Instrumentation : cello and orchestra Version : piano reduction with solo part Nombre de pages : 112 Format : New Edition portrait

Instrumentation : cello and orchestra Version : study score Contenu : Preface / Vorwort - 2 Faksimiles - I. Adagio / Moderato - II. Lento / Allegro molto - III. Adagio - IV. Allegro / Moderato / Allegro, ma non troppo / Poco più lento Nombre de pages : 120 Collection : Eulenburg Miniature Scores Format : ETP small

Klavierauszug mit Solostimme - cello and orchestra composer: Popper, David Éditeur: Simrock / Benjamin (Elite Edition)

Par TREDICI DAVID DEL. Cello Acrostic is an arrangement of Acrostic Song, the lullaby-like concluding aria from Final Alice, which is the fifth of six large works for soprano and orchestra based on Lewis Carroll's Alice in Wonderland books./ Répertoire / Violoncelle

Solo Part-First performed in 1970 by Mstislav Rostropovich to whom the work is dedicated with the Bournemouth Symphony Orchestra conducted by Edward Downes.

For solo Cello Timpani and Strings.Popule Meus was commissioned through the Magnum Opus project: Kathryn Gould founding patron and commissioner and Meet the Composer project manager.It was first performed on 6thFebruary 2010 by Yuri Hooker (cello) and the Winnipeg Symphony Orchestra conducted by Alexander Micklethwate. Composer's Notes 'Popule Meus is a meditation on the Judaic and Christian text ?O my People whathave I done to you?? but itis also a Universalist contemplation of the wholesale rejection of God by modern man. However much manrejects God he cannot escape Him and indeed he is condemned to the supernatural by his deiformnature. InHindu terms he is the Absolute Ayam Atma Brahma (The Self is the Absolute).In this work the solo cello is the All-Compassionate One while the timpani represent man in his vain andpointless rejection. Although the solocello and strings and the timpani share the same material (four ideas aregradually revealed and they revolve four times during the piece) the timpani music is violent and becomesincreasingly frenzied and contracted while thecello and strings remain still and serene.So even in winning the Darkness loses and even in losing the Light wins. Passion Resurrection andRedemption; or in Hindu terms Atma (The Absolute) alone is real Maya (The Relative) ismerely illusion.'

for violoncello and orchestra-Krzysztof Penderecki‘s fondness for the cello becomes apparent. The solo part is juxtaposed by four other cellos. The resulting sound blocks interplay with each other which is in turn repeatedly interrupted by the orchestra.

Having been the conductor of the Leipzig Gewandhaus Orchestra for many years Carl Reinecke was one of the most important figures among musicians in the second half of the 19th century. His three sonatas for Violoncello and Piano are of amazing musical quality which puts them right up with sonatas of Johannes Brahms. It is all the more surprising however that a noteworthy Urtext edition of these works did not exist up until now; cellists often had to fall back on copies of the first editions only a few of which were extant. This gap is now closed by the Wiener Urtext Edition - right in time for the 100th anniversary of the composer's death. Itencompasses all three sonatas in one volume thus adding three masterpieces of Romantic chamber music to the less than comprehensive repertoire of the 19th century for Violoncello and Piano.

für Violoncello und Klavier-With this composition Editio Baerenreiter Praha launched the Complete Critical Edition of Works by Miloslav Kabelac a prominent Czech composer who lived from 1908 to 1979. The editor of this complete edition is a musicologist and a noted expert on Kabelac's work Dr. Zdenek Nouza. The outline of the edition is as follows: I. Orchestral and Concert compositions II. compositions for solo Voice or a Chorus with Orchestra or Instrumental Ensemble III. songs with Piano Choruses Children's Choruses IV. Chamber compositions V. compositions for Piano and Organ.Sonata Op.9 for Cello and Piano which came into existence betweenyears 1941-42 has never been published before. Therefore as part of the Complete Edition this composition appears in print for the first time. Its edition is based on an authograph present in the Museum of Czech Music in Prague. The prominent Czech cello player Daniel Veis who also premiered the complete four-movement version has revised the cello part of this edition.

Par DUNCAN CRAIG. Cette collection de musique de Haendel provient de ses sonates, oeuvres orchestrales et pièces accessoires. Ces sélections faciles sont jouables tout en première position. Le livre commence avec des arrangements faciles et progresse dans son niveau de difficulté. La plupart des pièces piano double du violoncelle pour aider à la performance. / Niveau : Débutant à Intermédiaire / Classic - Solos / Recueil / Violoncelle

Composer : Lalo, Edouard Edition : Study score Editor : Riedel, Christian Rudolf Separate Parts available on demand

Edition : vocal/piano score Instrumentation : for Cello and String Orchestra Editor : Schönberg, Arnold

This is a deeply felt concerted work for cello and orchestra. It is in a moderate twentieth century style modal rather than chromatic a tonal work with a mood that is elegiac and dramatic. The Kaddish is a prayerordinarily given during Jewish services for the dead though it never mentions Death. There are traditional melodies and Hebrew cantillation associated with the text but Diamond did not use any of these nor indeed anyparticular Jewish music. The themes he says are his own concept. In describing the form and style of the music Diamond relates the Kaddish to others of his compositions that have some connection to ritual neither theater musicnor abstract music.The music is primarily melodic. Its modal quality suggests the work's Jewish connection but the actual mode is not specifically Jewish in sound. The work rises to a serious and affirmative climaxtowards its end then subsides.