In memory of Christopher Rowland. Originally a concerto for Cello and chamber orchestra now for Cello with a Piano reduction of the orchestral part.The concerto is in four movements which are played without a break: Meditation Intermezzo Toccata-Scherzo and Song. The work lasts for some 18 minutes and was scored for two oboes two horns timpani (doubling tubular bells) and strings(found here in a Cello/Piano form). It is organised in one large arch-shaped structure with two fast inner movements flanked by two outer slow ones. The solo cello opens the work reflectively and introduces core melodic material which is continuously developed throughout theconcerto. Gradually the strings enter then wind and timpani and build a pyramid twelve-note chord at the peak of which there is a dramatic climax. The music then subsides (solo cello again) but links to the two faster middle movements. The second movement Intermezzo has an ABA structure and in its middle section quotes the opening of Shostakovich's Third String Quartet (written in the same year as Christopher Rowland was born!). Indeed the ghost of Shostakovich looms large throughout the concerto in more ways than one. The Toccata-Scherzo is energetic and rhythmically-charged again using an ABA structure. Here the writing for solo cello is quite virtuosic but not I hope in a shallow sense. The music builds inexorably towards a powerful climax underpinned by the opening twelve-note chord's re-appearance together with a violent outburst from the timpani at which point a tonal resolution (on G) arrives through a pianissimo held chord on strings which leads directly to the final movement - Song. And so the music arrives at its emotional heart through a simple melody (present in other forms throughout the work) announced by solo cello at the very top of its register against a quiet backdrop of horns and strings. A solo oboe enters with cello in canonic reply and all the time the music builds in texture and

Brentwood-Benson Music Publications presents Vol. 4 in its Instrumental Worship Series with I Could Sing of Your Love Forever: 12 instrumental duets for piano and cello. These tasteful, worship-centric arrangements by Christopher Phillips, Music Director at Christ Church Nashville, are perfect for offertories, postludes, or as intimate, stand-alone performances. With a focus on flexibility, these inspiring arrangements also offer the solo instrumental part transposed to include C instruments (Violin/Flute/etc.) and Bb instruments (Trumpet/Clarinet/etc.).As an added bonus, this folio comes with a complete demonstration listening CD which can be used both as a reference recording for your rehearsals or simply for your own listening pleasure and quiet times of reflection and worship.Further enhancing the value and usability of this featured publication, a CD Piano Accompaniment Track is available as a separate purchase. This enables the solo instrumentalist to perform these arrangements without the need of live piano accompaniment. / Violoncelle Et Piano

for Violoncello and Piano-Cesar Franck?s Sonata for Piano and Violin is one of the most treasured works in the Violin repertoire a masterpiece of cyclic form with a gracefulness and expressive force almost paradigmatic for the age of musical Romanticism. This work was composed in 1886 and was dedicated to the Belgian violinist and composer Eugène Ysaÿe.Franck?s friend the cellist Jules Desart was so impressed when he heard the Violin Sonata performed at the Société nationale de musique in Paris that he adapted the work for his instrument. This arrangement was first published in 1887 by inserting the Cello part into the Piano score of the original edition. For this purpose thePiano score had received a new cover and the publisher had expanded the title of the composition to ?Sonate pour Piano et Violon ou Violoncelle?. This version by the cellist Jules Delsart for Piano and Violoncello is the only arrangement of the work authorized by the composer and its first edition represents the main source for Bärenreiter?s new scholarly-critical publication.This Barenreiter edition also includes a separate movement ?Mélancolie? first published after Franck?s death in 1911 again for the same instrumentation Piano and Violin or Violoncello. This short piece is based on a solfège exercise and was written at the height of the composer?s creative powers at about the same time as his famous Violin sonata.The edition is rounded off by an informative text on the genesis and reception history of the two compositions (Ger/Fr/Eng) a complete list of sources editorial notes and a Critical Commentary (Eng).Pioneering new Urtext editionInformative text on the genesis and reception history of the two compositions (Ger/Fr/Eng)Detailed Critical Commentary (Eng)Also available:Sonata; Andantino quietoso Op.6; Mélancolie for Piano & Violin BA9425.Sonata arranged for Piano & Viola BA10918.Sonata in A major arranged for Piano & Flute BA8734

Cast in two scenes both movements of Abu Ghraib begin in unrest then transition into quieter places which leave the first music behind. Harbison incorporates an Iraqi lullaby and popular American hymns in this 14-minute work.