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

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.

Filippo Amadei (1670–1730), also known as Signor Pippo del Violoncello, was an Italian composer, born in Reggio and active in Rome and London. He was a cellist in the service of Cardinal Pietro Ottoboni in Rome. Amadei co-composed an opera Muzio Scevola with Bononcini and Handel in 1721.

This publication of Amadei's cello sonata marks the first

Filippo Amadei (1670–1730), also known as Signor Pippo del Violoncello, was an Italian composer, born in Reggio and active in Rome and London. He was a cellist in the service of Cardinal Pietro Ottoboni in Rome. Amadei co-composed an opera Muzio Scevola with Bononcini and Handel in 1721.

This publication of Amadei's cello sonata marks the first edition of the work. The Schönborn source (shelfmark 896) by the copyist Franz Jacob Horneck was used as the main source of this edition. The set comes with a playable score, cello and basso parts, as well as a realized figured bass. All changes to the source have been footnoted in the cello-basso score.

This composition is in 2 movements. The first movement is through-composed and is in the key of D minor. It is based on the figure of a rising arpeggio and a falling scale, which is often presented in imitation between the two instruments. The second movement is in the binary form where the first section is in F major and the second section is in D minor, ending on an A harmony (dominant of D minor). Since the ending of the sonata leaves the music on a dominant harmony, we suggest repeating the first movement in its entirety. However, cellists might find other solutions.

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

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.

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

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

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.

There is a perennial fascination with playing Bach's violin works on cello. We are happy to introduce a transcription by cellist Harro Ruijsenaars. Ruijsenaars explains, "I have tried to follow the autograph in transcribing it for the cello, but I do not always play an octave down. Incidental excursions into the original violin register are made.

There is a perennial fascination with playing Bach's violin works on cello. We are happy to introduce a transcription by cellist Harro Ruijsenaars. Ruijsenaars explains, "I have tried to follow the autograph in transcribing it for the cello, but I do not always play an octave down. Incidental excursions into the original violin register are made. The result is that the texture of the work is enriched, sometimes drawn out of the darker register in order to give way to a more brilliant one. Bach meets Boccherini, as it were, but without any changes in the score."

You may hear this transcription on the album "Cello Excursion" https://open.spotify.com/album/3cVblVZsiI22QF0k8T0bg6

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

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.

Cellists are always looking for Bach's works to be arranged for the cello, especially concertos. The A-minor violin concerto, BWV 1041 is a dark work that lends itself well to be played on the cello. This arrangement was transposed to G-minor, using the key of the keyboard version of the concerto, BWV 1058.

This set includes the score, solo, and

Cellists are always looking for Bach's works to be arranged for the cello, especially concertos. The A-minor violin concerto, BWV 1041 is a dark work that lends itself well to be played on the cello. This arrangement was transposed to G-minor, using the key of the keyboard version of the concerto, BWV 1058.

This set includes the score, solo, and orchestra parts.

Cellists are always looking for Bach's works to be arranged for the cello, especially concertos. The E-major Violin concerto, BWV 1042 is a sunny work that lends itself well to be played on the cello. Bach himself transcribed this work for keyboard in D major (BWV 1054). Our arrangement is D major.

This set includes the score, solo, and orchestra

Cellists are always looking for Bach's works to be arranged for the cello, especially concertos. The E-major Violin concerto, BWV 1042 is a sunny work that lends itself well to be played on the cello. Bach himself transcribed this work for keyboard in D major (BWV 1054). Our arrangement is D major.

This set includes the score, solo, and orchestra parts.

Cellists are always looking for Bach's works to be arranged for the cello, especially concertos. The E-major keyboard concerto, BWV 1053 is a sunny work that lends itself well to be played on the cello. Overall, this work is one of Bach's more harmonically adventuresome pieces, especially the slow movement. This cello version, transposed to D major

Cellists are always looking for Bach's works to be arranged for the cello, especially concertos. The E-major keyboard concerto, BWV 1053 is a sunny work that lends itself well to be played on the cello. Overall, this work is one of Bach's more harmonically adventuresome pieces, especially the slow movement. This cello version, transposed to D major is based on the oboe version reconstruction from the Cantatas BWV 169 (movements 1 and 2) and 49 (movement 3).

This set includes the score, solo, and orchestra parts.