Par CAIX D'HERVELOIS LOUIS DE. / classique / Répertoire / Violoncelle et Piano

Par SCHUBERT FRANZ. Editeur(s) d'origine: Beyer, Franz/Gleißner, Rudolf/ Répertoire / Violoncelle et Piano

Par JOUBERT CLAUDE-HENRY. / Niveau : Débutant / classique / Répertoire / Violoncelle et Piano

Seule partition au monde à porter le numéro ISBN 9790520011228 cette partition dont le titre est CONCERTO N. 3 IN SOL MAGGIORE (G. 480) PER VIOLONCELLO E ORCHESTRA D'ARCHI comporte des morceaux regroupés et composés par le compositeur Boccherini Luigi.Son instrumentation exacte est Violoncelle Et Orchestre A Cordes. Amateur ou passionné de Classique vous trouverez inévitablement votre bonheur dans la version papier de cette oeuvre. / Violoncelle Et Orchestre A Cordes / Partition

Original Version - Edition for Cello and Piano. Schumann?s Cello Concerto Rediscovered. In her first Urtext edition for Edition Peters, internationally renowned cellist Josephine Knight reveals Robert Schumann?s original version of his Cello Concerto in A minor Op. 129 ? a piece he actually called a ?Concertstück? ? removing generations of inauthentic editorial interventions. This is the only available modern scholarly edition of the work as Schumann originally conceived it, and restores the text from October 1850, based on the composer?s manuscript held in the Biblioteka Jagiello?ska in Kraków. It is presented in a beautifully printed edition for cello with Schumann?s original piano reduction. Matching orchestral material is also available from the publisher. Only modern Urtext edition based on Schumann?s original 1850 manuscript Many new corrections and clarifications, especially to the cello part Scholarly preface detailing history of the work and this edition by editor Josephine Knight, Piatti Professor of Cello at the Royal Academy of Music London Cello Part contains Josephine Knight's fingering and bowing suggestions Critical Commentary Matching orchestral material available separately from Edition Peters Recording of the Concertstück featuring Josephine Knight available from Dutton Robert Schumann?s tragic last years have mired many of his greatest works in unnecessary doubt. The story of the suppression of his Violin Concerto by well-meaning friends is relatively well-known. Few, however, know that the version of the Cello Concerto that is routinely heard today is so far from Schumann?s original conception of the work ? not only in details of phrasing and articulation, but also featuring a different ending with a bold final flourish from the cello. Composed in a burst of inspiration in two weeks in October 1850 shortly after he and Clara had moved to Düsseldorf, Schumann (who in 1850 was still in good health) never heard the piece performed. In an effort to promote a performance of the work, he gave the score to the cellist Robert Emil Bockmühl. Bockmühl made revisions that Schumann resisted, and the hoped-for performance never happened. Schumann?s health failed and he died aged just 46 in 1856. The Concerto, in an already substantially revised form, was premiered in 1860 but it was not given significant recognition until it was championed by Pablo Casals in the 20th century by which time (and since) the text for the work had accreted additions and alterations from generations of soloists. Now Josephine Knight, Piatti Professor of Cello at the Royal Academy of Music, London has returned to the original 1850 manuscript of the work, which is in the Biblioteka Jagiello?ska in Kraków, to reveal Schumann?s original thoughts for the first time in a modern Urtext edition. The edition reflects Schumann?s original conception of the work as a Concertstück and restores Schumann?s musical text, free of posthumous interventions. It is presented in a beautifully printed edition for cello, with Schumann?s original piano reduction. Matching orchestral material is also available from the publisher. ?My ultimate wish,? says the editor, ?is to give performers both access to, and confidence that they are playing from, an edition which is a true representation of the piece in its original form, no matter how much more difficult this might be. I found that incorporating the changes enabled the piece to take on a completely different character ? one that is lighter and happier, even ?cheerful?, as Schumann himself described the work.?

26 Pieces For Cello Players With Piano Accompaniment. Par COLLEDGE HUGH / COLLEDGE KATHERINE. La collection Easy String Music de Boosey and Hawkes, dirigée et composée par Katherine et Hugh Colledge, compte quatre volumes d'un répertoire pour cordes destiné aux instrumentistes débutants et en cours d'apprentissage. Ces titres sont très appréciés des professeurs comme de leurs étudiants en raison de leurs vertus pédagogiques : ils introduisent des techniques nouvelles et proposent doigtés, notes et rythmes conçus pour acquérir la maîtrise nécessaire et poser des fondations solides en vue de la suite de l'apprentissage. Chaque titre est disponible en deux versions : l'une est fournie avec un CD de démonstration et de pistes audio d'accompagnement - l'autre comprend un livret d'accompagnement au piano et l'accès à des ressources audio téléchargeables. Ce livre Stepping Stones présente les cordes à vide et les notes du premier doigt avec des rythmes simple tandis que sa suite. / Niveau : Très Facile / Recueil / Violoncelle et Piano

18 Advanced Pop Pieces. Par KOEPPEN GABRIEL. 'Hot Cello ' contient des pièces blues, jazz, rock et pop, conçues pour l'enseignement comme la pratique à la maison. Le volume 3 est musicalement exigeant, avec des raffinements techniques comme des accords sur deux notes, de la cinquième à la septième position y compris la position du pouce, des traits décalés et quelques spécialités rythmiques de la musique populaire. Possibilités de distribution : 1) duo de violoncelles, 2) violoncelle et piano, 3) violoncelle solo ou en duo avec le CD, 4) violoncelle solo ou en duo avec d'autres instruments (guitare, piano, basse, batterie)./ Recueil / 1 ou 2 Violoncelles et Piano

for Cello and Piano-This fine collection of little masterpieces for cello and piano forms a showcase for the composer Edward Elgar. There is no great virtuosity needed to do justice to the melodious and sometimes ingenious music from ELGAR`S TREASURES. With the help ofthe accompanying CD - which can be used at home as well as for performances - you will gain an understanding of music. Content: Chanson de Nuit op. 15 no. 1 • Pleading op. 48 no. 1 • Speak Music! op. 41 no. 2 • In Moonlight (Alassio) op. 50 • Salut d´Amour op. 12 • Chanson de Matin op. 15 no. 2 • In Haven (Capri)(Sea Pictures op.37) • Nimrod (Enigma Variations op.36).

Bernhard Romberg (1767-1841) probably was the greatest cello virtuoso of his time and compared to Paganini in his lifetime. He gave cello lessons at the famous Conservatoire de Paris among others.Romberg's popular Trio in E minor originally was the first part of the Trois Trios d'une Difficulté Progressive pour le Violoncelle Viola et Violoncelle Op. 38. The solo violoncello was accompanied by a viola and a second violoncello. The two other trios are much more difficult, with a lot of passage work, thumb position, tenor and violin clef.The Trio in E minor Op. 38/1 was arranged many times and scored for various combinations of instruments. This edition refers to the popular arrangement for violoncello and piano by Friedrich Gustav Jansen (1837-1910) which is ideal for music lessons and concerts.Also available is another arrangement of the Trio Op. 38/1 for three violoncellos (SE 1008). The easy bass part can be played by another student.This edition is part of the new Schott Student Edition series which offers varied literature at five different levels of difficulty, from 1 (easy) to 5 (difficult), for instrumental lessons:In print or electronic formatAvailable as printed editions or PDF downloadPractising - efficiently and with pleasureAccompanying tracks of the pieces available as downloads / Violoncelle Et Piano

Sonata for Piano and Violoncello in F major op. 99-Les sonates pour violoncelle de Brahms comptent peut-être parmi les plus belles pages jamais écrites pour cet instrument. La parution de ces deux pièces dans la nouvelle édition complète des ?uvres de Brahms est l?occasion pour nous de publier une nouvelle édition Urtext de la Sonate en Fa majeur. Comptant parmi les «classiques» de notre catalogue (jusqu?à présent HN 19) celle-ci est nouvellement gravée d?après les derniers résultats de la recherche et enrichie par des informations détaillées de Johannes Behr sur la genèse et le travail éditorial. La partie de piano et celle de violoncelle sont doigtées. Une partie de violoncelle sans doigtés est également jointe.

Faintaisie-transcription de Giuseppe Gariboldi-La Danse macabre est l?une des ?uvres parmi les plus c?l?bres de Camille Saint-Sa?ns et du r?pertoire symphonique fran?ais en g?n?ral. D?s sa cr?ation le 24 janvier 1875 l??uvre s??tablit durablement comme un incontournable succ?s. Lestranscripteurs-souvent de grands noms-s?emparent bient?t de cette Danse et les versions pour instruments divers se multiplient. C?est ? Giuseppe Gariboldi (1833-1905) fl?tiste virtuose et compositeur d?origine italienne install? ? Paris queDurand demande une multiple transcription de l??uvre r?invent?e par le transcripteur pour fl?te ou cornet ? piston ou violon ou violoncelle et piano. Voici donc ici republi?e cette Fantaisie-transcription- ainsi qu?elle fut originellementsous-titr?e-dans sa version pour violoncelle et piano.