Cello Quartet Library: 16 Works for Four Cellos brings together a wide-ranging collection of transcriptions, arrangements, and original works for cello ensemble. The bundle includes music from the Renaissance, Baroque, Classical, Romantic, and modern eras, with works by Ockeghem, Dowland, Bach, Beethoven, Schubert, Schumann, Tchaikovsky, Rimsky-Korsakov, Rachmaninov, Respighi, Vivaldi, and Leonovich.

J.S. Bach - Prelude and Fugue from Cello Suite No. 5 J.S. Bach - Wer nur den lieben Gott lässt walten, BWV 691 J.S. Bach - Sarabande from Suite No. 6 J.S. Beethoven, Ludwig van - Turkish March from The Ruins of Athens Dowland, John - Go, Crystal Tears Hungarian, attributed to Nicolaus Scholl - Rákóczi March Leonovich, Yuriy - Koheleth for 4 Cellos Ockeghem, Johannes - Mors tu as navré Rachmaninov, Sergei - Adagio from Symphony No. 2, Op. 27 Respighi, Ottorino - Italiana from Ancient Airs and Dances Rimsky-Korsakov, Nikolai - Serenade, Op. 37 Schubert, Franz - Andante sostenuto from Piano Sonata, D. 960 Schumann, Robert - Abendlied, Op. 85, No. 12 Tchaikovsky, Pyotr Ilyich - Chanson triste, Op. 40, No. 2 Vivaldi, Antonio - Cello Concerto in F major, RV 412 Vivaldi/Bach - Violin Concerto, Op. 3, No. 9

This collection is designed for cello ensembles looking for varied and practical repertoire: lyrical works, chorale textures, contrapuntal music, concert pieces, student-friendly selections, and more substantial recital material. It includes music suitable for studio classes, cello choir programs, summer camps, workshops, church performances, recitals, and ensemble reading sessions.

Purchased individually, the pieces in this bundle total $172.84. This bundle price offers the full collection for $119.99.

This bundle brings together six Baroque and early Classical works for unaccompanied cello, ranging from original solo cello repertoire to carefully prepared transcriptions that sit naturally on the instrument. Included are dall’Abaco’s Caprices for Cello Solo, degli Antonii’s 12 Ricercate for Cello Solo, Op. 1, Colombi’s Ciaccona for Cello Solo, Handel’s Suite in G major, HWV 441, transcribed for cello solo, Vitali’s Partite sopra diverse Sonate for Cello Solo, and Telemann’s 12 Fantasias for Viola da gamba, transcribed for cello solo.

Together, these works offer a rich alternative to the standard Bach-centered solo cello repertoire: caprices, ricercars, variations, dance movements, and fantasia-style pieces that explore the cello’s expressive, contrapuntal, and improvisatory possibilities. Some pieces are suitable for advanced students, while others will interest professional cellists looking for lesser-known recital, teaching, or study repertoire.

Each edition is prepared with attention to readability, historical sources, and practical performance use, making this bundle a useful resource for cellists who want to explore early solo repertoire beyond the most familiar works.

Orchestral Favorites for Cello and Piano brings together beloved orchestral melodies, dances, character pieces, opera excerpts, and symphonic moments in transcriptions for cello and piano. The collection includes music by Arensky, Bizet, Enescu, Falla, Ippolitov-Ivanov, Liszt, Puccini, Rimsky-Korsakov, Rossini, R. Strauss, Schumann, and Tchaikovsky.

This bundle is designed for cellists who enjoy playing orchestral music outside the orchestra. The selections include lyrical symphonic themes, colorful dances, operatic intermezzos, rhapsodic showpieces, and character pieces that work well in recitals, lessons, studio classes, church programs, and informal performances. The collection ranges from expressive, intermediate-friendly pieces to more virtuosic concert transcriptions.

Contents: Arensky - Romanza from Symphony No. 2 Bizet - Melodrama and Sicilienne from L’Arlésienne Enescu - Romanian Rhapsody No. 1 in A major, Op. 11 Falla - Seguidillas from El sombrero de tres picos Ippolitov-Ivanov - Two Pieces from Caucasian Sketches, Suite No. 1 Liszt - Hungarian Rhapsody No. 2 Liszt - Hungarian Rhapsody No. 5 Puccini - Intermezzo from Manon Lescaut Rimsky-Korsakov - Dance of the Tumblers from The Snow Maiden Rossini - Overture from The Barber of Seville R. Strauss - Auftritt und Tanz der Schneider from Le Bourgeois gentilhomme Schumann - Scherzo from the “Rhenish” Symphony Tchaikovsky - Andante cantabile from Symphony No. 5 Tchaikovsky - Intermezzo from Suite No. 1, Op. 43

Purchased individually, the pieces in this bundle total approximately $140.86. This bundle offers the full collection for $99.99.

This bundle brings together seven works and arrangements for unaccompanied cello, ranging from Baroque keyboard transcriptions to Romantic and modern solo cello repertoire. Included are J. S. Bach’s Prelude and Fugue No. 21 from The Well-Tempered Clavier, arranged for cello solo; Bach’s Prelude, BWV 999, arranged for cello solo; Saint-Saëns’s Bourrée, arranged for cello solo; Bolognini’s 5 Pieces for Solo Cello; Klengel’s Suite in D minor, Op. 56; Yuriy Leonovich’s Cadenza-Fantasia No. 1 for Cello Solo, after Rimsky-Korsakov’s Capriccio Espagnol; and Koheleth for cello solo.

The collection offers a wide range of characters and uses: contrapuntal Bach arrangements, a compact Saint-Saëns encore, lyrical and virtuosic Romantic solo pieces, a substantial Klengel suite, and two original solo works. Together, these pieces give cellists a varied set of recital, teaching, competition, and study repertoire beyond the standard solo cello canon.

Each edition is prepared with attention to the cello’s range, resonance, and practical playability. The arrangements aim to preserve the musical character of the originals while allowing them to speak naturally on the cello, and the original works explore the instrument’s dramatic, expressive, and coloristic possibilities.

Songs Without Words for Cello and Piano brings together vocal, folk, and song-inspired repertoire transcribed for cello and piano. The collection includes Dvořák songs, folk-based works, lyrical salon pieces, and expressive transcriptions by or after Alary, Glinka, Jacobi, Komitas, Ravel, Rimsky-Korsakov, Rossini, Schumann, Servais, and Dvořák.

This bundle is designed for cellists who want repertoire that sings. These pieces are useful for lessons, studio classes, recitals, church or memorial programs, folk-inspired programming, and lyrical study. The collection includes intimate songs, dramatic character pieces, Jewish and Armenian musical materials, Romantic salon repertoire, and vocal works that translate naturally to the cello’s range and expressive character.

Contents: Alary-Servais - Le Lac de Côme: Barcarolle Dvořák - 4 Songs, Op. 2/B. 124 Dvořák - Cigánské melodie (Gypsy Songs), Op. 55 Dvořák - Kež duch můj sám (Leave Me Alone), Op. 82, No. 1 Dvořák - Písně milostné (Love Songs), Op. 83 Glinka-Servais - Doubt (Сомнение) Jacobi - Two Pieces based on Palestinian Folk Songs Komitas - Krunk (The Crane) Ravel - Kaddish Rimsky-Korsakov - The Nightingale Captivated by the Rose Rossini - L’invito from Soirées musicales Schumann - Zigeunerleben

Purchased individually, the pieces in this bundle total approximately $126.88. This bundle offers the full collection for $89.99.

This bundle brings together five lyrical Romantic transcriptions for cello, including works by Clara Schumann, Dvořák, Rachmaninov, and Richard Strauss. The collection is designed for cellists looking for expressive recital repertoire beyond the standard canon: music that is lyrical, substantial, and naturally suited to the singing range of the cello.

Included in the bundle are Clara Schumann’s Three Romances, Op. 22, Dvořák’s Romantic Pieces, Op. 75, Clara Schumann’s Romance from the Piano Concerto, Rachmaninov's Adagio sostenuto from the Piano Concerto No. 2, and Strauss’s “Hab’ mir’s gelobt, ihn lieb” from Der Rosenkavalier. Together, these pieces offer a range of intimate, songful, and richly expressive repertoire for cello and piano, suitable for recitals, church or community performances, teaching, and personal study.

Each transcription is prepared with attention to the cello’s range, resonance, and expressive character, aiming to preserve the spirit of the original while allowing the music to speak naturally on the instrument.

Virtuoso Violin Showpieces for Cello brings together brilliant violin repertoire transcribed and arranged for cello. The collection includes dazzling concert pieces, lyrical miniatures, concerto movements, opera fantasies, national dances, and full-scale Romantic and early modern showpieces by Bazzini, Coleridge-Taylor, Elgar, Saint-Saëns, Sarasate, Sibelius, Smetana, Szymanowski, Tchaikovsky, Wagner/Wilhelmj, and Zimbalist.

This bundle is designed for advanced cellists who want repertoire with violinistic sparkle translated to the cello: fast passagework, lyrical high-register writing, double stops, character pieces, virtuoso finales, and concert works that make strong recital or encore material. Several selections are also useful for ambitious students looking for alternatives to the standard cello showpiece repertoire.

Contents: Bazzini - La Ronde des Lutins Coleridge-Taylor - Gipsy Dance, Op. 20, No. 2 Elgar - La Capricieuse, Op. 17 Saint-Saëns - Havanaise, Op. 83 Saint-Saëns - Introduction and Rondo Capriccioso Sarasate - Introduction and Tarantella, Op. 43 Sarasate - Romance and Gavotte from Mignon, Op. 16 Sarasate - Romanza andaluza, Op. 22 Sibelius - Violin Concerto Smetana - Z domoviny (From the Homeland / Aus der Heimat) Szymanowski - La Fontaine d’Aréthuse from Mythes, Op. 30 Tchaikovsky - Méditation, Scherzo and Mélodie, Op. 42 Tchaikovsky - Sérénade mélancolique, Op. 26 Wagner/Wilhelmj - Walther’s Preislied Zimbalist - Le Coq d’Or Fantasy

Purchased individually, the pieces in this bundle total approximately $159.85, assuming the Zimbalist item is priced at $12.99. This bundle offers the full collection for $109.99.

This collection of twelve arrangements for unaccompanied cello offers flexible and expressive repertoire for upper intermediate to advanced players. Drawing on beloved hymn tunes in a variety of styles, the volume is well suited for church specials, recitals, and other sacred or reflective settings.

The pieces may be performed individually, combined in smaller groups, or presented as a complete suite. Composed for an event at the 2026 Bible Conference at Greenville Presbyterian Theological Seminary, the collection combines musical variety, practical usefulness, and artistic substance.

Selected fingerings and bowings are provided in more challenging passages to support effective preparation and performance.

Contents I. Lo! He Comes with Clouds Descending II. Lasst uns erfreuen herzlich sehr III. Fingal (I Waited for the Lord) IV. Nearer, Still Nearer V. Lauda Anima (Praise, My Soul, the King of Heaven) VI. Meirionydd (I Need Thee, Precious Jesus) VII. Diadem (All Hail the Power of Jesus’ Name) VIII. Ballerma (The Lord’s My Shepherd, I’ll Not Want) IX. Divinum Mysterium X. Picardy (Let All Mortal Flesh Keep Silence) XI. St. Petersburg (With Grateful Heart My Thanks I Bring) XII. Genevan 42 (As the Deer Pants for the Waters)

ASTA level: 3–4

Joseph Marie Clément dall’Abaco’s 11 Caprices are an important example of eighteenth-century solo cello writing beyond the Bach suites. Written in a clear Classical style, these pieces offer cellists a valuable combination of musical elegance, technical variety, and practical study material.

This urtext edition is based on the manuscript source. The surviving collection appears to have been intended as a set of twelve caprices, but the manuscript breaks off during the eleventh caprice. For this edition, the eleventh caprice has been completed editorially according to its binary form, with the added material supplied in the most natural and stylistically consistent way possible.

Editorial corrections and additions are clearly marked. These caprices are suitable for intermediate to early advanced cellists and may be used for study, lessons, auditions, or recital programming.

ASTA level: 3–5

Vladislav Aloiz was a distinguished cellist, composer, and teacher who graduated from the Prague Conservatory in 1879. After completing his studies, he relocated to Russia, where he taught in Warsaw, Kyiv, and Odesa. In 1905, he joined the faculty of the Prague Conservatory, influencing a generation of musicians, including his student Sigizmund Zaremba. As a performer, Aloiz served as a soloist with the Court Orchestra in Prague and played in a string quartet with the celebrated violinist Leopold Auer.

Souvenir de Kieff, Op. 22 No. 2, was published by Jurgenson in July 1895 as the second piece in Aloiz’s Deux Pièces, following Sérénade orientale. This edition is based on the first edition published by Jurgenson.

A work with the same title is notable because it may have been misattributed to François Servais by Lev Ginzburg in his History of the Violoncello. Aloiz’s Souvenir de Kieff is a lyrical Romantic character piece, here presented in an orchestrated version for solo cello and orchestra.

This set includes the full score, solo cello part, and orchestral parts.

ASTA level: 4

Filippo Amadei, also known as Signor Pippo del Violoncello, was an Italian composer and cellist active in Rome and London. Born in Reggio, he served as a cellist in the household of Cardinal Pietro Ottoboni in Rome and later co-composed the opera Muzio Scevola with Bononcini and Handel in 1721.

This publication presents the first edition of Amadei’s Sonata in D minor for cello and basso continuo. The edition is based primarily on a copy from a private collection, and all editorial changes to the source are documented in footnotes in the cello-basso score.

The sonata is in two movements. The first movement is through-composed and built around a rising arpeggio and falling scale figure, often treated imitatively between the cello and basso. The second movement is in binary form, beginning in F major and returning to D minor, but ending on an A harmony, the dominant of D minor. Because the work closes on this dominant harmony, performers may choose to repeat the first movement in its entirety, though other performance solutions are also possible.

This set includes a playable score, separate cello and basso parts, and a realized figured bass.

ASTA level: 3

Giovanni Battista degli Antonii’s 12 Ricercate, Op. 1, first published in 1687, are among the important surviving works from the middle Baroque repertoire for unaccompanied cello. This edition presents the complete collection in a faithful text based on Antonii’s first edition.

Unlike many available editions, which are heavily abridged and substantially revised, this edition preserves the original 1687 text. The result is a valuable resource for cellists interested in early solo cello repertoire before Bach, as well as for performers and teachers looking for historically grounded Baroque material.

The original figures have been retained, allowing the works also to be performed as solo cembalo pieces if desired. This edition is suitable for intermediate cellists and for anyone interested in exploring the expressive, contrapuntal, and improvisatory style of the middle Baroque.

ASTA level: 3

This Romanza is the lyrical centerpiece of Arensky’s Second Symphony. In the orchestral score, the solo cello takes a prominent role, giving the movement an especially natural connection to the instrument.

This arrangement preserves as much of Arensky’s original cello solo as possible, while incorporating material from the solo horn part to complete the musical line and create a fuller recital version. The result is a warm, expressive character piece that works beautifully outside its original symphonic setting.

With its songful writing and Romantic atmosphere, this arrangement is well-suited for recitals, special occasions, church or community performances, and teaching. It offers cellists a lesser-known gem from the orchestral repertoire in a practical version for cello and piano.

ASTA level: 3

1. 1. 1. Bach’s Cello Concerto in A major has long been one of his most popular concertos. Bach himself prepared versions of the work for solo cello, solo flute, and solo keyboard, and the concerto has continued to attract later arrangements, including Ferdinand Pollain’s cello-and-orchestra version, which transposes much of the solo writing up an octave, and Gaspar Cassadó’s F major arrangement, which adds a solo flute in the slow movement.

This edition was prepared from the manuscript in the Alströmer Collection. While the concerto also survives in a manuscript at the Brussels Conservatory, currently available critical editions based on that source present several practical and textual problems, including inadequate page turns and an inaccurate marking for the slow movement. In the Brussels manuscript, the movement is marked Largo mesto, with con sordini applying only to certain instruments. The Alströmer source gives the marking as Largo maesto, which is followed in this edition.

The most significant musical difference in the Alströmer source occurs in the solo cello arpeggios near the end of the concerto, along with a few differences in the accompaniment. This edition aims to provide a faithful, practical performing text, with improved page turns in all parts and added cue notes for rehearsal and performance use.

This set includes the full score, solo cello part, and orchestral parts.

ASTA level: 4.5–5

1. 1. 1. Bach’s Sonata in D major for viola da gamba is presented here in an arrangement for two cellos. The work is a fine example of the early Classical style cultivated in Berlin, with clear textures, expressive detail, and lively conversational writing between the parts.

This arrangement allows two cellists to perform the sonata without piano or continuo, making it useful for lessons, studio classes, recitals, and chamber music settings. Both cello parts are adapted to preserve the character of Bach’s original while making the music practical and natural for two cellos.

ASTA level: 3

This edition of Bach’s famous alto aria “Es ist vollbracht” is based on the third version of the St. John Passion, in which the viola da gamba has a continuous obbligato line. In this arrangement, the viola da gamba part, based on Bach’s own manuscript, is played by the cello.

The piano part incorporates the basso continuo line, the alto vocal line in the slow sections, and the upper string writing in the faster middle section. The result is a practical chamber version that preserves the expressive depth and dramatic contrast of the original aria while allowing it to be performed by cello and keyboard alone.

The keyboard part may be played on piano or harpsichord. This arrangement is suitable for church services, recitals, teaching, and cellists interested in Bach’s sacred vocal music as instrumental repertoire.

ASTA level: 3