Felix Mendelssohn Bartholdy: Piano Trios No.1 - 2 Op.49 - 66: Piano Trio: Score

For Violoncello and Pianoforte-Felix Mendelssohn Bartholdy’s works for violoncello and piano occupy a special place within the repertoire of cellists and chamber musicians. The lyrical Song without Words (Romance sans paroles) is among the most popular of all teaching pieces.Mendelssohn was inspired by his contacts with the leading cellists of his day to write for this instrument. This unique Urtext edition contains all of Mendelssohn’s finished works for violoncello and piano as well as reconstructions and completions of his unfinished works for the same scoring. The editor R. Larry Todd has composed the cello part for the variations and has completed the graceful Assaitranquillo.Urtext edition containing all of Mendelssohn’s works for violoncello and piano in 2 volumesAlso includes reconstructions or completions of Mendelssohn’s unfinished works for violoncello and pianoInformative Foreword (Eng/Ger) and Critical Commentary (Eng) with facsimile pagesSpecial price for both volumes I and II (BA9098)

For Violoncello and Pianoforte-Felix Mendelssohn Bartholdy’s works for violoncello and piano occupy a special place within the repertoire of cellists and chamber musicians. The lyrical Song without Words (Romance sans paroles) is among the most popular of all teaching pieces.Mendelssohn was inspired by his contacts with the leading cellists of his day to write for this instrument. This unique Urtext edition contains all of Mendelssohn’s finished works for violoncello and piano as well as reconstructions and completions of his unfinished works for the same scoring. The editor R. Larry Todd has composed the cello part for the variations and has completed the graceful Assaitranquillo.Urtext edition containing all of Mendelssohn’s works for violoncello and piano in 2 volumesAlso includes reconstructions or completions of Mendelssohn’s unfinished works for violoncello and pianoInformative Foreword (Eng/Ger) and Critical Commentary (Eng) with facsimile pagesSpecial price for both volumes I and II (BA9098)

Felix Mendelssohn Bartholdy completed his first oratorio St. Paul Op.36 in 1836 at the age of twenty-seven. The first version which was premiered on 22 May 1836 was then extensively revised by the composer. This second version which at the same time served as the basis for the published version was premiered as early as October that year in Birmingham. The acclaim with which the oratorio was received was exceptional. Within eighteen months of completing the score Mendelssohn was able to list fifty performances of the work. Robert Schumann praised the work effusively and even Richard Wagner who later denigrated Mendelssohn was full of admiration. Today St. Paul belongs to the core repertoire of sacred choral music.This Urtext edition of the oratorio edited by the internationally-recognised Mendelssohn scholar Michael Cooper is based on all critical sources. As well as the principal version of the work the score also includes for the first time numbers which were composed for the first version and subsequently removed. This gives not only an insight into the history of the composition of the work but also with the complete performing material into the performance of the original version.The full score and vocal score (BA9071-90) include the German and English texts of the oratorio.The vocal score is by Mendelssohn.Urtext edition representing the latest musicological researchIncludes all numbers from the original version for the first timeVocal texts in German and EnglishStraightforward Piano reduction

The Romantic composer Felix Mendelssohn-Bartholdy (1809-1847) has been highly regarded in Britain from the time of his first visit in 1829. He was a favourite of Queen Victoria and also made several trips to Scotland inspiring some of his best-known and most evocative works. Mendelssohn’s Cello Sonata No.2 in D Major (Op. 58) was composed in 1843 for Cello and Piano. It is scored in four movements: AllegroAssai Vivace - Allegretto Scherzando - Adagio - Molto Allegro E Vivace. It is heavily influenced by Bach borrowing elements of both structure and melody from some of Bach’s works. This Urtext edition ispublished by Henle Verlag.

Besides two genuine Cello 'hits' from the pen of Felix Mendelssohn Bartholdy the 'Variations Op. 17' and the 'Song Without Words Op. 109' this urtext edition contains a little sensation: thepremière publication of a delightful and previously unknown original piece for Cello and Piano. Mendelssohn wrote it down in the album of his friend the distinguished cellist Julius Rietz in 1835 while at the pinnacleof his creative powers. All cellists will be happy to welcome this 'Album Leaf' into their repertoire.

Für Klarinette Bassetthorn (2 Klarinetten) und Klavier-?Favourite dish in exchange for favourite music? this perfectly summarizes the genesis of the Konzertstücke. When the clarinettist Heinrich Joseph Baermann and his son Carl who also played the Basset Horn stopped to pay avisit to Felix Mendelssohn Bartholdy in 1832 they came to a most curious agreement: they promised their composer friend a generous portion of ?Dampfnudeln? (steamed dumplings) and ?Rahmstrudel? (sweet-cheese strudel)that Mendelssohn was mad about if he were to write a piece for them which they could use on their concert tours. The Konzertstück in f minor that originated in this fashion was followed shortly afterwards by a second one in dminor. Both are extremely effective works which wonderfully bring out the unique sound and performance technique of the two instruments from the Clarinet family.