Michele Galvagno

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Voice

The production involving the voice by Carlo Alfredo Piatti (18221901) is as vast as it is neglected. From about sixty songs for voice and piano, to almost twenty adding a cello, to several (though small) choral works. 
This edition kickstarts the unearthing of these unfairly forgotten gems, with the Canto Piatti wrote using the Exercise n 7 from Duport's Essai. This most famous etude, which every cellist will know by heart, provides the base over which the text by poet and librettist Felice Romani is shaped into a dramatic musical line.
Also included is a rich preface with a thorough analysis of how Piatti interwove text and music together. The original text of Romani's poem is included as well. The full score is accompanied by a cello part and a solo vocal part, as it was customary at the time.

Canto sopra uno studio di Duport

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Carl Eduard Schuberth (Magdeburg, 1811  Zurich, 1863) is considered one of the most talented students of Justus Johann Friedrich Dotzauer (17831860), the eminent German cellist and pedagogue, father of the Dresden Cello School. In 1833, the young Carl set out to conquer the European stages with only this solid training and his enthusiasm. 
At the beginning of 1836, following a particularly notable concert in Saint Petersburg, he was appointed 'concert cellist' at the Court Orchestra and at the Imperial Theater. This is how his long and successful career in Russia began. During the following 27 years, Schuberth fulfilled his duties as soloist, quartet player, teacher, conductor, and composer.
His Opus 3, composed around 1829 but first published in 1836, titled "Souvenir de la Hollande | Fantasie et Variations brillantes | sur un Theme national hollandais | pour le | Violoncelle | avec | Accompagnement de l'Orchestre | ou de Pianoforte." is inspired by an old popular song titled, in Dutch language, "Wien Neerlandsch bloed in de aders vloeit" (Whose Dutch blood flows in the veins), composed by the Dutch-German composer Johann Wilhelm Wilms (17721847) on text by Hendrik Tollens (17801856). It served as the national anthem of the Kingdom of the Netherlands from its foundation in 1815 until 1932.

This edition is the first modern publication of this virtuoso piece, remained forgotten for almost 200 years. It is available in three versions, for cello and piano, with orchestral accompaniment, and with strings accompaniment only. Rich editorial notes preface the score with an in-depth analysis of the piece, while Critical endnotes allow a complete understanding of the choices made during the reconstruction of the piece.

Souvenir de la Hollande  Fantasy and Brilliant Variations, Op. 3

2 Violins, 2 Violas, 2 Cellos Quintet

Format

Projeto Puccini

The untimely passing of Brazilian Maestro Antonio Meneses left a deep wound in many of us, whether we knew him personally or not. After the immense honour that had been creating the edition of the Capriccio sulla Niobe di Pacini for cello solo by Alfredo Piatti with him still alive, something more had to be done. 
When Brazilian cellist Raiff Dantas Barreto shared with me that M Meneses had proposed him to create a project around the most famous arias by Puccini arranged for cello ensemble, we both realised that we had to do our best to complete what destiny prevented him to. 

The Projeto Puccini (Puccini Project) is possibly the last project M Meneses conceived and we are proud to be finally able to unveil it to the world. 
It consists of seven among the most famous arias from Puccini's operas arranged for Voice and Cello Ensemble (5 parts). Each title, then, also contain the soloist part arranged for a Solo Violin (for the female arias) or for Solo Cello (all of them). 

Each aria will be available separately in digital form and bundled in a single great book in both physical (coming Early 2025) and digital form.

This title contains the aria "Un bel di vedremo" from the opera "Madama Butterfly"

Projeto Puccini - "Un bel di vedremo" from the Opera "Madama Butterfly"

Soprano Full Score

Instrument Type

Justus Johann Friedrich Dotzauer (17831860) was a true man of his time, and progressively adapted to what the concert and educational market was after. This set of Three Easy Sonatas for Cello, accompanied by a second Cello, is the last one among his production and, as it already happened with other composers such as J. B. Breval, it is the easiest one.

There is no thumb position, very few double-stops, and they never venture beyond the 4th position. The bow technique requirements are a bit higher, but this is a field in which Dotzauer always struggled to keep his demands low. Nevertheless, they are perfect for students who have already played his "Original Pieces" for two cellos, and an appropriate springboard for more challenging works. By practicing these sonatas, students can expect to learn of this fundamental musical form in a friendly environment, also gaining possible concert pieces thanks to their beauty.

This edition comes in two main versions: Standard and Collectors' Edition. The Standard edition contains the first modern rendition of the original source published in 1827 by Hofmeister Verlag, and offers, for the first time, a full score of these sonatas. The Collectors' Edition comes with several additions:
1) the score and parts of the first revision of these works by cellist Alwin Schroder (18551928), originally published by C. F. Peters around 1891, 31 years after Dotzauer's death.
2) the score and parts of the original edition, revised and edited by Michele Galvagno (*1987). This adds fingering, bowing, and dynamic suggestions without altering the original text, thus providing a ready-to-play version for everyone.
3) both additional versions come with an extra copy which highlights every single change, making it very easy to know what a specific editor changed from the original version.

Standard Edition: score - 52pp; parts - 24+24pp

Collectors' Edition: 5 scores - 276pp; parts (5 couplets) - 240pp

Three Easy Sonatas, Op. 103 - Collectors' Edition

Cello

Besides the first one, Carlo Alfredo Piatti added a piano accompaniment only to one other of the Six Suites for cello solo by Johann Sebastian Bach, his choice falling on the 4th one, in E-flat major.

His arrangement is fresh, sentimental, and never dull. The cello part included in this edition reflects Piatti's performance choices, which are listed in the detailed Critical Notes.

Suite n 4 in E-flat major - BWV 1010

Cello with Piano,with Piano

Pietro Mascagni's (18631945) Intermezzo Sinfonico from his opera Cavalleria Rusticana needs no presentation. The idea of this edition comes from an update to an arrangement created for a friend's wedding in 2010. While arranging, I stumbled upon the composer's autograph of this Intermezzo, for piano solo, and decided to add a modern engraving of it to the mix. Finally, an orchestral score and a full set of parts have been included to close the circle.

There are, therefore, three versions of this piece:
1) ASE 0055: for piano solo, based on the composer's autograph from 1888.
2) ASE 0057: arrangement for cello ensemble (min. 8 cellos), based on the piano part and not on the orchestral version, which differs greatly in dynamics and agogic marking
3) ASE 0058: original orchestration, score and parts

This edition's piano solo and original orchestration versions inaugurate a new series dedicated to Italian composers and/or to composers who thought about Italy while writing their music. It is called: Viva l'Italia!

Intermezzo Sinfonico from "Cavalleria Rusticana"

Piano

Dotzauer wrote over 250 studies for cello solo, possibly the greatest contribution to the development of the cello technique ever. 
The (in)famous selection operated by Johannes Klingenberg to reduce them to four books containing 113 studies graded by difficulty ruthlessly took away the soul of these pieces. Most of them, in fact, are gorgeous pieces of music, and should not be played with any less seriousness and respect than a Chopin prelude or a Bach fugue. 
Relegating them to just the classroom where, in all honesty, few students will ever bring any of them to concert level before moving to the next is a waste. 
This first publication, in collaboration with Maestro Yuriy Leonovich, begins the process of giving these pieces back to the concert halls and stages where they rightfully belong. 
The fourth book of studieswhich Dotzauer called, in Italian, "Esercizi"is among the most beautiful of his collections, with each piece offering a charming character and specific techniques to work on. They all require the thumb position in some way. 
M Leonovich masterfully recorded N 6, a dramatic fugue in D minor, which recalls the fugue from Bach's Violin Sonata in C major, BWV 1005.

We hope that this will be just the beginning of the Dotzauer's comeback's avalanche!

Six Exercises, Op. 116

Cello Solo

Piatti composed the small quartet (Quartettino) In vacanza (On holiday), a Sonata-form in three movements for four cellos, dedicating it to the young cellists from Bergamo in 1891. It was premiered at the final exams in the same year. 

It is a simply structured piece made of catchy melodies, thick of that irony, that carelessness that probably Piatti reckoned as a fundamental soft skill for young musicians. The first movement, Allegro con brio, bears the title Partenza (Departure), the second, Andantino quasi allegretto, Arrivo (Arrival), the third, Allegretto vivo, Danza rustica (Rustic Dance). One cannot help but notice the lack of a slow movement in the middle or of a Coming Back at the end. 
We can explain this only in recognising that Piatti, having come to the end of a long career, may have wanted to leave a wishing message to the younglings who were still at the beginning of their path: "may your life be as a long, endless holiday, with no slack moment; may the enthusiasm to push forward never falter you and may even old age have the cheerful rhythm of a dance" 

This score was published in 2018 and updated in 2023.

Quartettino "In Vacanza"

Cello Quartet

Johann Simon Mayr (17631845) is a composer rarely performed today. His music, reflecting the transition from the Classical to the Romantic musical era, inspired Rossini and was crucial in the development of Donizetti's style.

He became a central figure in the musical life of the Italian city of Bergamo where, in 1805, he founded the Conservatory, at the time known as "Lezioni Caritatevoli di Musica". One of the first pupils of the "Lezioni" was Gaetano Donizetti, whose production and fame soon arose above everyone else's.

The first concerto, in C major, is one of the three surviving keyboard concertos from Mayr's manuscripts kept in the Biblioteca Musicale Gaetano Donizetti and in the Museo Donizettiano. It is pedagogical in nature, its light orchestration (only 2 oboes and 2 horns joining the strings) allowing it to be performed with minimal forces.

In three movements, spanning about 18 minutes in total, it looks back at a late Classical style that was quickly fading out of fashion at the time of its creation (1825-6).

This edition comes with the unique contribution of M Fabrizio Capitanio, in the form of a thorough musicological research delving deep into the historical context, and all of the critical aspects that made this work possible.

Concerto n 1 in C major (2-piano reduction)

The production for Cello and Guitar is, in general, quite scarce, and while one could be repelled from this instrumentation because of the potential sound balance issues, the actual result is, in truth, remarkable and surprising at the same time.
During the 1810s, Dotzauer wrote three opuses involving the guitar, making us assume there could have been a player to serve as source for his inspiration. This Pot-pourri, Op. 21, composed around 1811 and marked for publication by Breitkopf &amp; Hartel only in 1817, is a 9-minutes-long piece in five parts in the key of E minor. 
A dramatic, long introduction leads the way to a Gavotte-like Andante, whose melody is constantly varied and developed to put the singing qualities of the soloist in the spotlight. A dreaming Larghetto, in G major, prepares us for the coming back of the Andante, and for the closing, rushing Presto. 
This edition comes in a full score and cello part that closely follow Dotzauer's instructions, plus several bonuses: 
- A guitar part with annotations by Emanuele Buono, 1st-prize winner of the "Michele Pittaluga" competition in 2013
- Two additional cello parts, one with historical performance suggestions by Australian cellist Josephine Vains, and one with modern performance suggestions by Michele Galvagno.

Pot-pourri Op 21

Cello Duet

The decision to publish a version for cello choir comes from my personal experience as a student of prof. Marcio Carneiro in Sion, Switzerland, when an adaptation for cello solo and cello choir of the version by Cassado for cello and piano was proposed during the academic year. That version was published in 2018, and will remain available digitally upon request.
The present revision, instead, follows exclusively the original piano part. All inconsistencies introduced by Cassado were removed, and the solo line has been distributed more evenly among the different voices.
This edition contains a full score and a complete set of parts, free from fingering and bowing suggestions. It requires a minimum of five cellists to be performed. Should more be available, we suggest doubling the lower voices first.

Intermezzo from Goyescas

Cello Quintet

In schools using the Suzuki Method it is usual to perform music taken from the children's repertoire books with the orchestra. The main problem with this approach is that, being violinists usually many more than their cellist fellows, these last ones have to add to their normal weekly practice also the study of the accompaniments of the pieces for violin. This can drain a lot of time from the cello teacher's weekly lesson's already limited time.
This edition aims to solve this problem by providing already made parts for accompanying all of the pieces presented in the Suzuki Violin School  Volume 2, ready to use with fingerings, bowings and other editorial marks.
Printing the whole score in recto-verso will give you a ready to play book with page turns already set up. The solo violin part is not shown in this publication. The teacher or the orchestra wishing to perform this is required to own a legal copy of the Suzuki Violin School  Volume 2. 

This edition comes with a full score and four cello parts.
1. G. F. Handel - Chorus from "Judas Maccabaeus"
2. J. S. Bach - Musette
3. C. M. v. Weber - Hunter's Chorus
4. T. H. Bayly - Long, Long Ago
5. J. Brahms - Waltz
6. G. F. Handel - Bourree
7. R. Schumann - The Two Grenadiers
8. N. Paganini - Theme from "Witches' Dance"
9. A. Thomas - Gavotte from "Mignon"
10. J. B. Lully - Gavotte
11. L. v. Beethoven - Minuet in G
12. L. Boccherini - Minuet

Cello Orchestral Companion

Cello Flexible Instrumentation

The first cello Suite by Johann Sebastian Bach is, possibly, the most well-known and played piece of the cello repertoire. Many composers have felt the need to add a piano accompaniment to these already perfect gems, often resulting in dull harmonisation exercises.

This is not the case with Carlo Alfredo Piatti's accompaniment, where many choices are clearly personal and original.

This editions includes a full score and a solo part with Piatti's fingering and bowing suggestions, while the Critical Notes explain Piatti's source management.

Suite n 1 in G major - BWV 1007

Projeto Puccini

The untimely passing of Brazilian Maestro Antonio Meneses left a deep wound in many of us, whether we knew him personally or not. After the immense honour that had been creating the edition of the Capriccio sulla Niobe di Pacini for cello solo by Alfredo Piatti with him still alive, something more had to be done. 
When Brazilian cellist Raiff Dantas Barreto shared with me that M Meneses had proposed him to create a project around the most famous arias by Puccini arranged for cello ensemble, we both realised that we had to do our best to complete what destiny prevented him to. 

The Projeto Puccini (Puccini Project) is possibly the last project M Meneses conceived and we are proud to be finally able to unveil it to the world. 
It consists of seven among the most famous arias from Puccini's operas arranged for Voice and Cello Ensemble (5 parts). Each title, then, also contain the soloist part arranged for a Solo Violin (for the female arias) or for Solo Cello (all of them). 

Each aria will be available separately in digital form and bundled in a single great book in both physical (coming Early 2025) and digital form.

This title contains the aria "Nessun dorma" from the opera "Turandot"

"Nessun dorma" from "Turandot"

Tenor Full Score

Benedetto Marcello (16861739) composed only two collections of pieces involving the cello as its main actor. One consists of the most famous Six Sonatas for cello and basso continuo all cellists had to face in one way or another in their studies. The otherpresented hereis another group of six sonatas, this time for two cellos (or gamba viols) and basso continuo.

The beauty of Marcello's melodies and contrapuntal artifices is preserved and amplified by the second soloist, while the required technical level is somewhat less demanding compared to the solo sonatas. There is no thumb position required, but rhythmical complexity balances it out.

This edition offers them all in modern notation, and with several errors corrected, ensuring a flawless practicing experience and performance from day one.

Six Sonatas a 3

Cello Trio

Raise your hand if you, like me, have spent a great time of your cellist childhood playing this piece from Suzuki Book 4. Have you ever wondered, though, where that arrangement came from? Or have you ever taken the time to listen to the original for Piano solo? 
The more questions we ask, the less of us will raise their hands! 

This edition brings clarity to what was used in the Suzuki book, what was done to the piano part, and what other arrangements  available, all while offering you a clearly readable and fully enjoyable version of Popper's arrangement. 
Honestly, the main reason why I embarked on this quest was because we couldn't read from the low resolution copy on IMSLP, and printing that coloured file on a B/W printer was a royal disaster! 

It is now available in a beautiful score and part bundle, including Editorial and Critical notes following the research that lead to its birth!

I'm sure you will love it!!

Chanson Triste, No. 2 from Twelve Pieces Op. 40 (1878)

Cello Solo with Piano

Projeto Puccini

The untimely passing of Brazilian Maestro Antonio Meneses left a deep wound in many of us, whether we knew him personally or not. After the immense honour that had been creating the edition of the Capriccio sulla Niobe di Pacini for cello solo by Alfredo Piatti with him still alive, something more had to be done. 
When Brazilian cellist Raiff Dantas Barreto shared with me that M Meneses had proposed him to create a project around the most famous arias by Puccini arranged for cello ensemble, we both realised that we had to do our best to complete what destiny prevented him to. 

The Projeto Puccini (Puccini Project) is possibly the last project M Meneses conceived and we are proud to be finally able to unveil it to the world. 
It consists of seven among the most famous arias from Puccini's operas arranged for Voice and Cello Ensemble (5 parts). Each title, then, also contain the soloist part arranged for a Solo Violin (for the female arias) or for Solo Cello (all of them). 

Each aria will be available separately in digital form and bundled in a single great book in both physical (coming Early 2025) and digital form.

This title contains the aria "Vissi d'arte" from the opera "Tosca"

Vissi d'arte from "Tosca"

High Full Score

When it comes to repertoire for Cello Ensemble, nothing comes closer to the goal than operatic arrangements. But where to start from? As an Italian, that was a surprisingly easy choice: the Va Pensiero chorus from Giuseppe Verdi's Nabucco! 
This arrangement was created in tandem with my cello teacher, the Brazilian master Marcio Carneiro, and it is best suited for cello ensembles with at least eight members. 
If you have ever played in the opera, though, you know this specific piece has an issue: it is in F-sharp major, with 6 sharps as key signature. This may make it somehow unapproachable for ensembles without enough time to rehearse it. That's why this arrangement comes in two versions: one in the original key (ASE 0005) and one in a more user-friendly G-major (ASE 0093).
Each version contains: a full score, a full set of parts and an extra copy of the cello 1 &amp; 2 parts in a slightly easier format, ideal for less advanced students. 
I hope you will enjoy this as much as I have enjoyed creating it!

Va', pensiero  from the opera Nabucco (Key of G major!)

Cello Ensemble

Carlo Alfredo Piatti (Bergamo, 8 January 1822 – Mozzo, 18 July 1901) published his Twelve Caprices for Solo Cello with the publisher N. Simrock, Berlin, in 1875, nine years after their initial completion, the autograph bearing the date 26 June 1865. Piatti dedicated the set to his esteemed colleague Bernhard Cossmann, who, in turn, dedicated his 5 Concert Studies, op. 10, to Piatti in 1876. Since their publication, these caprices have become a cornerstone of the cellist’s repertoire, valued both for their musical beauty and for their enduring pedagogical contribution to the advancement of cello technique.
This two-volume set presents the Twelve Caprices with piano accompaniment: Volume 1 (this edition) includes Caprices Nos. 1, 6, 7, 9, 10, and 12. With the exception of No. 7, which is Piatti’s own, the piano parts are newly composed for this edition. Volume 2 is forthcoming and will contain Nos. 2, 3, 4, 5, 8, and 11. 
The piano part was composed by Maestro Yuriy Leonovich. The cello part has undergone a thorough revision through the autograph manuscript and the currently available printed editions, finding several previously undocumented discrepancies and curiosities, all of which have been compiled in the Critical Notes section.

Caprices Op. 25 (Vol. 1)

Carl Eduard Schuberth (Magdeburg, 1811 – Zurich, 1863) is considered one of the most talented students of Justus Johann Friedrich Dotzauer (1783–1860), the eminent German cellist and pedagogue, father of the Dresden Cello School. In 1833, the young Carl set out to conquer the European stages with only this solid training and his enthusiasm. 
At the beginning of 1836, following a particularly notable concert in Saint Petersburg, he was appointed 'concert cellist' at the Court Orchestra and at the Imperial Theater. This is how his long and successful career in Russia began. During the following 27 years, Schuberth fulfilled his duties as soloist, quartet player, teacher, conductor, and composer.

His Opus 6, first published in 1840, titled ‘Nocturne pour Deux Violoncelles avec accompagnement de Pianoforte’, would rise to become a true success story, with no less than three different versions involving the cello and successive adaptations for violin, viola, and flute—some of them even posthumous! 

This edition is the first modern publication of the first version of this piece, in its first appearance for two cellos and piano. It contains a full score and two parts, each of them with both a clean and an annotated version for smoother performance. Rich editorial notes preface the score with an in-depth analysis of the piece, while Critical endnotes allow a complete understanding of the choices made during the reconstruction of the piece.

Nocturne

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