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VIOLONCELLO - CELLO
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Disney Songs for Two Cellos: Cello Duet: Instrumental Album
2 Cellos (duet)
-
Easy
Hal Leonard
23 Disney favorites in easy duet arrangements for two instrumentalists are featu...
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23 Disney favorites in easy duet arrangements for two instrumentalists are featured in this collection: Beauty and the Beast - Circle of Life - Evermore - Friend like Me - How Far I'll Go - Let It Go - Mickey Mouse March - Supercalifragilisticexpialidocious - When You Wish upon a Star - A Whole New World - Zip-A-Dee-Doo-Dah - and more. Arrangements work for two cellos or can also be used with the other strings titles from this series.
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Fu¨Nf Phantasiestu¨Cke
Oboe, Violin, Viola and Violoncello (Quartet)
Bote and Bock
Ursula Mamlok was born in Berlin in 1923, but was forced to emigrate via Ecuador...
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Ursula Mamlok was born in Berlin in 1923, but was forced to emigrate via Ecuador to New York in 1939 because of her Jewish descent. In 2006 she returned to the city where she was born.Fünf Phantasiestücke, composed in 2012/13 for a small mixed ensemble consisting of oboe, violin, viola and violoncello, draws its appeal from the broad spectrum of emotions, feelings and states described musically in a minimum of time: Unruhig [Anxious] - Schwebend [Floating] - Munter [Lively] - Wie im Traum [Like a Dream] - Spielerisch [Playful] are the headings of the individual sections. Pieces as colourful as life: They are bursting with ingenuity and vital energy, coupled with a healthy dose of humour. / Hautbois, Violon, Violoncelle Et Alto
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Celtic Play Along
Cello
[Sheet music + CD]
Universal Edition
Arrangeur: Martin Tourish. Martin Tourish is an accordionist, composer and music...
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Arrangeur: Martin Tourish. Martin Tourish is an accordionist, composer and musicologist from Co. Donegal, now based in Dublin. Celtic music is in his blood, for his ancestors were noted collectors of dance music manuscripts dating back to the 19th century. With many recordings to his credit, he now offers his expertise to performers wishing to explore the rich culture of Irish and other Celtic music on a variety of instruments. 'World Music - Celtic? presents material from the Irish, Scottish, Welsh, Cornish and Breton traditions. It makes no great technical demands on the players, but Tourish points out that notation of this music is often 'skeletal?, hence it is important to gain a knowledge of the individual traditions in question and, naturally, he offers plenty of information on performance practice. The collection spans three centuries, from the blind bardic harpists of the 18th century to the international performers of the present day. Tourish accepts that this volume can only scratch the surface of a multi-faceted genre but hopes you will see it as a stepping stone to delve deeper into recordings, festivals and the very communities whence this music comes. 'World Music - Celtic? is available in six formats, each with complete recordings and backing tracks on CD: as solo versions for violin, violoncello, flute, clarinet or saxophone (with piano) and in an ensemble version for two melodic instruments (C, Bb or Eb), piano, guitar, bass and bodhrán./ Recueil / Violoncelle et Piano
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Mark Tanner: French Baguettelles: Cello: Instrumental Album
Cello
-
Easy
Spartan Press
Favourtie French Melodies-In creating these dozen arrangements I am unashamedly ...
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Favourtie French Melodies-In creating these dozen arrangements I am unashamedly cherry-picking from a long and rich seam of French music. I feel confident that younger players and those relatively new to the cello will enjoy my selection. Forgive my tongue-in-cheek title for the book French Baguettelles (I'm half French so I don't feel too guilty!) for the music herein has more than a hint of garlic about it. Although there are certainly serious overtones to one or two pieces there is a healthy dollop of silliness to lighten the mood. Apart from Sur la Pont d'Avignon which was reportedly written in the 15th century Frère Jacques which was a popular 18th century song and Tambourin which wasin all probability also written in the 18th century (Gossec did however live well into the 19th century) all of the pieces come from composers who lived in the Romantic period. Ravel and Debussy were of course known for their impressionistic colours though for the most part it is the accompaniments which reveal this characteristic most fully. I have endeavoured to keep the piano parts playable by mere mortals conscious of the fact that cello teachers may not possess a virtuosic piano facility but may nevertheless wish to turn their hand to accompanying pupils for concerts festivals exams etc. Many of the pieces were originally written for the piano either in its solo capacity (Ravel's Pavane Pour une Infante Défunte Chabrier's Idylle Satie's Gymnopedie 1 Debussy's La Fille aux Cheveux de Lin) or in duet form (Fauré's Berceuse from 'Dolly Suite'). Three orchestral pieces Bizet's L'Arlésienne Offenbach's Can-Can and Saint-Saëns's Danse Macabre lend a welcome dramatic overtone to the book while Franck's exquisite Panis Angelicus originally conceived as a choral piece rounds off the selection admirably. In the main it is the cello's capacity for lyricism that has steered my choice of music so really open up your sound and enjoy yourself with these ageless melodies.I wish you bonne chance!Baguette: a thin loaf of
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101 Disney Songs: Cello Solo: Instrumental Album
Cello
Hal Leonard
for Cello-If you play an instrument and you're a Disney fan you'll love this co...
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for Cello-If you play an instrument and you're a Disney fan you'll love this collection of 101 favorites to learn and play! Songs include Beauty and the Beast • Can You Feel the Love Tonight • A Dream Is a Wish Your Heart Makes • Evermore • Go the Distance • He's a Pirate • I See the Light • Kiss the Girl • Let It Go • Mickey Mouse March • Reflection • A Spoonful of Sugar • True Love's Kiss • We're All in This Together • When You Wish upon a Star • A Whole New World • You've Got a Friend in Me • Zip-A-Dee-Doo-Dah and many more.
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Flex Ability Holiday - Cello And Bass
Alfred Publishing
The Flex-Ability series, arranged by Victor Lopez, fills the need for multi-le...
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The Flex-Ability series, arranged by Victor Lopez, fills the need for multi-level instrumentalists to play popular music together. Each instrument book includes 11 songs in four-part score form. The top line (solo) is for level 2 1/2-3. The second line (duet/harmony) is for level 2-2 1/2. The third line (trio/harmony) is for level 1 1/2. The bottom line (harmony or bass line) is for level 1/2-1 (only whole, half, dotted half, and quarter notes and rests). The arrangements are carefully crafted to be educationally sound. Optional octaves and cue notes are included to allow for range flexibility. The songs are: Jingle Bells * Santa Claus Is Comin' to Town * Have Yourself a Merry Little Christmas * (I'm Gettin') Nuttin' for Christmas * Frosty the Snowman * I'll Be Home for Christmas * Angels We Have Heard on High * Joy to the World * We Wish You a Merry Christmas * Auld Lang Syne * Chanukah Medley: Chanukah/I Have a Little Dreydl.
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101 Christmas Songs: Cello Solo: Instrumental Album
Cello
Hal Leonard
Instrumentalists will love this jam-packed collection of 101 holiday favorites! ...
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Instrumentalists will love this jam-packed collection of 101 holiday favorites! Songs include: All I Want for Christmas Is You - Believe - Christmas Time Is Here - Dance of the Sugar Plum Fairy - Feliz Navidad - Grandma Got Run over by a Reindeer - Have Yourself a Merry Little Christmas - I Saw Three Ships - Jingle Bells - Let It Snow! Let It Snow! Let It Snow! - Merry Christmas, Darling - O Come, All Ye Faithful - Rockin' Around the Christmas Tree - Silent Night - The Twelve Days of Christmas - We Wish You a Merry Christmas - and more.
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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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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...
(+)
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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Bent Sørensen: String Quartet No.3 'Angel's Music': String Quartet: Instrumental
String Quartet: 2 violins, viola, cello
Wilhelm Hansen
Parts for String Quartet No.3 'Angel's Music' by Bent Sørensen (1988) Premier...
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Parts for String Quartet No.3 'Angel's Music' by Bent Sørensen (1988) Premiered by the Arditti String Quartet at the Danish Radio Concert Hall 16 November 1988. Score available: KP00250The composer writes:'Even when I was writing 'Adieu' I knew that I wished to write 'Angel’s Music'. The title existed in an incomplete form in my mind and gradually more and more ideas and a few outlines became clear. The actual work on 'Angel’s Music' was started in Rome where I spent the autumn of 1987 staying at 'The Danish Academy'. Whether this stay has influenced the quartet or not is impossible to say. however it is true to say that inthe Roman churches I visited I saw countless angels playing in the top of frescoes and altars. Without these angels together with the many crackled-gold paintings in this city and my general fascination with the Italian renaissance painter Fra Angelico (in fact there are only a few paintings by him in Rome but even his name..!) I am not sure my quartet would have been what it is. Anyway I do feel that there is a bit of Italy in the piece. The angels apart there are in the short rhythmic agitating part of the quartet reminiscences of the Italian medieval Trotto dance and in the most expressive part of the piece there are flashes of Puccini-like music. From the very beginning of my work on the quartet the distant extremely muted sound in the high register which opens the piece was on my mind. A sound satiated with a dense heterophonic and polyphonic texture of elegiac melody and vibrating trills. I imagined that 'little songs' (maybe angel songs) could be created in this density these songs constantly echoing themselves. Gradually as this sound got a more and more concrete musical and instrumental form I felt that not only should the 'little songs' be created played and die out in an echo but also that the general pattern of the quartet should give the feeling of music which from the distance is getting closer and closer
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Bent Sørensen: Angels' Music String Quartet No.3: String Quartet: Study Score
String Quartet: 2 violins, viola, cello
[Sheet music]
-
Intermediate/advanced
Wilhelm Hansen
The full score for String Quartet No.3 'Angel's Music' by Bent Sørensen (1988...
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The full score for String Quartet No.3 'Angel's Music' by Bent Sørensen (1988) Premiered by the Arditti String Quartet at the Danish Radio Concert Hall 16 November 1988. Parts available: KP00249The composer writes:'Even when I was writing 'Adieu' I knew that I wished to write 'Angel’s Music'. The title existed in an incomplete form in my mind and gradually more and more ideas and a few outlines became clear. The actual work on 'Angel’s Music' was started in Rome where I spent the autumn of 1987 staying at 'The Danish Academy'. Whether this stay has influenced the quartet or not is impossible to say. however it is true tosay that in the Roman churches I visited I saw countless angels playing in the top of frescoes and altars. Without these angels together with the many crackled-gold paintings in this city and my general fascination with the Italian renaissance painter Fra Angelico (in fact there are only a few paintings by him in Rome but even his name..!) I am not sure my quartet would have been what it is. Anyway I do feel that there is a bit of Italy in the piece. The angels apart there are in the short rhythmic agitating part of the quartet reminiscences of the Italian medieval Trotto dance and in the most expressive part of the piece there are flashes of Puccini-like music. From the very beginning of my work on the quartet the distant extremely muted sound in the high register which opens the piece was on my mind. A sound satiated with a dense heterophonic and polyphonic texture of elegiac melody and vibrating trills. I imagined that 'little songs' (maybe angel songs) could be created in this density these songs constantly echoing themselves. Gradually as this sound got a more and more concrete musical and instrumental form I felt that not only should the 'little songs' be created played and die out in an echo but also that the general pattern of the quartet should give the feeling of music which from the distance is getting closer and
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Sonate
Cello, Piano
[Sheet music]
Bote and Bock
Par WINTERBERG HANS. Hans Winterberg, born in Prague in 1901, lived through almo...
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Par WINTERBERG HANS. Hans Winterberg, born in Prague in 1901, lived through almost the entire period of the 20th century and was influenced as a composer by its most important artistic innovations. Already a brilliant pianist as an adolescent, he studied with Alois Hába and Alexander von Zemlinsky in Prague. Both his life and his music reflect the Austrian-Czech-Jewish cultural symbiosis; he saw himself as a bridge builder between Western and Eastern, i.e. Slavic, cultures. Owing to his Jewish ancestry, he was deported to the Terezin concentration camp after the annexation of Czechoslovakia by Nazi Germany. He was the only Jewish representative of the Czech musical avant-garde of the 1920s and 1930s to survive the Shoah and, in 1947, followed his non-Jewish wife and their daughter to the FRG in the course of the expulsion of the German-speaking population from Czechoslovakia. Winterberg's fascinating oeuvre, which was kept under lock and key in a German music archive for years after his death, is now being made accessible in first editions due to a cooperation between the Exilarte Center for Banned Music at the University of Music in Vienna and Boosey & Hawkes. The first printed edition is Winterberg's Cello Sonata, composed in 1951, in which all the characteristics of his unmistakable personal style come to the fore: dance-like energy, polyrhythm, intimate yet unsentimental melos, subtle handling of folkloristic material, and an unerring sense of form and balance. This work is of medium technical and great interpretative difficulty. / Date parution : 2024-01-06/ Répertoire / Violoncelle et Piano
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String Quartet No. 4 (LERDAHL FRED)
String Quartet: 2 violins, viola, cello
[Score and Parts]
Schott
Chaconne. Par LERDAHL FRED. Chaconne (2016), for string quartet, was commissione...
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Chaconne. Par LERDAHL FRED. Chaconne (2016), for string quartet, was commissioned by the Daedalus Quartet to celebrate its 15th anniversary. The commission was supported by New Music USA, made possible by annual program support and/or endowment gifts from Pennsylvania Council on the Arts, Helen F. Whitaker Fund, and Aaron Copland Fund for Music. My music has a substantial history with Daedalus. I composed the Third String Quartet (2008) for them, and subsequently they performed my three string quartets on several occasions and recorded them brilliantly on Bridge Records (Bridge 9352: Music of Fred Lerdahl, vol. 3). Chaconne is in one movement lasting 19 minutes. It is effectively my fourth string quartet. Quartets 1-3 form a unified cycle lasting 70 minutes. When I finished the cycle, I thought I would never write again for the medium; yet I could not resist the opportunity of working again with Daedalus. The issue was how to compose another string quartet unrelated to the earlier cycle. The solution came from my solo cello piece There and Back Again (2010), which was based on a four-bar variation pattern from a 17th-century chaconne. Unlike the asymmetrical phrases and expanding variations of much of my music, the chaconne form requires symmetrical phrases and strictly periodic variations. I wished to work again with these symmetries but on a larger scale. Chaconne also differs in character and expression from the three-quartet cycle. The cycle is inward and intense, a kind of psychological excavation. Chaconne is, for the most part, transparent and playful. Many of its textures emerge from little canons, not completely unlike the rounds that children sing. Any composer who writes in chaconne form (one thinks above all of the last movement of Bach’s D minor violin partita and the finale of Brahms’s Fourth Symphony) is confronted with the challenge of how to create a larger form out of a constantly repeating pattern. My Chaconne grows from paired antecedent-consequent phrases, each variation lasting eight bars. The 50 variations group into three large rotations, forming three arcs of tension and relaxation, with subtle parallel connections across the rotations. Notwithstanding my attraction to chaconne form, I purposefully disguised its symmetries and periodicities in order to build an overall dramatic shape. Fred Lerdahl/ Répertoire / Quatuor à Cordes
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Albert Sammons: The Secret of Cello Technique: Cello: Instrumental Tutor
Cello
Spartan Press
The Secret Of Technique In Cello Playing.Daily practice for soloists and advance...
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The Secret Of Technique In Cello Playing.Daily practice for soloists and advanced players by Albert Sammons. Op20. Transcribed by Lionel Handy. 'I was introduced to Albert Sammons' classic work The Secret of Technique in Violin Playing by Hugh Bean. I was fortunate to play chamber music with Bean for many years and he maintained that his ability to keep his technical level was largely due to Sammons teaching in general and this book in particular. Bean was a pupil of Sammons for more than twenty years and believed that this concise work was ofgreat benefit to students and also professional players with limited practice time. I am very grateful to Mr Richard King Sammons grandson and Mrs Mary Bean for allowing me not only to transcribe this work for Cello but also to include where appropriate the suggestions Sammons made in his original text and the additional notes that Bean added in the 2002 edition. I have tried to stay as close as possible to Sammons material but some adaptation has obviously been necessary. I hope that my own comments for cellists will clarify the changes that have been made and are offered as Hugh Bean said in his 2002 edition in the spirit of wishing to help both aspiring and established string players utilize to the full their practice time. Although this transcription contains several exercises not found in the classic Cello studies of Popper Duport and Grutzmacher et al I hope that the unorthodox nature of these exercises will broaden and free the imagination of cellists by providing a more extended approach to Cello technique.' - Lionel Handy
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Andrew Lloyd Webber: The Songs of Andrew Lloyd Webber: Cello Solo: Instrumental
Cello
[Sheet music]
Hal Leonard
Cello-40 of the most memorable songs composed by the inimitable Andrew Lloyd Web...
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Cello-40 of the most memorable songs composed by the inimitable Andrew Lloyd Webber are gathered in this value-packed instrumental solo collection. Songs include: 'All I Ask of You' 'Amigos Para Siempre (Friends for Life)' 'Any Dream Will Do' 'Don't Cry for Me Argentina' 'I Believe My Heart' 'I Don't Know How to Love Him' 'Love Changes Everything' 'Love Never Dies' 'Memory' 'No Matter What' 'The Phantom of the Opera' 'Pie Jesu' 'Starlight Express' 'Stick It to the Man' 'Tell Me on a Sunday' ''Til I Hear You Sing' 'Unexpected Song' 'Wishing You Were Somehow Here Again' 'With One Look' and many more.
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Rodgers And Hart The Best Of - Piano-Vcl (RODGERS RICHARD / HART L)
Cello, Piano
[Sheet music]
Hal Leonard
Par RODGERS RICHARD / HART L.. 27 de leur mieux, y compris : ensorcelé, tomber ...
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Par RODGERS RICHARD / HART L.. 27 de leur mieux, y compris : ensorcelé, tomber en amour avec amour, n'est-il pas romantique?, la Dame est un clochard, My Funny Valentine et plus encore ! / Date parution : 2005-06-27/ Recueil / Violoncelle et Piano
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Antonín Dvo?ák: String Quartet in G major op. 106: String Quartet: Score and
Français
String Quartet: 2 violins, viola, cello
G. Henle
In autumn 1895 after returning from New York once and for all Dvo ák took up ...
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In autumn 1895 after returning from New York once and for all Dvo ák took up his former position as teacher at the Prague Conservatory. This clearly had an inspiring impact on him because in the space of just four weeks hecomposed a new string quartet in G major. Together with the Quartet in A-flat major op. 105 it forms a glorious close to his chamber music oeuvre. Echoes of Bohemian folk music are here mixed with cantabile themes while hismotivic working shows him to be a master at the height of his powers. Even today it seems almost as if we can feel the composer?s satisfaction with this work: ?I am working so easily and it is going so smoothly that I could notwish it better?.
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Atonement (LIEBMAN DAVID)
String Quartet: 2 violins, viola, cello
Advance Music
Par LIEBMAN DAVID. Atonement commemorates the holiest day of the year in the Jew...
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Par LIEBMAN DAVID. Atonement commemorates the holiest day of the year in the Jewish faith, called Yom Kippur. On that day an individual repents for transgressions which may have occurred during the past year. Fasting and prayer are the activities which begin at sundown with the chanting of Kol Nidre and end twenty four hours later. I wrote the melodies for this piece on Yom Kippur, 1979. Part of the piece quotes the beginning strains of Hatikvah, the Israeli national anthem. It is adaptable to any solo instrument. Solo parts are included for C concert, Bb, Eb and bass clef instruments. Recorded on 'Classique”./ Répertoire / Quatuor à Cordes et Instrument Solo
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Andrew Lloyd Webber: The Phantom of the Opera: Cello Solo: Instrumental Album
Cello
[Sheet music]
Hal Leonard
Solos for Cello-Nine songs from the Andrew Lloyd Webber musical masterpiece The...
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Solos for Cello-Nine songs from the Andrew Lloyd Webber musical masterpiece The Phantom of the Opera arranged for solo Cello: All I Ask of You · Angel of Music · Masquerade · The Music of the Night · The Phantom of the Opera · The Point of No Return · Prima Donna · Think of Me · Wishing You Were Somehow Here Again
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The Phantom of the Opera: Cello Solo: Instrumental Album
Cello
[Sheet music + Audio access]
Hal Leonard
Cello Play-Along Volume 10-The Cello Play-Along Series will help you play your f...
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Cello Play-Along Volume 10-The Cello Play-Along Series will help you play your favorite songs quickly and easily. Just follow the printed music and play along using the original backing tracks available online for download or streaming. This volume includes 8 songs from the classic musical: All I Ask of You • Angel of Music • Masquerade • The Music of the Night • The Phantom of the Opera • The Point of No Return • Think of Me • Wishing You Were Somehow Here Again.
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Cello Time Christmas (BLACKWELL KATHY / DAVID)
Cello
[Sheet music]
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Easy
Oxford University Press
Par BLACKWELL KATHY / DAVID. 31 chansons de Noël pour violoncelle (solos et duo...
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Par BLACKWELL KATHY / DAVID. 31 chansons de Noël pour violoncelle (solos et duos) - de nombreux airs de violon compatible avec Temps de Noël. / Niveau : Facile / Recueil / Violoncelle
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Disney Classics: Cello Solo: Instrumental Album
Cello
[Sheet music + CD]
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Easy
Hal Leonard
Instrumental Play-Along-Pick up your Cello and play along with 14 timeless class...
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Instrumental Play-Along-Pick up your Cello and play along with 14 timeless classics from Disney films. This pack includes a CD of backing tracks and matching sheet music in the book allowing you to join in.
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Christopher Norton: Concert Collection For Cello: Cello: Instrumental Album
Cello, Piano
[Score and Parts + CD]
Boosey and Hawkes
15 original pieces-Fifteen entertaining and inventive pieces for Cello and Pian...
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15 original pieces-Fifteen entertaining and inventive pieces for Cello and Piano based on well-known American folk tunes Christmas carols and nursery rhymes. The pieces are designed for intermediate to advanced-level players from the creator of Microjazz.Includes playalong CD featuring backing tracks and performances and pull-out Piano accompaniment.
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Christmas Carols: Cello Solo: Instrumental Album
Cello
[Sheet music + Audio access]
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Easy
Hal Leonard
Instrumental Play-Along-Here is a fantastic opportunity for you to become the so...
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Instrumental Play-Along-Here is a fantastic opportunity for you to become the soloist in these specially selected favourite Christmas Carols! Each song is presented in clear notation and the accompanying CD features a full demonstration and backing track for each song so that you can experience the sound of a professional ensemble as your band! Fifteen evocative and heart-warming seasonal songs have been selected including Deck the Hall O Little Town of Bethlehem Good King Wenceslas and The First Noel all specially arranged for Cello.
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