SKU: FG.55011-903-1
ISBN 9790550119031.
Victoria Yagling's Suite for Cello and String Orchestra (1967) is one of her first successes as a composer. The movement layout of the Suite is fast-slow-fast-slow. The first movement, Toccata, is a perpetual motion with a brisk tempo of 100 per dotted half. The Aria is reminiscent of Rachmaninov's Vocalise melody and Prokofiev's tonal language. This movement is the centerpiece of the Suite. The Humoresque is closely connected in style and motives to the March and Aria movements from Boris Tchaikovsky's Suite for Cello Solo. Mostly homophonic Finale plays with bitonality and contains several circle-of-fifth sequences.This product is is the reduction for violoncello and piano by prof. Yuriy Leonovich. Orchestral material available on hire from the publisher. Stydy score with solo part is available for sale (ISMN 9790550116436).Victoria Yagling (1946?2011) was born in Russia and lived in Finland since 1990. Her long career as a cellist served as an excellent accompaniment to the composition she began at an early age. For 11 years she was a cello student of Mstislav Rostropovich at the Moscow Conservatory and Dmitry Kabalevsky and Tikhon Khrennikov taught her composition.Yagling won the first prize in the Gaspar Cassadò Cello Competition and the following year the second prize in the Moscow Tchaikovsky Competition. Her solo engagements took her to countless countries. She has also taught at several international music courses and master classes and was often a jury member for international cello competitions.Yagling left a profilic oeuvre, and the three cello concertos are her main works. Her other orchestral works include Finnish Notebook, Lyrical Preludes and the Suite for Cello and String Orchestra. She has also composed solo works (e.g. the Suite for Cello Solo No. 1 chosen as an obligatory piece for the 7th Tchaikovsky Competition in Moscow in 1982), chamber works, including two string quartets, and vocal music. Her expressive, romantically orientated style is Russian in spirit and has grown out of the soil provided by Prokofiev and Shostakovich.
SKU: BT.DV-12079
Italian.
SKU: HL.49045737
ISBN 9790001166287. UPC: 888680735227. 9.0x12.0x0.081 inches.
This treatment of the three-part collection, published in 1905, is based on Fritz Kreisler's original version and the later pianist transcriptions by Sergei Rachmaninoff. The harmonies, the chromatic developments, and the counterpoint of the pianoforte transcriptions are preserved; the original and transcription are combined into a virtuoso and effective solo piece. The three-triennial act typical of Vienna requires a certain, hardly noticeable freedom of tempo formation without metronomical compulsion.
SKU: HL.49047040
ISBN 9783795711436. UPC: 196288116332. 9.0x12.0x0.535 inches.
This volume from the popular Cellissimo series contains 30 entertaining recital pieces, mostly from the Romantic period. In additionto three original serenades by Jacques Offenbach, Nikolai Rimsky-Korsakov and the French composer Mel Bonis, the volume contains beautiful character pieces, mostly one-movement forms such as berceuse, elegy, humoresque, meditation, melody, nocturne, romance, tarantella, valse de concert and much more . Expressive lyrical pieces are represented as well as cheerful and virtuoso works. In addition to original works, there are numerous arrangements of popular works, including Schumann's Traumerei, Grieg's Anitras Tanz, Fauré's Après un rêve, Elgar's Salut d'amour or Rachmaninoff's Vocalise - all pieces that are well suited as concert and encore pieces . The volume also contains rarities and new discoveries, including original works by cello virtuosos such as Dotzauer, Offenbach, Goltermann, van Goens and Trowell, as well as works by composers Mel Bonis, Juliette Dantin, Ethel Harraden and Claudine Smidt. The level of difficulty is demanding and is aimed at advanced cellists. Many pieces use the 5th-7th position, others have passages in a simple thumb position, sometimes also with high harmonics. They are therefore very good practice examples for advanced users who want to apply sophisticated techniques to beautiful examples of literature. Last but not least, the requirements for expression and design offer plenty of room for cellist and musical development.
SKU: BR.EB-32083
With supplementary violoncello part marked by Maria Kliegel
ISBN 9790004186299. 9 x 12 inches.
There are many composers about whom it is believed, today, that they composed conservatively, or against the taste of their time. The question is also raised, today, which extract of this large amount of effective and high-quality music, unknown for the most part, should receive our attention; which of it is worth rediscovering or re-editing. Camillo Schumann is one of the most important representatives of these composers, but his works are still largely unknown today. He was born on 10 March 1872 in Konigstein, Saxony. His musical language combines the sound world of Brahms with the grand, late-romantic Liszt School. He wrote piano parts of incredible power and virtuosity, approaching the sounds of Rachmaninoff. His wonderfully individual melodic language makes these works a valuable testimony to a composer who never had his due recognition. The cello sonatas Opp. 59 (EB 32082) and 99 (EB 32083) are the first of three works for this combination. Op. 59 was composed around 1905/06, Op. 99 followed in 1932. Nothing is known so far of the circumstances of the composition of this work, including for whom it was composed. However, it is quite evident that Schumann wrote it, like most of his works, primarily for his own concerts and befriended musicians. The extensive entries in the piano part bear witness to a considerably practical approach. Crossed-out bars, notes added or crossed out in chords as well as a number of revisions of other kinds are more the rule than the exception. The composer's own fingerings written in the piano part also underline this assumption. The present edition contains two solo-parts each. One clean Urtext-part free of any additions from the editor and a second one with bowing marks and fingerings by Maria Kliegel who recorded both sonatas for the first time with the label Naxos. Both sonatas show evident resemblance to the works of this combination by Johannes Brahms and are therefore a must have for ambitious cellists.With supplementary violoncello part marked by Maria Kliegel.
SKU: BO.B.3724
Cassado could be considered are the first great Catalan symphonist of the 19th Century and one of the first pre-coursers of Nationalism in our country. His is a Nationalism that is solidly based on central European traditions, mainly Germanic in its.Plus Ultra is a special case in which the desire to exhibit his deepest Nationalist sentiments took a second place to a more global style into which he incorporated harmonies and melodic turns that recall Rachmaninoff more than Albeniz. Plus Ultra can be considered as a musical thought which, in spite of references or paraphrases of some typical aspects of Spanish music of the era, is an authentic lied in which the cello sings out, using maximum of its expressive possibilities, with a piano accompaniment of the first order.In this work Cassado makes more extensive use of pianissimo, which is more typical of the French school, than in any other of his works. Through the use of gestures which are almost Impressionist, as well as refined and tasteful harmonies, the composer divides the musical discourse between the two instruments creating a fantastic work which his son Gaspar performed in concerts.
SKU: NR.76951
SKU: VD.ED16447
ISBN 9790202034477. 12 x 9 inches.
SKU: BT.PWM9234010
SKU: IM.1819
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