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Late at Night
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77
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5
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2
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1
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1
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6
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9
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4
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3
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2
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2
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1
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1
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1
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1
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1
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1
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1
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1
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1
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1
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9
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5
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Cor anglais, Piano
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Euphonium, Piano (duo)
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Cor
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2
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1
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1
Quatuor de cuivres: 4 trombones
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13
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9
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7
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6
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4
Violon
4
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3
2 Violoncelles (duo)
2
Alto seul
2
Violoncelle
2
2 Violons (duo)
2
4 Violoncelles
1
Contre Basse
1
Violon, Alto (duo)
1
Trio à Cordes: violon, alto, violoncelle
1
Violon, Clarinette, Piano (trio)
1
+ 11 instrumentations
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40
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12
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11
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4
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3
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Ensemble de Percussions
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Vous avez sélectionné:
Late at Night
Violoncelle, Piano
Partitions à imprimer
6 partitions trouvées
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1
O Holy Night for Cello & Piano
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Violoncelle, Piano
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FACILE
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Noël
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Adam
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James M
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O Holy Night for Cello & P
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jmsgu3
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SheetMusicPlus
Cello,Piano - Level 2 - SKU: A0.548673 Composed by Adam. Arranged by James M. Guthrie, ASCAP. Christmas. Score and part. 10 pages. Jmsgu3 #3410433. Publ...
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Cello,Piano - Level 2 - SKU: A0.548673 Composed by Adam. Arranged by James M. Guthrie, ASCAP. Christmas. Score and part. 10 pages. Jmsgu3 #3410433. Published by jmsgu3 (A0.548673). Cantique de Noël The French composer Adolphe Adam was already famous as a composer of many successful ballets and operas. Then, in the 1840s, he wrote his most famous work - O Holy Night. The original song title was Minuit Chretiens or Cantique de Noël.  Placide Cappeau provided the original song lyrics. The song was first performed in Roquemaure by the opera singer Emily Laurey at midnight mass in 1847. It became very popular among the French, much like Silent Night was famous elsewhere. In 1850, John S. Dwight, a Unitarian minister and music teacher, translated the song into English.  Adolphe Adam Adam studied organ and composition at the Paris Conservatoire in his younger years. He also played the timpani in the Conservatoire orchestra. Adam used his savings and borrowed money to open a new opera house - the fourth opera house in Paris in 1847. Unfortunately, the Revolution of 1848 forced him to close. He taught composition at the Paris Conservatoire from 1849 until he died in 1856. Placide Cappeau The poet Cappeau was an advocate of the French Enlightenment philosopher Voltaire. Voltaire was renowned for criticizing the Catholic church, religious intolerance, and dogma in general. Consequently, Cappeau made the Redeemer figure in his song a kind of reformer of injustices, particularly the problem of original sin. To begin with, people recognized Cappeau's theology as eccentric, probably even doubtful. Theology In the earlier form of Minuit, the Christ figure descends to intervene with His Father's plan to punish humanity. Traditional doctrine pronounces that Christ came from love, not to intervene. This version also declares that Christ appeared to delete the original sin of Adam. Cappeau removed this part from his poem years later because he didn't believe it. He preferred to portray Christ as the reformer of disparity and unfairness. Before long, the writer/politician Alphonse de Lamartine called the Minuit the Marseillaise of religion. Most French churchmen agreed with this idea but did not consider it a tribute.  Â
$26.95
Tango at 2 a.m. - 9 seriously exciting pieces for Cello + Piano
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Violoncelle, Piano
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Barbara Arens
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Barbara Arens
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Tango at 2 a.m. - 9 seriously
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Barbara Arens
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SheetMusicPlus
Cello,Piano - SKU: A0.1453200 By Barbara Arens. By Barbara Arens. Arranged by Barbara Arens. 21st Century,Contemporary,Contest,Festival,Instructional. S...
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Cello,Piano - SKU: A0.1453200 By Barbara Arens. By Barbara Arens. Arranged by Barbara Arens. 21st Century,Contemporary,Contest,Festival,Instructional. Score and part. 65 pages. Barbara Arens #1032427. Published by Barbara Arens (A0.1453200). Written as encores, written to play with my daughter, Late Intermediate to Advanced Cellists and their Piano partners should have QUITE a lot of fun with these 9 pieces:Tango at 2 a.m.Under ThreatPiccadilly at NightSalamancaRondo alla TarantellaFire DanceWitches' DanceLondon Bridge RagTango at 2 a.m. & Rondo alla Tarantella were written for the composer's daughter - the videos are on Youtube.
$16.99
Pomp and Circumstance March No. 1 for Cello and Piano
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Violoncelle, Piano
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INTERMÉDIAIRE
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Classique
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Edward Elgar
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Diego Marani
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Pomp and Circumstance March No
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Diego Marani
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SheetMusicPlus
Cello,Piano - Level 3 - SKU: A0.1037970 Composed by Edward Elgar. Arranged by Diego Marani. Classical,Instructional,Patriotic,Romantic Period,Standards....
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Cello,Piano - Level 3 - SKU: A0.1037970 Composed by Edward Elgar. Arranged by Diego Marani. Classical,Instructional,Patriotic,Romantic Period,Standards. Score and part. 15 pages. Diego Marani #642890. Published by Diego Marani (A0.1037970). The best known March of the set, it had its premiere in Liverpool on 19 October 1901, with Elgar conducting the Liverpool Orchestral Society. The Trio contains the tune known as Land of Hope and Glory. In 1902 the tune was re-used, in modified form, for the Land of hope and glory section of his Coronation Ode for King Edward VII. The words were further modified to fit the original tune, and the result has since become a fixture at the Last Night of the Proms, and an English sporting anthem. In the United States, the Trio section Land of Hope and Glory of March No. 1 is often known simply as Pomp and Circumstance or as The Graduation March and is played as the processional tune at virtually all high school and some college graduation ceremonies. It was first played at such a ceremony on 28 June 1905, at Yale University, where the Professor of Music Samuel Sanford had invited his friend Elgar to attend commencement and receive an honorary doctorate of music. Elgar accepted, and Sanford made certain he was the star of the proceedings, engaging the New Haven Symphony Orchestra, the College Choir, the Glee Club, the music faculty members, and New York musicians to perform two parts from Elgar's oratorio The Light of Life and, as the graduates and officials marched out, Pomp and Circumstance March No. 1. Elgar repaid the compliment by dedicating his Introduction and Allegro to Sanford later that year. The tune soon became de rigueur at American graduations, used primarily as a processional at the opening of the ceremony. This arrangement for cello with piano is suitable for classroom, repertoire and recital.
$9.99
Sorry Seems To Be The Hardest Word
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Violoncelle, Piano
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INTERMÉDIAIRE
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Rock
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Elton John
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Keith Terrett
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Sorry Seems To Be The Hardest
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Keith Terrett
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SheetMusicPlus
Cello,Piano - Level 3 - SKU: A0.747037 By Elton John. By Bernie Taupin and Elton John. Arranged by Keith Terrett. Pop,Rock. Score and part. 6 pages. Kei...
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Cello,Piano - Level 3 - SKU: A0.747037 By Elton John. By Bernie Taupin and Elton John. Arranged by Keith Terrett. Pop,Rock. Score and part. 6 pages. Keith Terrett #5902957. Published by Keith Terrett (A0.747037). Arranged for Cello & Piano, Sorry Seems to Be the Hardest Word is a song written by Elton John and Bernie Taupin. It was recorded by Elton John and released in 1976, both as a single and as part of the Blue Moves album. It was John's second single released by The Rocket Record Company. The song is a mournful ballad about a romantic relationship which is falling apart.The song also appeared the following year on Greatest Hits Volume II, though for copyright reasons it no longer appears on the current version of that album. It now appears on Greatest Hits 1976–1986, The Very Best of Elton John and in Greatest Hits 1970–2002, as well as a number of other compilations.The song was covered in 2002 by English boy band Blue for their second studio album, One Love (2002). The song was recorded as a collaboration with Elton John, and was the second single from the album. It peaked at number one on the UK Singles Chart on 15 December 2002 and also reached number one in Hungary and the Netherlands. It peaked within the top 10 in an additional 16 countries.In 2004, Elton John and Ray Charles performed the song on Charles' duet album, Genius Loves Company. It would turn out to be the last recording Charles ever did before his death that June. The duet was nominated for a Grammy Award for Best Pop Collaboration with Vocals. It was also performed by smooth jazz saxophonist Kenny G on the soprano saxophone featuring Richard Marx on his 2004 album At Last...The Duets Album later that year.The song was a Top 20 hit, reaching No. 11 in the United Kingdom, No. 6 in the United States and No. 3 in Canada. In addition, the song went to No. 1 on the US and Canadian Adult Contemporary charts. In the US, it was certified Gold on 25 January 1977 by the RIAA.The single was the lead single for the eight-track remix compilation Good Morning to the Night in collaboration with Australian remixer Pnau, which came out on 16 July 2012.
$9.99
He Ain't Heavy, He's My Brother
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Violoncelle, Piano
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INTERMÉDIAIRE
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Pop musique
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Neil Diamond
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Kevin P Holdgate
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He Ain't Heavy, He's My Brothe
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Kevin P Holdgate
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SheetMusicPlus
Cello,Piano - Level 3 - SKU: A0.791238 By Neil Diamond. By Bob Russell and Bobby Scott. Arranged by Kevin P Holdgate. Pop. Score and part. 8 pages. Kevi...
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Cello,Piano - Level 3 - SKU: A0.791238 By Neil Diamond. By Bob Russell and Bobby Scott. Arranged by Kevin P Holdgate. Pop. Score and part. 8 pages. Kevin P Holdgate #5771819. Published by Kevin P Holdgate (A0.791238). KPHMS 'Solo' CollectionHe Ain't Heavy, He's My Brother is a ballad written by Bobby Scott and Bob Russell. Originally recorded by Kelly Gordon in 1969, the song became a worldwide hit for The Hollies later that year and a minor hit for Neil Diamond in 1970. It has been recorded by many artists in subsequent years.Scott and Russell were introduced to each other by Johnny Mercer, at a California nightclub. Although Russell was dying of lymphoma and the pair met only three times, they managed to collaborate on the song.This is an arrangement as a solo with piano accompaniment that I would judge to be around Grade 5/6 standard for most instruments.
$4.99
O Come All Ye Faithful for Cello & Piano
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Violoncelle, Piano
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DÉBUTANT
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Wade
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James M
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O Come All Ye Faithful for Cel
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jmsgu3
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SheetMusicPlus
Cello,Piano - Level 1 - SKU: A0.548509 Composed by Wade. Arranged by James M. Guthrie, ASCAP. Christian,Christmas. Score and part. 4 pages. Jmsgu3 #3388...
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Cello,Piano - Level 1 - SKU: A0.548509 Composed by Wade. Arranged by James M. Guthrie, ASCAP. Christian,Christmas. Score and part. 4 pages. Jmsgu3 #3388103. Published by jmsgu3 (A0.548509). O Come All Ye Faithful arranged with new harmony for the final verse. Score: 3 pages, part: 1 page. O Come, All Ye Faithful O Come, All Ye Faithful is an English translation of the Latin Christmas carol Adeste Fideles. No one knows exactly who wrote it, but one theory is that it was originally composed by King John IV of Portugal (1604–1656) and revised by John F. Wade and John Reading. Nowadays, we usually attribute it to John Wade. The oldest manuscript from 1751, is owned by Stonyhurst College in Lancashire. Lyrics The English translation O Come, All Ye Faithful was certainly written by Frederick Oakeley, a Catholic priest in 1841. This translation is the most common in English speaking states. To begin with, the hymn had only four verses. Later, the verses grew to eight. Often, various verses are omitted because otherwise, the song is just too long. Some believe the first Latin lyrics were written by St. Bonaventure (13th century) or King John IV of Portugal in the 17th. Though others think it was written by the Cistercian monks. King John IV King John IV of Portugal was called The Musician King. He became king in 1640. In addition to performing the duties of a king, he was also a composer and music journalist. King John built a very large music library. Unfortunately, the library was ruined in 1755 because of the massive earthquake of Lisbon. In addition to his library, the king started a Music School that produced many accomplished musicians. The king also worked diligently to get instrumental music approved by the Vatican for use in his churches. Aside from his authorship of Adeste Fideles, he is famous for another popular choral setting of the Crux Fidelis, a prevalent Lenten hymn. Performance in Context As mentioned above, verses are sometimes left out because all eight verses would take too long to perform. More to the point though, some of the verses may be unsuitable for whatever of the church calendar they are intended. The eighth verse deals with the Epiphany, so it makes sense to sing this on Epiphany Sunday, but not other Sundays. Similarly, other verses are used according to whether the event is Midnight Mass or regular daytime Mass. Register for free lifetime updates and revisions at www.jamesguthrie.com
$24.95
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Late at Night
