Dall'Abaco's 11 Caprices are a great example of cello writing in the Classical Era. No doubt, Dall'Abaco planned to compose 12 Caprices, but might have abandoned the project partway through the eleventh caprice. The editor took the liberty to finish the eleventh caprice based on the binary form, in a way that works most intuitively. This is an Urtext edition based on the manuscript. Corrections were made with editorial marks.
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For the first time, the 12 Ricercate for Cello Solo (or Cembalo) are available in a faithful edition based on the Antonii's First Edition. All other editions currently available are both heavily abridged and heavily revised. Our new edition is faithful to the original 1687 text, which is sure to make a great edition to the cellists looking for music of the middle baroque period. Original figures are retained, if a harpsichordist would like to perform them as a cembalo solo work.
This Romanza is the centerpiece of Arensky's Second Symphony. In the orchestral score, the cello solo takes the center stage. This arrangement retains as much of the solo as possible, adding the solo horn part to fill out the rest. It's a gem of a piece, suitable for a recital or a special occasion.
CPE Bach's A major Cello Concerto has enjoyed longstanding popularity. Bach himself has a version of this work for solo cello, solo flute, or solo keyboard. In the last 100 years, it has been rearranged for cello and orchestra by Ferdinand Pollain, transposing much of the concerto up an octave, as well as Gaspar Cassado in F major, with an addition of a solo flute in the slow movement.
Currently, there are 2 "critical editions" editions of this concerto: Eulenburg/Schott and cebach.org. Both of these claim to be based on the manuscript that is located at the Brussels Conservatory, however, the cpebach.org edition is almost exclusively based on the 1960s Eulenburg. Both editions have inadequate page turns. They call the slow movement "Largo con sordini, mesto," which is not what the manuscript says. The MS reads, "Largo mesto," and "con sordini" is only for some instruments, not all.
This editor decided to use the manuscript found in the Alströmer Collection. The only real difference is found in the solo cello arpeggios on the last page, with a couple of different accompaniment notes. This editor's goal was to create a faithful edition with adequate page turns in all parts, as well as cue notes, which both Eulenburg/Schott and cebach.org lack. This editor corrected the mistake in the Largo movement tempo marking to follow Alströmer's "Largo maesto."
The set includes a score, solo part, and orchestra parts.
This edition of the famous aria is based on the 3rd Version of St. John Passion, where the viola da gamba has a continuous melody. The viola da gamba part, fully based on Bach's own manuscript, is rendered by the cello. The piano incorporates the basso continuo line, the alto voice in the slow parts, and the upper strings in the fast part. The piano part may also be played by a harpsichord.
For the first time, Kellner's 1726 manuscript (Source B) is used as the primary source for an edition of the ever-enduring Bach cello suites. Kellner's manuscript predates Anna Magdalena Bach's by 1-5 years. This is an important source, which all scholars consult in their preparation of the Suites. The slurring and ornamentation are based on the Westphal manuscript (Source C) because it presents the most meticulous care for copying slurs and articulation. The present edition includes suggested bowings and an alternate version of the 5th Suite based on J.S. Bach's own Lute Suite manuscript. Both versions of the 5th Suite are presented at with scordatura. Page turns were avoided wherever possible.
The famous A-minor Violin Concerto by Bach is now available in a transcription for cello and strings, transposed to G minor (the key of the keyboard version of the concerto, BWV 1058). This piece is a welcomed addition to the baroque cello concerto repertoire and may be performed with a string quartet accompaniment.
We are pleased to offer a unique look into Bantock’s brilliant mind with this Urtext edition of his Sapphic Poem. The Sapphic Poem is a 15-minute piece for cello and piano (or orchestra), composed in 1906 in Broad Meadow Kings Norton for cellist Willy Lehmann. Novello published it for cello and piano in 1908 and for cello and orchestra in 1909. To date, there are only two recordings of the work: one by Gillian Thoday (1978 (https://youtu.be/9mTQq7BjArU) and the other by Julian Lloyd Webber (1999). Apart from the recordings, the work has likely been performed publicly between ten and twenty times since its premiere in 1906.
The Sapphic Poem is composed in one continuous movement. In the autograph score, Bantock includes a fragment by Sappho in Greek with an English translation underneath, quoted from Henry Thornton Wharton's Sappho: Memoir, Text, Selected Renderings, and a Literal Translation. Bantock’s tonal language in the Sapphic Poem is distinctly British; however, one can also hear Wagnerian and Russian influences. The main key of the piece is B minor. The middle section is in F# minor and the return of the main theme is in E major. The piece ends peacefully in B major. While the cello writing is lyrical throughout, one of the cadenzas requires the cellist to play nineteen notes on an up-bow staccato.
It is our desire to bring this tribute to Sappho, the greatest poetess of the ancient world, to the 21st-century audiences in a faithful edition based on the composer’s manuscript.
Bazzini's La Ronde des Lutins is a favorite encore in the violin repertoire. Now it is available in a faithful transcription for cello. In this package we offer a version in the original key of E minor as well as a transposed key of D minor, which opens up more possibilities with the harmonics on the cello. The original key piano part may be used in a performance with violin. This showpiece showcases techniques such as the ricochet (gettato) bow stoke, harmonics, quick shifting and left hand pizzicato.