestra now for Cello with a Piano reduction of the orchestral part.The concerto is in four movements which are played without a break: Meditation Intermezzo Toccata-Scherzo and Song. The work lasts for some 18 minutes and was scored for two oboes two horns timpani (doubling tubular bells) and strings(found here in a Cello/Piano form). It is organised in one large arch-shaped structure with two fast inner movements flanked by two outer slow ones. The solo cello opens the work reflectively and introduces core melodic material which is continuously developed throughout theconcerto. Gradually the strings enter then wind and timpani and build a pyramid twelve-note chord at the peak of which there is a dramatic climax. The music then subsides (solo cello again) but links to the two faster middle movements. The second movement Intermezzo has an ABA structure and in its middle section quotes the opening of Shostakovich's Third String Quartet (written in the same year as Christopher Rowland was born!). Indeed the ghost of Shostakovich looms large throughout the concerto in more ways than one. The Toccata-Scherzo is energetic and rhythmically-charged again using an ABA structure. Here the writing for solo cello is quite virtuosic but not I hope in a shallow sense. The music builds inexorably towards a powerful climax underpinned by the opening twelve-note chord's re-appearance together with a violent outburst from the timpani at which point a tonal resolution (on G) arrives through a pianissimo held chord on strings which leads directly to the final movement - Song. And so the music arrives at its emotional heart through a simple melody (present in other forms throughout the work) announced by solo cello at the very top of its register against a quiet backdrop of horns and strings. A solo oboe enters with cello in canonic reply and all the time the music builds in texture and

for Cello and Chamber Orchestra (Cello/Piano)-John Joubert’s Concerto in Two Movements for Cello and Chamber Orchestra was first performed on Sunday 4th March 2012 in St Mary’s Church Shrewsbury by the Northern Chamber Orchestra conducted by Jonathan Berman with cellist Raphael Wallfisch.This edition is for Cello and Piano (reduction from the chamber orchestra score).Written for the composer's daughter Anna.

The final piece in this approachable suite of miniatures for solo instrument and Piano to be composed. The Liason was composed with a 'Romeo and Juliet' sort of scenario in mind.

Baumgesang Mit Epilog by the Finnish composer Aulis Sallinen scored for Cello and Piano.Baumgesang Mit Epilog was written as a gift to Krzysztof Penderecki on the occasionof his eightieth birthday on the 23 November 2013.

Commissioned by the Harrogate International Festival. Written for and dedicated to Alexander Baillie. Duration 21 minutes. Includes score and part.

Gloriette was first performed at Leeds Castle Kent on 4th August 2008 by Julian Lloyd Webber.Commissioned by the Leeds Castle Foundation and named after the medieval building in which it was first performed on 5th August 2008.Includes both a score for the Piano and a separate Cello part.

'This work was completed in 1959 and first performed during the following year by Florence Hooton and the composer.The opening Elegy is an intense lyrical movement with two distinct themes and a final mysterious section in the manner of a slow march. This is followed by a brilliant and energetic Scherzo which is entirely dominated by the opening motive heard first on the Piano while the final movement Theme and Variations is more extended and carries the main emotional weight of the work. A bell-like theme constructed mainly of fourths is followed by variations which bear the titles - Allegro inquieto OSTINATO (a kind of passacaglia) March Appassionato Waltz and finallyCHORALE in this last variation the bell-like texture of the theme is developed and enhanced.'- © Kenneth Leighton

It is a surprising fact of Beethoven’s life that of all the categories of pieces he composed there are more settings of Irish songs than of any other type of music. Scottish poet Robert Burns convinced a Scottish music publisher to commission Beethoven to set his own words to Irish airs. The death of Burns in 1796 ended the project but Beethoven went on to harmonise and arrange the songs in 1814 through 1816 mainly and they were published though never achieved as great a popularity as a rival set by Thomas Moore.This simplified version for easy Cello and Piano was arranged by composer Hugo Cole an accomplished cellist who was for many years a music critic for theGuardian newspaper.