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--INSTRUMENTS--
ACCORDEON
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AUTOHARPE
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CHORALE - CHAN…
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The Song Is Over
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Cor
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Contre Basse
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Alto seul
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Harpe, Flûte (duo)
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Violoncelle , Guitare (duo)
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Cloches
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Vibraphone
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Marimba
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1
Suite Revelation for cello and piano
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Violoncelle, Piano
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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Robert M
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Suite Revelation for cello and
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Robert M. Greenberg
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SheetMusicPlus
Cello,Instrumental Solo,Piano - Level 4 - SKU: A0.987858 Composed by Robert M. Greenberg. 20th Century,Contemporary. Score and individual part. 32 pages...
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Cello,Instrumental Solo,Piano - Level 4 - SKU: A0.987858 Composed by Robert M. Greenberg. 20th Century,Contemporary. Score and individual part. 32 pages. Robert M. Greenberg #115605. Published by Robert M. Greenberg (A0.987858). Preferred Contact Information: RMonteverdi@comcast.net Performing Rights Organization: BMI Website: robertgreenbergmusic.com Facebook Band Page: facebook.com/RobertGreenbergMusic Video: https://mail.google.com/mail/?tab=wm#inbox/14f3cea616cb0a88?projector=1 Duration: ca. 12 minutes Year of composition: 2014 Program Note: I. Overture II. Nigun no. 9 III. Molad’ti IV. Gilu Hagalilim V. Y’mey Hanoar VI. The Gigue Is Up My apologies upfront for all the first person pronouns in this program note! A few years back, Nina Flyer asked me to write for her a piece of music that would contain or make reference to Jewish/Yiddish/Hebrew dance music and/or folk songs. The more I thought about it, the more difficult I realized the challenge would be. As best as I could tell, I had three options. Option one: I could set said dance music/songs for cello and piano, with the result being a series of arrangements: nice, but artlessly unoriginal (meaning dull). Option two: I could weave the tunes into a single narrative and in doing so write another version of Schlomo (a self-proclaimed Hebraic work for cello and orchestra by Ernst Bloch). Option three: I could make up my own ethnic-sounding melodies and either arrange them for cello and piano or weave them into some sort of Hebraic narrative: options one and two all over again. So I came up with option four. I selected four folk tunes (movements II, III, IV, and V) and composed a counter-melody to each. The first half of movements II, III, IV, and V set that counter-melody without any reference to the original folk tune. The second half of those movements then combines the counter-melody with the original tune (and thus the revelation, as the original tune is revealed). The generally two-part shape described above (excepting movement IV, which is A-B-A in structure) suggested Baroque binary dance form, and so I turned the piece into a sort of Baroque dance suite. It begins with a French Overture based on the counter-melodies of movement III and V, and concludes with a gigue based on the counter melodies of movements II and IV. The historical references are supposed to be tongue-in-cheek and I can only hope they will be taken that way. A thousand-and-one thanks to Nina Flyer and Lori Lack for their patience, hard work, and musical brilliance. Suite Revelation is dedicated – with the greatest respect and affection – to Nina Flyer.
$28.00
Grieg: Peer Gynt Suite Complete for Cello & Piano
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Violoncelle, Piano
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Edvard Grieg
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James Guthrie, ASCAP
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Grieg: Peer Gynt Suite Complet
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jmsgu3
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SheetMusicPlus
Cello,Piano - Level 4 - SKU: A0.551511 Composed by Edvard Grieg. Arranged by James Guthrie, ASCAP. Concert,Halloween,Instructional,Romantic Period,Stand...
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Cello,Piano - Level 4 - SKU: A0.551511 Composed by Edvard Grieg. Arranged by James Guthrie, ASCAP. Concert,Halloween,Instructional,Romantic Period,Standards. Score and part. 59 pages. Jmsgu3 #5306357. Published by jmsgu3 (A0.551511). 1. Morning Mood, 2. Ase's Death, 3. Anitra's Dance, 4. In the Hall of the Mountain KingGrieg BackgroundIn the first place, Edvard Grieg (1843 –1907) was a Norwegian composer as well as a concert pianist. As a matter of fact, most music historians consider him one of the foremost Romantic era composers. Consequently, his music is part of the international standard classical repertoire. Grieg moreover used Norwegian folk music in his own compositions. Consequently, he ushered Norwegian music to transnational consciousness. Furthermore, he forged a national musical identity for Norway. It is important to realize that he did this in a manner similar to Jean Sibelius in Finland, and Bedřich Smetana in Bohemia.LegacyGrieg is celebrated in the city of Bergen. For example, the city has erected numerous statues depicting Grieg. Specifically, the city has named a concert hall (Grieg Hall), a music school (Grieg Academy) and a professional choir (Edvard Grieg Kor) after him. As a matter of fact, there is also a museum located at his former home in Troldhaugen.Peer Gynt Suite No. 1 (Op. 46)Grieg wrote incidental music for the purpose of illustrating a play by Ibsen known as Peer Gynt. The play includes, in particular, the famous selection entitled, In the Hall of the Mountain King. In this composition, Grieg indeed depicts the exploits of the scoundrel, Peer Gynt. In one famous episode, for example, Peer steals a bride at her wedding. For this reason, the people chase him, but soon Peer falls, thereupon striking his skull on a boulder. He wakens forthwith in a highland bounded by angry gnomes. Consequently, the music of In the Hall of the Mountain King represents the mad gnomes taunting Peer. Therefore, each time the theme repeats it gets louder and faster. In the end, Peer surprisingly escapes from the mountain.Holberg Suite and Misc. SummaryIt must be remembered that Grieg originally wrote his Holberg Suite for the piano. In other words, he only later arranged it for strings. Further, Grieg composed by and large many songs with lyrics by famous writers such as Heine, Goethe, Ibsen, Hans Christian Andersen, Rudyard Kipling, and others. On balance, Norwegian pianist Eva Knardahl recorded altogether Grieg’s whole piano catalog on LP in 1980. These recordings were released again on CD in 2006. In any event, Grieg himself performed and recorded the bulk of these pieces toward the end of his life.
$59.95
Lullaby Variation (For Cello and Piano)
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Violoncelle, Piano
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INTERMÉDIAIRE/AVANCÉ
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Han-Ki Kim
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Lullaby Variation
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Han-Ki Kim
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SheetMusicPlus
Cello,Piano - Level 4 - SKU: A0.511813 Composed by Han-Ki Kim. Children,Contemporary,Multicultural,Standards,World. Score and part. 13 pages. Han-Ki Kim...
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Cello,Piano - Level 4 - SKU: A0.511813 Composed by Han-Ki Kim. Children,Contemporary,Multicultural,Standards,World. Score and part. 13 pages. Han-Ki Kim #6600115. Published by Han-Ki Kim (A0.511813). The theme of the original song Byeoljigi composed by Junhee Lim consists of a 16-bar melody, but this composer rearranged it to a 16-bar melody. the Korean pentatonic scale “Doremisola†is mostly used for the the melody. The overall framework is an introduction/theme and three variations/cadenza/finale/end. Through the theme, it creates a musical updraft until the second variation, and in the third variation, there is a relaxed atmosphere, and then a cadenza singing a conversation between a mother singing a lullaby and a baby enjoying in her dreams. The figure of the mother is the theme melody played with the G string, and the figure of the child is the cheerful high notes composed of the first five notes of the theme, “Mi re Do Re mi.†It then ends with a brilliant finale and a short ending. Attached music file is recorded by Violin, it's just for a referrence.
$5.20
Après un rêve" (Op. 7, No. 1) for cello and piano (as played by Yo Yo Ma and Kathryn Stott
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Violoncelle, Piano
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INTERMÉDIAIRE/AVANCÉ
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Gabriel Fauré, Yo Yo Ma and
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Flavio Regis Cunha
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Après un rêve&quo
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Flavio Regis Cunha
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SheetMusicPlus
Cello,Piano - Level 4 - SKU: A0.1197751 By Gabriel Fauré, Yo Yo Ma and Kathryn Stott. By Gabriel Faure. Arranged by Flavio Regis Cunha. Classical,Con...
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Cello,Piano - Level 4 - SKU: A0.1197751 By Gabriel Fauré, Yo Yo Ma and Kathryn Stott. By Gabriel Faure. Arranged by Flavio Regis Cunha. Classical,Contest,Festival,Film/TV,Instructional,Romantic Period. Score and part. 6 pages. Flavio Regis Cunha #796933. Published by Flavio Regis Cunha (A0.1197751). Après un rêve (Op. 7, No. 1) for cello and piano (as played by Yo Yo Ma and Kathryn StottTrois mélodies is a set of mélodies for solo voice and piano, by Gabriel Fauré. It consists of Après un rêve (Op. 7, No. 1), one of Faure's most popular vocal pieces, Hymne (Op. 7, No. 2), and Barcarolle (Op. 7, No. 3). The songs were written between 1870 and 1877, and published in 1878. They were not, however, originally conceived together as a set of three; the opus number 7 was imposed on them retrospectively in the 1890s, almost 20 years after their first publications.[citation needed]Après un rêveIn Après un rêve (After a dream), a dream of romantic flight with a lover, away from the earth and towards the light, is described. However, upon awakening, the dreamer longs to return to the mysterious night and the ecstatic falsehood of his dream. The text of the poem is an anonymous Italian poem freely adapted into French by Romain Bussine.Intermediate.Format: Concert, 9 x 12 inches.6 pages.
$7.99
Amputate
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Violoncelle, Piano
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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Neb I
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Amputate
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Neb Ironhands Amstradankis
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SheetMusicPlus
Cello,Piano - Level 4 - SKU: A0.1027910 Composed by Neb I. A. Contemporary. Score and part. 7 pages. Neb Ironhands Amstradankis #3073591. Published by N...
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Cello,Piano - Level 4 - SKU: A0.1027910 Composed by Neb I. A. Contemporary. Score and part. 7 pages. Neb Ironhands Amstradankis #3073591. Published by Neb Ironhands Amstradankis (A0.1027910). A challenging piece that incorporates both Piano and Cello. It is meant to sound aggressive and strange, being in the key of F minor, with many chromatic accidentals. One of my older pieces, it has had quite a few revisions over the years. Originally this was a trombone duet but I decided that the music would be interesting on piano. Practice makes perfect! To play this, first figure out what fingering works for you and is the least uncomfortable. Then practice the particularly difficult sections, especially where the hands play in non-unison and competing rhythms. Not all of this song is difficult to play. Cello is optional but it is used for timbre.Social Media: https://www.facebook.com/nebironhands.amstadankis
$3.25
Trois pièces : Andante, Sérénade et Chant Serbe
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Violoncelle, Piano
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Clémence de Grandval
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Paul Wehage (édition)
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Trois pièces : Andante,
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Musik Fabrik Music Publishing
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SheetMusicPlus
Cello,Piano - Level 4 - SKU: A0.1493033 Composed by Clémence de Grandval. Arranged by Paul Wehage (édition). 19th Century,Chamber,Classical,Romantic P...
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Cello,Piano - Level 4 - SKU: A0.1493033 Composed by Clémence de Grandval. Arranged by Paul Wehage (édition). 19th Century,Chamber,Classical,Romantic Period. Score and part. 33 pages. Musik Fabrik Music Publishing #1069723. Published by Musik Fabrik Music Publishing (A0.1493033). Maria-Félicie-Clémence de Grandval (1828–1907) was born on January 28, 1828 at Saint-Rémy-des-Monts, France and died on January 15, 1907 in Paris.After the death of her mother, Louise Adèle du Temple de Mésières, her father the Baron de Reiset, a military officer remarried with an Englishwoman and moved his family to London. After beginning her musical studies privately, she studied the piano with the German composer Friedrich von Flotow, who was a family friend. Returning to France, she studied the piano briefly with Chopin and composition with Camille Saint-Saëns, who remember their first meeting: “I was 12 when I heard the vicomtesse de Grandval for the first time, who was 18. It was at a musical morning concert at the home of the violinist de Cuvillon. She sang a song of her own composition ‚La Source, in which she accompanied herself. I was struck by the fluidity of her playing, which purely and without useless inflections, was quite close to my way of viewing music. This unified and tranquil style came out of her studies with Chopin.” Camille Saint-Saëns: Quelques mots sur l’exécution des œuvres de Chopin, in: “Le courrier musical de Paris” 13 [1910], S. 386). At first writing mostly sacred music, most of her public success was due to her comic operas: la Comtesse Eva, la Pénitente, Piccolino and Mazeppa. She also wrote orchestral music, chamber music, and over 60 songs (to poets such as Sully Prudhomme, Michel Carré, Henri Meilhac, Georges Hartmann, Charles Grandmougin and Louis Gallet.) She is chiefly known today for her music for wind instruments, especially for the oboe.
$18.95
Impromptu No. 4 for Violoncello and Piano
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Violoncelle, Piano
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INTERMÉDIAIRE/AVANCÉ
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P
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Impromptu No. 4 for Violoncell
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Pete Strohm Music
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SheetMusicPlus
Cello,Piano - Level 4 - SKU: A0.1258663 Composed by P. F. Strohm. 21st Century,Chamber,Classical,Contemporary,Contest,Festival. Score and part. 12 pages...
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Cello,Piano - Level 4 - SKU: A0.1258663 Composed by P. F. Strohm. 21st Century,Chamber,Classical,Contemporary,Contest,Festival. Score and part. 12 pages. Pete Strohm Music #851921. Published by Pete Strohm Music (A0.1258663). Impromptu No. 4 Â for Violoncello and Piano is the fourth in a set of one-movement works from American composer P. F. Strohm. The first five of these impromptus are intended for skilled players, requiring great tone, technique and musicality from both performers. They are outstanding works for contest, concert or recital, either individually or as a set. The fourth impromptu is in basic ABA song form, with lush, flowing melodies for the cello and a piano part that creates a visual flow of its own with graceful arpeggios and hand-crossings. Those hand-crossings are in part to sustain the constant striking of a deep interval that echoes in the opening and closing sections. This impromptu conveys emotion and reflection, nowhere more evident than a brief call and response section at midpoint that implies an improvisation over a blues progression. Difficulty level is medium-advanced. Performance time is 5:45. Â Member, ASCAP.
$10.00
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The Song Is Over
