6 Sonatas Op. 5 for Violoncello and Basso Continuo (H. 103-108) - 6 Sonatas Op. 5 for Violin and Basso Continuo (H. 109-114)

for Violoncello and Basso continuo or two Violoncellos-Two Sonatas For Violoncello And Basso Continuo or 2 Violoncelli Nos.5 and 9 from '12 Cello Sonatas' Op.2. Giacomo Basevi Cervetto (ca.1690-1783) born probably in Verona Italy who - following his move to England in around 1738 - became an important classical cellist and composer of Baroque music for Cello. He was a successful dealer in Italian musical instruments and became a member of the Drury Lane theatre Orchestra.

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

George Frideric Handel's Sonatas Volume 1 for Violin solo and Piano accompaniment. Includes the works Sonata in A Major for violin and continuo HWV361 Op. 1 No. 3 Sonata in F major for violin and continuo HWV370 Op. 1 No. 12 and Sonata in G minor for violin and continuo HWV368 Op. 1 No. 10.

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)

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.

fur Violoncello und Bass (Klavier). At the end of the eighteenth century, cellist and composer Jean-Baptiste Bréval wrote not only virtuosic concerti for his instrument, but also easier sonatas and duets that still belong to the core repertoire of pedagogical cello literature. Opening with impressive chords, the Sonata in C-major op. 40 no. 1 also offers beginners the chance to savour beautiful melodies and master smaller shifts in position. The Parisian first edition of 1799 leaves the choice of accompanying instrument open. For this reason, this Urtext edition offers several options: a two-part score from which a second cello may comfortably provide accompaniment during lessons, as well as a moderate setting for piano that may be used in concerts. Rounding off this starter kit for cello literature is a carefully marked solo part.

The six sonatas by Benedetto Marcello (1686-1739) are among the best-known baroque compositions for violoncello and basso continuo second only to those by Antonio Vivaldi. Marcello was a famous composer during his lifetime and consequently his collection could be found in printed editions in the major European music metropolises of London Paris and Amsterdam. Even if there is some uncomfortable fingering in these sonatas - which might be due to Marcello's working with a five-string cello with an added E' string - they are of only moderate difficulty and belong to the standard works of the violoncello teaching literature.

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