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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
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COR
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DEEJAY
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LIVRES
LUTH
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OCARINA
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UKULELE
VIBRAPHONE
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Verdi
Non classifié
47
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52
Piano seul
23
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1
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Basse electrique
11
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3
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163
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9
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9
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9
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8
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8
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6
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2
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1
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9
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7
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7
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6
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6
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5
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3
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3
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3
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2
Hautbois
2
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2
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2
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2
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2
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1
Ensemble de saxophones
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
2 Hautbois (duo)
1
Saxophone Alto
1
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1
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1
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1
Hautbois, Clarinette (duo)
1
5 Flûtes à bec
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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16
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9
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5
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5
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4
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4
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3
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3
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2
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2
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2
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2
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2
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1
Quatuor de cuivres: 4 trombones
1
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1
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1
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8
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5
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5
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3
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2
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2
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2
2 Violoncelles (duo)
1
2 Altos (duo)
1
Trio à Cordes: violon, alto, violoncelle
1
4 Contrebasses
1
Alto seul
1
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33
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7
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6
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3
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3
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2
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1
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--INSTRUMENTS--
ACCORDEON
ALTO
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BASSE
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Violoncelle, Piano
Partitions à imprimer
3 partitions trouvées
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Tannhäuser de Richard Wagner
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Violoncelle, Piano
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Adrien-Francois Servais
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Jacques Gregoir
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Tannhäuser de Richard Wag
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Schott Music - Digital
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SheetMusicPlus
Cello and piano - intermediate to advanced - SKU: S9.Q53289 Duo brillant. Composed by Adrien-Francois Servais. Edited by Beverley Ellis and Raine...
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Cello and piano - intermediate to advanced - SKU: S9.Q53289 Duo brillant. Composed by Adrien-Francois Servais. Edited by Beverley Ellis and Rainer Mohrs. Arranged by Jacques Gregoir. This edition: Sheet music. (c) 2020 Schott Music GmbH & Co. KG, Mainz. Classical. Downloadable. 26 pages. Schott Music - Digital #Q53289. Published by Schott Music - Digital (S9.Q53289). English • German.Adrien-Francois Servais was born on 6.6.1807 in Halle, Belgium and died there on 26.11.1866. From 1829 Servais taught cello in Brussels, where from 1848 he was a professor at the Conservatoire royal de musique. Concert tours across Europe earned him a high reputation as a virtuoso performer: he was described by Berlioz as the ‘Paganini of the cello’. The piano accompaniment is by the Belgian pianist Jacques Mathieu Joseph Gregoir (Grégoir), who was born in Antwerp on 19.1.1817 and died in Brussels on 29.10.1876. He studied with Henri Herz and Christian Rummel, both of whom worked with Schott as composers. Gregoir was a successful piano virtuoso and published several piano works with Schott. Together with Servais he made a collection of thirty arrangements of famous operatic melodies in the series Collection des Duos concertants, including works by Bellini, Mozart, Wagner und Verdi. The piano accompaniment here demands very full chords and can in places be difficult to play: as with a piano reduction, it can be simplified somewhat by leaving out a few notes here and there. The Duo brillant No. 10 on themes from Wagner’s opera Tannhäuser was published in 1861 (plate no. 16412).
$4.99
Romance et Tarantelle
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Violoncelle, Piano
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Guillaume Paque
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he died in London on 2
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Romance et Tarantelle
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Schott Music - Digital
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SheetMusicPlus
Cello and piano - intermediate to advanced - SKU: S9.Q53294 Op. 23. Composed by Guillaume Paque. Edited by Beverley Ellis and Rainer Mohrs. This ...
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Cello and piano - intermediate to advanced - SKU: S9.Q53294 Op. 23. Composed by Guillaume Paque. Edited by Beverley Ellis and Rainer Mohrs. This edition: Sheet music. (c) 2020 Schott Music GmbH & Co. KG, Mainz. Classical. Downloadable. Op. 23. 15 pages. Schott Music - Digital #Q53294. Published by Schott Music - Digital (S9.Q53294). English • German.Belgian cellist Guillaume Paque was born in Brussels on 24.7.1825; he died in London on 2.3.1876. From 1835 onwards he studied with Francois de Munck at the Conservatoire in Brussels, where he went on to play cello in the royal theatre. After working in Barcelona for some time as a teacher and cellist at the Italian Opera he moved to London in 1850, where he played as principal cellist at the Theatre Royal and taught at the Royal Academy of Music. Paque published twenty-six works with Schott including salon music, virtuoso showpieces, cello arrangements of Schubert songs and operas by Mozart, Rossini and Verdi – and his well-known cello quartet ‘Souvenir de Curis’ (Schott CB 145). Romance et Tarantelle op. 23 is an effective concert piece that was published in 1874 (plate number 21153).
$3.99
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
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