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18 Over the Bar
VIOLONCELLO - CELLO
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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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Sonate F-Dur (STRAUSS RICHARD)
Cello, Piano
Schott
Arrangeur: Florence Eller. Par STRAUSS RICHARD. The Cello Sonata Op. 6 was compo...
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Arrangeur: Florence Eller. Par STRAUSS RICHARD. The Cello Sonata Op. 6 was composed over an apparently frequently interrupted period of three years, an extraordinarily long time for Strauss's early creative phase. The compositional process spawned two independent versions of the work, the first of which is published for the first time on the basis of the text in the Critical Edition of the Works of Richard Strauss in the current edition as a practical musical text. The genesis of the two versions and the reasons for revision can only be reconstructed in part: only one of the surviving autographs bears a date and the second version only survives in printed form. What is more, Strauss did not communicate in greater detail on this composition in correspondence with his family and friends. There are enormous differences between the two versions of the Sonata: Strauss deleted the entire second and third movements Larghetto and Allegro vivace, replacing them with a newly composed Andante and Finale. In the first movement, Allegro con brio, Strauss retained the thematic-motivic material and compositionally complex passages such as the three-voice fugue in the development section (from bar 241 in the first version and bar 275 in the second version) almost intact in the new version of the sonata, but also undertook extensive alterations, particularly in the structure of the piano part, the motivic-thematic development of the movement and its harmony which became far more ambitious.12 Particular attention should be drawn to the repetitive accompaniment of the con espressione theme beginning in bar 32 and the significantly shorter development in the first version. The current printed edition of the first version of Richard Strauss's Cello Sonata now makes it possible to follow Strauss's compositional development during this period. The significance of the differences between the versions also mean that two sonata compositions for violoncello and piano by Richard Strauss with fundamental disparities in their underlying character are now available for performance. (from the foreword by the editors)/ Répertoire / Violoncelle et Piano
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Easy to Play Cello Airs and Ballads (CLARKE GENE)
Cello
[Sheet music]
-
Easy
Mel Bay
Par CLARKE GENE. Easy to Play Cello Airs and Ballads is a collection of 25 ninet...
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Par CLARKE GENE. Easy to Play Cello Airs and Ballads is a collection of 25 nineteenth-century and early twentieth-century folk and popular songs from England, Scotland, Ireland, and the United States. All of the songs are written in easy rhythms, entirely in first position, with bowing indications and suggested guitar chords. Each tune corresponds with the same song in Easy to Play Violin Airs and Ballads and Easy to Play Viola Airs and Ballads. / Niveau : Facile / Date parution : 2023-06-01/ Recueil / Violoncelle
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Ludwig van Beethoven: Late String Quartets And Grosse Fuge: String Quartet:
String Quartet: 2 violins, viola, cello
Dover Publications
Opp. 127 130-133 135-Beethoven's late String Quartets are universally regarded...
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Opp. 127 130-133 135-Beethoven's late String Quartets are universally regarded as supreme transcendent works - among the greatest and most intimate music in chamber literature. Composed in the last years of the master's life - between 1823 and 1827 - these quartets contain astonishing experiments in thematic development and musical form that laid the foundation for innovations in 20th Century string quartet writing especially in the important works of Bartok and Shostakovich.This volume reprinted from the definitive Breitkopf and Hartel edition includes:String Quartet No.12 In E Flat Op.127String Quartet No.13 In B Flat Op.130String Quartet No.14 In C Sharp MinorOp.131String Quartet No.15 In A Minor Op.132String Quartet No.16 In F Op.135 and theGrosse Fuge In B Flat Op.133This convenient affordable volume is the ideal edition for study in the classroom at home or in the concert hall.
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Appassionato: Cello: Score
Cello
Schott
25 Originale Vortragsstücke-Volume 2 of the Cellissimo series contains 25 popul...
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25 Originale Vortragsstücke-Volume 2 of the Cellissimo series contains 25 popular original pieces for cello and piano from the Baroque Classical and Romantic eras and is a real treasure trove for advanced pupils students teachers and cello lovers. The cello literature comprises a lot of major standard works for lessons concerts and competitions. Apart from classics by Vivaldi Br?val Beethoven Mendelssohn Schumann Faur? or Saint-Sa?ns the volume also contains several lesser known pieces e.g. by August N?lck (1862?1928) and Georg Goltermann (1824?1898). The pieces are of medium technical difficulty which corresponds to grade 3-4 or grade 5-8 of theinternational examination system. Some pieces can be played in the 2nd to 7th position while several works require putting the thumb under. All selected works are particularly suitable for the development of sound vibrato differentiated bowing technique as well as the performer's personal interpretation and musical presentation.
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Irish Folk Tunes for Cello
Cello
[Sheet music + Audio access]
Schott
51 Traditional Pieces. Par . Cellist Ben Davis presents a collection of pieces f...
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51 Traditional Pieces. Par . Cellist Ben Davis presents a collection of pieces for solo cello drawn from the rich tradition of Irish folk music. The collection covers a range of styles including Jigs, Reels, Hornpipes and Marches. The volume includes notes on the tunes, and is accompanied by recordings of all tunes. German and French translations of all texts are available as PDF downloads from the Schott Music website. Suitable for players of grades 3-8. / Niveau : Intermédiaire-Avancé / Date parution : 2023-08-12/ Recueil / Violoncelle
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Franz Joseph Haydn: Six Divertimenti For Violin: Violin: Study Score
String Trio: 2 violins, cello
[Study Score / Miniature]
G. Henle
Though not nearly as well-known as the 'London Trios ' these six delightful dive...
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Though not nearly as well-known as the 'London Trios ' these six delightful divertimentos are Haydn's first pieces of chamber music to expressly call for the flute. Straightforward and full of Haydn's esprit they are a treasuretrove for all lovers of music-making in the home. The stylistic variety of these cheerful pièces d'occasion surely reflects the fact that they are partly based on earlier models: Haydn's baryton trios as well as arias and otheritems from his opera 'Il mondo della luna' ('The World on the Moon').
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Mario Castelnuovo-Tedesco: Chant Hébraïque For Cello And Piano: Cello:
Cello, Piano
Leduc, Alphonse
Born into a family of bankers that had lived in Florence since the expulsion of ...
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Born into a family of bankers that had lived in Florence since the expulsion of the Jews from Spain in 1492 Mario Castelnuovo-Tedesco (1895-1968) studied under Pizzetti at the city’s Conservatoire. He soon became one of the leading members of the young Italian school which broke with the tyranny of bel canto to return to the instrumental tradition of the Italian masters from the Baroque era. In 1928 Amédée-Landély Hettich a vocal teacher in Paris asked Castelnuovo-Tedesco to write a vocalise for the Répertoire moderne de Vocalises-Études the publication of which he was supervising at Leduc. Castelnuovo-Tedesco’scontribution entitled Vocalise-Étude for Medium Voice became so popular that it was immediately transcribed several times over. The present adaptation for cello and piano was created with prior consent from the composer by the famous Catalan cellist Gaspar Cassadó in 1930. The works opens with a poignant lamento that grieves the tragic fate of the Jewish people; it is followed by a folk dance whose “brisk and stubborn” movement marks with panache an imperious refusal to yield to resignation. The composer adopted the same proactive stance himself when in 1939 fleeing Mussolini’s antisemitic laws he decided to emigrate to the United States a land of refuge to which he would remain faithful until his death some thirty years later.
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6 Suites For Violoncello Solo Bwv 1007-1012
Cello
Barenreiter
Urtext edition with articulation markings - Soft-cover performing editionWhen yo...
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Urtext edition with articulation markings - Soft-cover performing editionWhen you think cello, you think of Bach's immortal cello suites.The suites take centre stage in the cello literature. They are timeless and beautiful and accompany cellists from their student years up through their professional career at the highest level. Appropriately and not surprisingly there are countless editions of the suites. But the composer's autograph has not come down to us. It is lost and this circumstance has always been a major challenge for editors. The four surviving handwritten sources and the original first edition of 1824 differ in many details, the articulation and phrasing being particularly ambiguous.At Bärenreiter, having published the New Bach Edition and presently publishing the New Bach Edition-Revised, we feel particularly committed to the cello suites. We have approached the editorial problems from several angles and have published editions that meet the needs of students and professional performers alike.This new edition, based on volume 4 of the New Bach Edition - Revised (NBArev), now completes Bärenreiter's collection of the cello suite editions. Andrew Talle has fundamentally reassessed the relations between the surviving sources and has drawn conclusions regarding their evaluation and consequently the genesis of the suites. His evaluations are augmented with thorough discussions of the instrument for which the suites were conceived and the interpretative practices in Bach's day.The musical text of the edition is based on these findings. It approaches the composer's original intentions as far as the sources will permit. Details regarding articulation were deemed as being viable and were added to the musical text if they appeared in the majority of the sources. 'This edition does not present a perfect reconstruction of the lost autograph - no editor could claim to do so. Instead, I have attempted to provide musicians and scholars with a reliable version of the surviving musical text of the six cello suites and to shed light on the options which the Bach sources offer.?- Urtext edition with articulation by the editor on the basis of intensive source comparison- Musical text identical to the text in New Bach Edition - Revised Volume 4, Book 1- Detailed introduction (Ger/Eng) / Violoncelle
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Johann Sebastian Bach: Six Suites For Violoncello Solo: Cello: Instrumental
Cello
Barenreiter
Bwv 1007-1012-Urtext edition with articulation markings - Soft-cover performing ...
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Bwv 1007-1012-Urtext edition with articulation markings - Soft-cover performing editionWhen you think cello you think of Bach?s immortal cello suites.The suites take centre stage in the cello literature. They are timeless and beautiful and accompany cellists from their student years up through their professional career at the highest level.Appropriately and not surprisingly there are countless editions of the suites. But the composer?s autograph has not come down to us. It is lost and this circumstance has always been a major challenge for editors. The four surviving handwritten sources and the original first edition of 1824 differ in many details the articulation andphrasing being particularly ambiguous.At Bärenreiter having published the New Bach Edition and presently publishing the New Bach Edition-Revised we feel particularly committed to the cello suites. We have approached the editorial problems from several angles and have published editions that meet the needs of students and professional performers alike.This new edition based on volume 4 of the New Bach Edition Revised (NBArev) now completes Bärenreiter?s collection of the cello suite editions. Andrew Talle has fundamentally reassessed the relations between the surviving sources and has drawn conclusions regarding their evaluation and consequently the genesis of the suites. His evaluations are augmented with thorough discussions of the instrument for which the suites were conceived and the interpretative practices in Bach's day.The musical text of the edition is based on these findings. It approaches the composer's original intentions as far as the sources will permit. Details regarding articulation were deemed as being viable and were added to the musical text if they appeared in the majority of the sources. ?This edition does not present a perfect reconstruction of the lost autograph; no editor could claim to do so. Instead I have attempted to provide musicians and scholars with a reliable version of the surviving musical text of the six cello suites and to shed light on the options which the Bach sources offer.?- Urtext edition with articulation by the editor on the basis of intensive source comparison- Musical text identical
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Bedrich Smetana: Piano Trio In G Minor Op. 15: Piano Trio: Score and Parts
Piano Trio: piano, violin, cello
G. Henle
When Smetana composed his Piano trio in the autumn of 1855 it was an act of cat...
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When Smetana composed his Piano trio in the autumn of 1855 it was an act of catharsis to recover from the death of his four-year-old daughter Friederike. This highly emotional work was also his first large-scale piece of chambermusic. Its first public performance in December 1855 was regrettably not a great success and so Smetana embarked on a protracted process of reworking it. By the late 1850s it had reached its current form. Smetana always liked toperform it but only found a publisher for it in 1880 when one of his pupils invited the Hamburg publisher Hugo Pohle to a performance at short notice. Smetana specialist Milan Posp Å¡il has based this Henle Urtext edition on thefirst edition by Pohle but has also drawn upon the earlier sources. This has enabled him to iron out numerous inconsistencies found in the first edition.
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Cello & Piano 1: Cello: Instrumental Album
Cello
EMB (Editio Musica Budapest)
Cello & Piano book I and book II (Z14637) contain a selection from 200 years of ...
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Cello & Piano book I and book II (Z14637) contain a selection from 200 years of music. Eight Baroque sonatas are included apart from the famous D minor one by Corelli there are some that are appearing in a modern edition for the first time in 300 years. In addition to cyclical works (Haydn: Sonatina Mozart: Divertimento Vivaldi: Concerto) and sets of variations (Beethoven Tartini) there are many shorter pieces as well not only the famous minuets by Boccherini Mozart and Beethoven but also works published for the first time here. Virtuoso pieces are represented by Goltermann’s Etude-caprice and Jenkinson's Dance of the sylphids thelighter kind include Joplin’s Ragtime. This colourful ample selection provides a good basis for a music-lover's library. Book I Contents: 1. Corelli Arcangelo: Sonate Op. 5 No.8 2. Scarlatti Domenico: Sonata 3. Jacchini G. M.: Sonata 4. Vivaldi Antonio: Concerto RV 411 5. Telemann Georg Philipp: Sonata aus ''Der getreue Musikmeister'' 6. Bach Johann Sebastian Marcello Alessandro: Adagio BWV 974 7. Haydn Joseph: Scherzando Hob. XI:70 8. Mozart Wolfgang Amadeus: Menuet KV 334 9. Cherubini Luigi: Ave Maria 10. Romberg Bernhard: Rondo Op. 38 No. 1 11. Beethoven Ludwig van: Menuet WoO 10 No. 212. Beethoven Ludwig van: Tema con variazioni Op. 105 No. 1 13. Rossini Gioacchino Antonio: Pour Album 14. Schubert Franz: Morgenständchen D 889 15. Schubert Franz: Grätzer Galopp D 925 16. Schumann Robert: Arabeske Op. 18 17. Bizet Georges: Agnus Dei 18. Tchaikovsky P. I.: Valse sentimentale Op. 51 No. 6 19. Dvo ák Antonín: Humoresque Op. 101 No. 7 20. Dvo ák Antonín: Gipsy Melody Op. 55 No. 4 21. Fauré Gabriel: Mandoline Op. 58 No. 4 22. Joplin Scott: The Strenuous
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Draculissimo (SCHNEIDER ENJOTT)
Trompette et Réduction pour Piano avec des Parties
Schott
Concerto grosso for trumpet, tenor trombone and chamber ensemble. Par SCHNEIDER ...
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Concerto grosso for trumpet, tenor trombone and chamber ensemble. Par SCHNEIDER ENJOTT. The concerto takes the historical figure of the brutal impaler Vlad Tzepesch (1431-1476) as its starting point and subsequently develops the myth into an overwrought and gruesome piece of work: 1: “Oderint dum metuant” is a raving Allegro with a Baroque ritornello structure and modern “Draculisms”. 2: “Luna su Tirgoviste” is a memoriam for the thousands of impaled victims who came to a violent end in today’s Târgoviste. 3: “Il ballo transilvano” confronts a naive waltz rhythm with aggressive polyrhythmic reinterpretations – in the manner of the stick and the carrot. 4: “Bacio di sangue” is Neo-Baroque horror music which has got out of hand, demanding extreme virtuosity from both soloists and ensemble. Enjott Schneider/ Répertoire / Trompette et Réduction pour Piano avec des Parties
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Bohuslav Martinu: String Quartet No.6 H.312 - Study Score: String Quartet: Study
String Quartet: 2 violins, viola, cello
Barenreiter
An informative preface and critical commentary by Ales Brezina and Ivan Straus (...
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An informative preface and critical commentary by Ales Brezina and Ivan Straus (Cz / Ger / Engl / Fr) - A new practical edition at the forefront of Martinu scholarship - All existing sources consulted.The String Quartet no. 6 by Bohuslav Martinu (1890-1959) represents a distinct step on the journey which the composer characterised as his development from geometry to fantasy and for which the almost continuous use of the principle of developing variations restless harmonic development the pulsation of minute rhythmic values and inventive work with sound are characteristic.The quartet which was written in New York in the autumn of 1946 constitutes the beginning of the composer's later works in which moods freely overflow regardless of any predefined formal layout. The editors of the new edition (based on the composer's autograph) have carefully removed all of the problematic and somewhat arbitrary editorial intervention in the sole existing edition dating from 1950 (actually 1955).With its urtext edition of the 6th quartet Editio Bareneriter Praha has continued in its series of new publications of works by Bohuslav Martinu - quartets nos. 4 and 5 have already been published for this instrumental line-up.
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