Arietta for cello and piano was written in 1990 and premiered by Paul Brantley and Arlene Shrut in New York, May 1991. An aria for two, it opens with a quiet uncertainty, swells to a rhapsodic denouement, and fades away in requiescence. 7 min. Advanced.
With its charming melodies and classical style, this piece fills a significant gap in the repertoire for beginning cellists. All movements are in the first position and include original bowings and phrase markings.
Although the Adagio and Allegro, Op. 70 was originally composed for horn, Schumann also wrote a version for cello. This edition includes piano fingerings by Klaus Schilde and cello fingerings by Sebastian Hess.
This new edition is J.S. Bach's
arrangement of Antonio Vivaldi’s concerto op. 3 no. 8 from “L’Estro
Armonico”. Originally for two violins, arranged for Cello by F.W. Schneider. Includes piano reduction.
Like his father, Carl
Philipp Emanuel Bach wrote three sonatas for viola da gamba. These
sonatas can also be played very effectively on the cello; the fingerings
in the marked copies provide helpful suggestions.
Figured bass realized by Wolfgang Kostujak
Includes a supplementary cello part edited by David Geringas
Variations on a well-liked theme, mainly
from contemporary operas, were extremely popular at the end of the 18th
century. Even the young Beethoven made several contributions to this
genre. We do not know of any concrete occasion for the composition of
the three cycles of Variations for Violoncello and Piano, they are on
two themes from Mozart's The Magic Flute and one from Handel's oratorio Judas Maccabaeus.
The number of reproductions at that time does, however, reveal that
they were very popular right from the beginning.