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Clara Schumann
VIOLONCELLO - CELLO
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Robert Schumann: Piano Quartet In E Flat Op. 47: Piano Quartet: Score and Parts
Piano Quartet: piano, violin, viola, cello
[Score and Parts]
G. Henle
?In the evening we played Robert?s E-Flat Major Quartet for the first time ? and...
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?In the evening we played Robert?s E-Flat Major Quartet for the first time ? and I was once again truly delighted at this beautiful and so youthful work? enthused Clara Schumann in 1842. Inpreparation for this work Schumann had studied String quartets by the Viennese Classical composers. This is why all of the parts in the quartet are treated equally forming a splendid ensemble. Our edition has anextensive critical commentary on account of the difficult source situation. The fold-out page in the Cello part was designed with music practice in mind. The Piano Quartet and the Piano quintet op. 44 referred toas ?sister works? were both composed in Schumann?s ?chamber music year?. For this reason we were publishing them both in the 2006 ?Schumann Year?.
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Schumann R. - Musique De Chambre
[Sheet music]
Dover Publications
Edited by Clara Schumann Piano Quintet Piano Quartet 3 Piano Trios 3 String Qua...
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Edited by Clara Schumann Piano Quintet Piano Quartet 3 Piano Trios 3 String Quartets
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Robert Schumann: Concerto for Cello and Orchestra (Concertstück): Cello and
Cello, Piano
Peters
Original Version - Edition for Cello and Piano. Schumann?s Cello Concerto Redisc...
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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.?
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Robert Schumann: Concerto for Cello and Orchestra (Concertstück): Cello and
Cello, Orchestra
Peters
Original Version. Schumann?s Cello Concerto Rediscovered In her first Urtext edi...
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Original Version. 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. This Full Score matches the separately available edition for Cello and Piano (EP 73488). 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 Cello and piano edition available separately from Edition Peters: orchestral parts available for rental 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. ?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.'
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3 Quartets op. 41 (SCHUMANN ROBERT)
String Quartet: 2 violins, viola, cello
Schott
for 2 Violins, Viola and Violoncello. Par SCHUMANN ROBERT. 'The next I'll do is ...
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for 2 Violins, Viola and Violoncello. Par SCHUMANN ROBERT. 'The next I'll do is 3 violin quartets' wrote Schumann to Clara Wieck in 1838, stating his reasons in a letter dated 17 March 1838: 'The thought of the quartets gives me pleasure. The piano is getting too narrow for me. In composing now I often hear a lot of things that I can barely suggest. For instance, it is remarkable how I invent almost everything canonically and never discover the imitating voices until afterward, very often in inversions, inverted rhythms.' The new urtext edition is based on the text of the Schumann Complete Edition./ Répertoire / Quatuor à Cordes
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Fantasy Pieces For Violoncello And Piano Op. 73
Cello, Piano
Wiener Urtext
Written in just two days in February 1849, Robert Schumann's Fantasy Pieces Op. ...
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Written in just two days in February 1849, Robert Schumann's Fantasy Pieces Op. 73 were first performed by his wife Clara and the clarinettist Johann Gottlieb Kotte. Initially entitled Soirée Pieces, the composer later had the works published under the name of Fantasy Pieces, thus establishing a connection with poetical aspects. The first edition published in July 1849 contained not only a clarinet part but also a violin and cello part. Since then, they have become an integral part of the Romantic repertoire for cello and piano. This edition is based on the text of the first edition as well as on subsequent corrections from Schumann's personal copy, with the extant composition manuscript serving as an important corrective. / Violoncelle Et Piano
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3 Quartets Op. 41
String Quartet: 2 violins, viola, cello
Schott
La prochaine, je vais le faire est de trois quatuors de violon a écrit Schumann...
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La prochaine, je vais le faire est de trois quatuors de violon a écrit Schumann à Clara Wieck en 1838, indiquant ses motifs dans une lettre datée du 17 mars 1838: ' la pensée des quatuors j'ai plaisir. Le piano devient trop étroit pour moi. Dans la composition de maintenant, j'entends souvent beaucoup de choses que je peux suggérer à peine. Par exemple, il est remarquable comment je presque tout inventer canoniquement et jamais découvrir l'imiter voix jusqu'après, très souvent dans les inversions, rythmes inversés. ' La nouvelle édition d'urtext est basée sur le texte de l'édition complète de Schumann. / Quatuor A Cordes
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Schumann, Le Pensionnaire D'Endenich - Debussy, Lutter Avec Le Bleu Du Ciel - Théâtre Musical
Français
String Quartet: 2 violins, viola, cello
Delatour France
Avec Le Pensionnaire d'Endenich et Lutter avec le bleu du ciel, Jean-Philippe Gu...
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Avec Le Pensionnaire d'Endenich et Lutter avec le bleu du ciel, Jean-Philippe Guye présente deux textes de théâtre musical, autour de la vie et de l'oeuvre de Robert Schumann et de Claude Debussy. Chaque spectacle est composé de six lettres ou monologues imaginaires, qui s'intercalent entre des pièces de musique de chambre avec piano et si possible voix. Le choix des oeuvres, leur ordre, la succession des mouvements, leur répartition, dépendent des musiciens comme des propositions de la mise en scène. Si les instrumentistes prêtent leur image aux évocations du personnage, des incarnations muettes peuvent surgir de ses mots : le docteur Richarz, Brahms et Clara, Chouchou, Emma ou le fidèle Jacques Durand.On veillera surtout à l'équilibre des situations théâtrales et de la musique, à l'équivalence et à la justesse de leurs résonances. Textes complémentaires : Jean-Jacques CESBRON, Philippe ANDRE, Frank LANGLOIS / Livre
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Robert Schumann: Fantasy Pieces For Piano And Clarinet Op.73: Cello:
Cello, Piano
[Sheet music]
G. Henle
The circumstances in which these poetic ?Soirée Pieces? (thus their original ti...
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The circumstances in which these poetic ?Soirée Pieces? (thus their original title) came into being are quite surprising. In 1849 Dresden was seized by violent political turmoil that ultimately forced Schumann to fleewith Clara to the countryside. Yet none of this is apparent in the music of these three pieces whose idyllic character signifies a longing for harmony and seclusion. Originally conceived for the Clarinet they were accompanied byalternative parts for Violin and Cello as early as the original print. We have subjected our editions to a thoroughgoing critique and include a section of detailed editorial notes.
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Robert Schumann: Five Pieces In Folk Style Op.102 - Cello Version: Cello:
Cello, Piano
[Sheet music]
G. Henle
Op 102-Although Schumann had learnt the cello for a while in his youth he only ...
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Op 102-Although Schumann had learnt the cello for a while in his youth he only began to compose for this instrument in later life. Apart from the cello concerto only his Five Pieces op. 102 have survived as original works for thecello. Clara was delighted with them: 'These are pieces in folk style with such a freshness and originality that I was enchanted'. The 'Neue Zeitschrift für Musik' wrote: 'These pieces are less apt for a virtuoso player than awell versed one who can speak on his instrument with tone and meaning.' This edition in the best Urtext quality is particularly to be recommended for teaching purposes and for making music at home.
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Johannes Brahms: Piano Trios: Piano Trio: Score and Parts
Piano Trio: piano, violin, cello
[Score and Parts]
G. Henle
Les trios avec piano comptent parmi les grands genres de la musique de chambre c...
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Les trios avec piano comptent parmi les grands genres de la musique de chambre classique et Brahms s?y consacra très tôt. Il composa son opus 8 au cours de l?automne et de l?hiver 1853/54 c?est-à-dire à l?âge de 20 ans. Par contre ses deux autres trios avec piano op. 87 en Ut majeur et op. 101 en ut mineur ne virent le jour que 28 et 32 ans plus tard. On sait que pa-rallèlement au trio en Ut majeur Brahms travaillait aussi à un autre trio en Mi bémol majeur qu?il détruisit probablement. En 1889 il décida de reprendre son premier trio avec piano et le remania à tel point qu?il écrivit à Clara Schumann: «J?ai réécrit mon trio en Si majeur». L?édition Henle-Urtext reprendle trio op. 8 dans la seconde version parue en 1891 mais pro-pose également la première version en annexe.
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Johannes Brahms: Klaviertrios: Piano Trio: Study Score
Piano Trio: piano, violin, cello
[Study Score / Miniature]
G. Henle
Piano Trios-Les trios avec piano comptent parmi les grands genres de la musique ...
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Piano Trios-Les trios avec piano comptent parmi les grands genres de la musique de chambre classique et Brahms s?y consacra très tôt. Il composa son opus 8 au cours de l?automne et de l?hiver 1853/54 c?est-à-dire à l?âge de 20 ans. Par contre ses deux autres trios avec piano op. 87 en Ut majeur et op. 101 en ut mineur ne virent le jour que 28 et 32 ans plus tard. On sait que pa-rallèlement au trio en Ut majeur Brahms travaillait aussi à un autre trio en Mi bémol majeur qu?il détruisit probablement. En 1889 il décida de reprendre son premier trio avec piano et le remania à tel point qu?il écrivit à Clara Schumann: «J?ai réécrit mon trio en Si majeur». L?édition Henle-Urtext reprendle trio op. 8 dans la seconde version parue en 1891 mais pro-pose également la première version en annexe.
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