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VIOLONCELLO - CELLO
NARROW BY INSTRUMENTATION
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Piano solo (2648)
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Mélodie, Chant Et Piano (94)
Accordion (94)
2 Guitars (duet) (91)
Alto Saxophone (91)
Drums (90)
All Instruments (86)
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Keyboard (61)
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String Trio: violin, viola, ce… (59)
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Music Theory (55)
Organ, Trumpet (duet) (54)
Easy Piano (54)
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Opera (46)
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Chamber Orchestra (41)
Violin, Cello (duet) (41)
Drum set and Piano (40)
Lyrics and Chords (40)
2 Saxophones (duet) (39)
2 Cellos (duet) (39)
Guitare (39)
Recorder, Piano (38)
Soprano voice, Piano (37)
Conducteur (37)
Bb Instruments (36)
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Harpsichord (36)
Recorder (34)
Tenor Saxophone and Piano (34)
Choral 2-part (34)
Biography (33)
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Jazz Ensemble (32)
Cornet and Piano (31)
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Saxophone ensemble (31)
Flute Trio: 3 flutes (31)
Batterie Fanfare En Mib (30)
Partition de Poche (30)
Travaux Pour Choeurs (29)
Cello, Orchestra (29)
Accordion ensemble (29)
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3 Clarinets (trio) (28)
Ensemble à Cordes (27)
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Bugle (27)
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Chant (27)
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Piano Quintet: piano, 2 violin… (27)
Melody line, (Lyrics) and Chor… (26)
Violin, Viola (duet) (26)
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Voice, Guitar (25)
Horn Ensemble (24)
Tuba (24)
Snare drums (24)
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Duos (22)
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4 Guitars (Quartet) (22)
Low voice, Piano (22)
Mezzo-Soprano voice, Piano (22)
Guitar Ensemble (21)
Quatuor (21)
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A Cappella (21)
Violon, Ensembles de Cordes et… (21)
Piccolo, Piano (21)
Clarinet Quartet: Clarinet, Vi… (20)
Recorder Ensemble (20)
Voice and Orchestra (20)
3 Guitars (trio) (20)
2 Recorders (duet) (19)
Concert Band/Harmonie (19)
Musique Légère (18)
Tambour (18)
Ensemble A Vent (18)
Accordion - Piano, Voice, Guit… (18)
Xylophone (17)
Trio A Cordes (17)
Wind ensemble (17)
Descant (Soprano) Recorder (17)
5 Harps (16)
Trio de Cordes (16)
Cornet (16)
B Flat, E Flat, C and Bass cle… (16)
Ukulele (16)
Clavecin (16)
Ensemble D'Altos (15)
Ensemble De Cuivres Et Percuss… (15)
Violin, Guitar (duet) (15)
Musical Awakening (15)
Chorale d'Enfants et Piano ou … (15)
Cello Ensemble (15)
Tenor voice, Piano (15)
Piano, Guitar (duet) (14)
Eb Instruments (14)
Cello, Guitar (duet) (14)
Soprano voice (14)
Euphonium, Piano (duet) (14)
Clarinet, Cello, Piano (trio) (14)
Lyrics only (13)
Choeur SSATB et Basse Continue… (13)
Flute and Strings Trio (13)
Flute Quartet: Flute, Violin, … (13)
Choral SSAATTBB (13)
Accessoire (13)
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String Trio: 2 violins, cello (13)
Harmonica (13)
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Fanfare Band (13)
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Baritone voice (12)
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Organ, Piano (duet) (12)
Clarinet, Orchestra (12)
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Quintette à vent (12)
Flexible Instrumentation (12)
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Violin, Clarinet, Piano (trio)… (11)
Clarinet Quintet: Clarinet, St… (11)
Voice, String Quartet (11)
Septuor De Cuivres (11)
2 Trompettes (duo) (11)
Quatuor (2 Trompettes, Trombon… (11)
Solistes SATB, Choeur SATB, 3 … (11)
Solistes ATB, Choeur SATB, Tro… (11)
Bass Clarinet (11)
Marimba (11)
Harpe Et Instruments Divers (11)
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3 Recorders (trio) (11)
Treble (Alto) Recorder, Basso … (11)
Descent (Soprano) Recorder, Pi… (11)
Chant, Accords Et Piano (10)
Trompette ou Cornet et Piano (10)
String quintet (10)
Nursery rhyme (10)
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Solistes SAB, Choeur SATB, 4 F… (10)
Solistes STBarB, Choeur SATB, … (10)
Solistes SATB, Choeur SATB, 2 … (10)
Ensemble De Cuivres Et Timbale… (10)
Viola, Cello (duet) (10)
Bass Clarinet, Piano (10)
Ensembles Divers (10)
Vibraphone (10)
Choeur SSAATTBB, 2 Cornetti, 3… (10)
Violin, Basso continuo (10)
Recorder Quartet (10)
Chorale (10)
Mandolin (10)
Piccolo (10)
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Trumpet, Trombone (duet) (9)
3 French horns (trio) (9)
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2 French horns, Piano (9)
Solistes SATB, Choeur SATB, Fl… (9)
Flûte A Bec Et Instruments Di… (9)
Solistes SATB, Choeur SATB, 3 … (9)
2 French horns (duet) (9)
Flute, Clarinet, Piano (trio) (9)
Quatuor D'Anches (9)
Choeur SATB, 2 Litui (2 Cors),… (9)
Fac-similé (9)
Flute, Piano Trio (bass, drum,… (9)
Cor en Fa (9)
Timbales (9)
Violon, Ensembles de Cordes et… (9)
Septuor (9)
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Mezzo-Soprano voice (9)
High voice (9)
Quintette de Cuivres (9)
Stationery (9)
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Medium Voice (9)
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Banjo (8)
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Ondes Martenot (8)
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Partition D'Orchestre In 16 Po… (8)
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Musique De Chambre, Voix Et Ba… (8)
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Solistes SATB, Choeur SATB, 4 … (8)
2 Clarinets, Piano (8)
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String Quartet : 4 violas (8)
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Solo S, Flûte Traversière, 2… (8)
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Solistes, Choeur Mixte (SATB) … (8)
Saxophone and Orchestra (8)
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Flute, Violoncello (8)
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Choral Unison (8)
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Harp and Piano (7)
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Educatif (7)
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Saxophone Alto Ou Tenor Et Pia… (7)
Organ and Brass Quartet (7)
Flûte Traversière, Violon, I… (7)
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2 Bassoons (duet) (7)
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Choeur a Cappella (7)
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Ballets Sans Chant (6)
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2 Violons, 2 Altos et 2 Violon… (5)
Gemischter Chor (SATB) und Orc… (5)
Piano (4, 6 Et 8 Mains) (5)
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Soprano Saxophone and Piano (5)
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Musique De Chambre Avec Tuba (5)
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Wood Block Et Piano (5)
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Danses Folkloriques Etrangère… (5)
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Baryton ou Tuba et Brass Band (5)
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1 Et 2 Flûtes A Bec Soprano E… (5)
Soprano (5)
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Violon, Cor Anglais et Piano (4)
Melody line, Piano (4)
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Xylophone, Piano (4)
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Pocket, Study conductor (4)
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Alto Partie Séparée (4)
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2 Flûtes A Bec Et Piano (4)
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Cor, Violon, et Piano (4)
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Cor et Orgue (4)
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Flûte Traversière hautbois o… (4)
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Sextuor (3 Trompettes Et 3 Tro… (4)
Choeur Mixte et Instrument Div… (4)
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Batterie et Percussions (4)
Rythmique Et Mouvements Gymniq… (4)
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Soli Et Choeur SATBB Sans Acco… (4)
T-shirt (4)
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Brass ensemble, Organ (4)
Bandonéon, Violon, Piano et C… (4)
Opéra Full Score (4)
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Mandoline, Guitare et Harpe (4)
Soli Et Choeur Sans Accompagne… (4)
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Flûte Traversière Cordes et … (4)
Streichorchester (4)
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Choeur Sans Accompagnement (3)
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DVD concert (3)
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Cello, Orchestra
Barenreiter
This study score is based on the score and complete performance material of Dvor...
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This study score is based on the score and complete performance material of Dvorák's famous B minor Cello Concerto (BA 9045) edited by Jonathan Del Mar and published in 2011. In addition the study score contains a Foreword by Dvorák scholar Jan Smaczny.Like every other major 19th-century cello concerto, Dvorák's concerto resulted from a collaboration between the composer and a virtuoso musician. Several passages in Dvorák's autograph were written by the cellist Hanus Wihan but Bärenreiter's edition now reveals that some details in the orchestral parts are also in his writing, showing just how closely the two musicians were working together.The editor Jonathan Del Mar has conscientiously examined every available source, including two that have hitherto been either ignored or crucially undervalued. His research has led to a benchmark edition that reconstructs, for the first time since its initial publication in 1896, Dvorák's definitive version of the solo part. It differs from previous editions in practically every measure and hundreds of corrections have also been made to the orchestral parts. - Includes Dvorák's final and definitive version of the solo cello part - Incorporates new discoveries regarding the collaboration between Dvorák and Wihan - With Feuermann's and Casals's alternative versions of a passage in the first movement - Detailed Foreword (Eng/Cz/Ger) / Violoncelle Et Orchestre
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Sonata (Version For Piano And Violoncello) / Mélancolie For Violoncello And Piano
Cello, Piano
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Intermediate
Barenreiter
Cesar Franck's Sonata for Piano and Violin is one of the most treasured works in...
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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 the piano 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.Bärenreiter's new 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 edition- Informative text on the genesis and reception history of the two compositions (Ger/Fr/Eng)- Detailed Critical Commentary (Eng) / Violoncelle Et Piano
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Tango Classics For Cello Und Piano
Cello, Piano
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Intermediate
Barenreiter
George A. Speckert has arranged the loveliest Argentine tangos for cello with pi...
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George A. Speckert has arranged the loveliest Argentine tangos for cello with piano accompaniment. Among them are such classics as 'El choclo?, gems by Eduardo Arolas and Rosendo Mendizabal, and lesser known titles such as 'El dÃa que me quieras? by Carlos Gardel - simple but effective for the cellist, concise and stylistically apt for the pianist.- The loveliest tangos for cello and piano- Effective recital piecesThe arrangerGeorge A. Speckert is a composer, writer and teacher in the field of multimedia productions and e-learning. He gained a reputation with simple but sonorous arrangements for variable string ensembles. / Violoncelle Et Piano
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Sonata For Violoncello And Piano F Major Op. 99
Cello, Piano
Barenreiter
Brahms completed his Cello Sonata op. 99 during the productive summer of 1886. T...
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Brahms completed his Cello Sonata op. 99 during the productive summer of 1886. The first public performance took place in Vienna on 24 November of the same year. Robert Hausmann played the cello part and the composer himself was his partner at the piano. Even though the work was generally received positively, it took some years until it was fully appreciated and gained its irrevocable place in the cello repertoire.Of particular value to the editors were the two early performance editions of the Cello Sonata op. 99 by Hugo Becker and Carl Friedberg, as well as by Julius Klengel. Both cellists, Becker and Klengel, had a connection to Brahms who very much admired and trusted Becker's playing and who performed together with Klengel. This edition not only incorporates Becker's and Klengel's performance markings but also Hausmann's for whom the piece was written. As such, the Barenreiter edition comes with a cello part marked with fingering and bowing by the editors which are based on the practices of Brahms' contemporaries. We also provide an unmarked Urtext part.An important part of this edition is the extensive Preface. Firstly it informs about the work's origin, early performances, its publication as well as early reception. Truly remarkable is the unique Performance Practice Commentary. Here the editors take the premise that already a few decades after Brahms' death, a widening gulf developed between the composer's expectations and the performance practices of the early 20th century. In a very concrete and practical way, the editors summarize some of the key issues in understanding Brahms' notation with regard to rhythm and timing, dynamics and accentuation, dots and strokes, slurring and non legato, piano pedalling and overholding, piano arpeggiation and dislocation, string instrument fingering, string instrument harmonics and vibrato. In this way, the edition offers an exciting and often surprising insight into Romantic musical interpretation.- A pioneering Urtext edition- With an unmarked Urtext part- With a second part including fingering and bowing based on the practices of contemporaries of Brahms- With an extensive Performance Practice Commentary- For further information on Romantic performance practice we recommend the text booklet: 'Performance Practices in Johannes Brahms' Chamber Music?, BA 9600 / Violoncelle Et Piano
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Sonata For Violoncello And Piano E Minor Op. 38
Cello, Piano
Barenreiter
The first three movements of Johannes Brahms' E minor Cello Sonata were composed...
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The first three movements of Johannes Brahms' E minor Cello Sonata were composed in 1862, the last movement was written in 1865. During the first years of its performance the work was received with mixed enthusiasm. By the end of Brahms' life, however, it was widely performed and by the first decades of the 20th century it was firmly embedded in the repertoire of many distinguished cellists. It was notably Robert Hausmann's advocacy of the work which seems to have contributed greatly to its promotion.Of particular value to the editors were the three early performance editions of the Cello Sonata op. 38 by Cornelius van Vliet and Edwin Hughes, Hugo Becker and Carl Friedberg, as well as Julius Klengel. The cellists' van Vliet, Becker and Klengel's fingering and bowing allows for a better understanding of their performance practice. As such, the Bärenreiter edition comes with a cello part marked with fingering and bowing by the editors which are based on the practices of Brahms' contemporaries. We also provide an unmarked urtext part.An important part of this edition is the extensive preface. Firstly it informs about the works' origins, early performances, its publication as well as early reception. Truly remarkable is the unique Performance Practice Commentary. Here the editors take the premise that already a few decades after Brahms' death a widening gulf developed between the composer's expectations and the performance practices of the early 20th century. In a very concrete and practical way, the editors summarize some of the key issues in understanding Brahms' notation with regard to rhythm and timing, dynamics and accentuation, dots and strokes, slurring and non legato, piano pedalling and overholding, piano arpeggiation and dislocation, string instrument fingering, string instrument harmonics and vibrato. In this way, the edition offers an exciting and often surprising insight in Romantic musical interpretation.- A pioneering Urtext edition- With an unmarked Urtext part- With a second part including fingering and bowing based on the practices of contemporaries of Brahms- With an extensive Performance Practice Commentary- For further information on Romantic performance practice we recommend: ?Performance Practices in Johannes Brahms' Chamber Music', text booklet BA 9600 / Violoncelle Et Piano
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Sonata For Pianoforte And Violoncello Op. 104
Cello, Piano
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Intermediate
Barenreiter
Famous in his day, the Austrian composer and pianist Johann Nepomuk Hummel (1778...
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Famous in his day, the Austrian composer and pianist Johann Nepomuk Hummel (1778-1837) studied with Mozart and befriended Beethoven.Among his many works is a relatively late sonata for violoncello and piano composed in 1824 and published in 1826 - a delightful early Romantic piece in three movements supported by a capricious piano part.The expressive cello cantilena in the 'Romance? will capture the heart of every cellist.Our edition, edited by Mark Kroll, is the first scholarly-critical publication of this sonata. It is based on the first edition of 1826 and the autograph manuscript, which served as a master copy for the engraving.A comparison of the sources brought to light a number of details overlooked in the first edition, especially with regard to dynamics.- A must for all cellists and lovers of chamber music- Notes on performance practice in the Foreword (Ger/Eng)- Detailed Critical Commentary (Eng) / Violoncelle Et Piano
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String Quartet Nr. 2 Op. 31 (SUK JOSEF)
String Quartet: 2 violins, viola, cello
[Study Score / Miniature]
Barenreiter
Par SUK JOSEF. First scholarly-critical edition The single-movement String Quar...
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Par SUK JOSEF. First scholarly-critical edition The single-movement String Quartet #2 by Josef Suk (1874-1935) was written at the height of his compositional powers. Completed in Krecovice in May 1911, this demanding work, with its complex harmonies and motivic structure, seemed avant-garde for its day: the Berlin premiere of November 1912 was accompanied by protests from the audience. Now Zdenek Nouza has edited the first scholarly-critical edition of this piece. The principal source is the first edition in full score, published by Simrock in Berlin. But Nouza has also consulted the printed parts (containing additions of great interest to performers) as well as the engraver's copy used for the printed score (with autograph corrections from the composer) and additional sources such as sketches. - First Urtext edition - Foreword (Cz/Ger/Eng) and Critical Commentary (Eng) by the editor/ Répertoire / Conducteur de Poche
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Pastoral
String Quartet: 2 violins, viola, cello
Barenreiter
First scholarly-critical editionThe single-movement String Quartet #2 by Josef S...
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First scholarly-critical editionThe single-movement String Quartet #2 by Josef Suk (1874-1935) was written at the height of his compositional powers. Completed in Krecovice in May 1911, this demanding work, with its complex harmonies and motivic structure, seemed avant-garde for its day: the Berlin premiere of November 1912 was accompanied by protests from the audience.Now Zdenek Nouza has edited the first scholarly-critical edition of this piece. The principal source is the first edition in full score, published by Simrock in Berlin. But Nouza has also consulted the printed parts (containing additions of great interest to performers) as well as the engraver's copy used for the printed score (with autograph corrections from the composer) and additional sources such as sketches.- First Urtext edition- Foreword (Cz/Ger/Eng) and Critical Commentary (Eng) by the editor / Conducteur De Poche
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Concerto For Pianoforte And Orchestra #4 Op. 58
Piano Quintet: piano, 2 violins, viola, cello
Barenreiter
This anonymous sextet arrangement of Beethoven's Fourth Piano Concerto was highl...
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This anonymous sextet arrangement of Beethoven's Fourth Piano Concerto was highly popular in Vienna during the composer's lifetime.We know this from at least two sets of handwritten parts which were then in circulation.No piano part has been handed down- indeed, the original sets of parts probably omitted the piano.The soloist presumably studied his part from the first edition of the solo part, published with the original performance material in 1808. (The full score did not appear until 1861).The sextet version deftly integrates the original wind parts into the string texture.The arrangement stands in the tradition of piano reductions with chamber music accompaniment, of the sort which were also made for Mozart's piano concertos K. 413 to 415 and later for the Chopin concertos.This Urtext edition, edited by the renowned Beethoven scholar Jonathan Del Mar, presents this arrangement for the first time in print. The musical text is supplemented by an informative Introduction and a Critical Commentary.- First ever publication of this arrangement- Includes a separate solo part as was customary in Beethoven's day- Provides new possibilities for soloists to perform this work / Quatuor A Cordes Et Piano
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La Mer
Cello
Barenreiter
'La Mer?, which is an impressionistic work through and through, was composed bet...
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'La Mer?, which is an impressionistic work through and through, was composed between 1903-1905. Debussy however refined this work up until at least 1913. These corrections are found in a score which Debussy gave to his wife as a present for her private library in 1913.The new scholarly-critical edition draws on several important sources previously unavailable to musicologists, resulting in an array of new readings and corrections. In addition, there are many changes, a.o. in terms of articulation and dynamics.This new edition includes the famous 'fanfare? in Movement III, clearly marked in small print and brackets. This fanfare was excised in the 1910 reissue of the work, but was reinstated by a number of great conductors who knew Debussy, i.e. Monteux, Münch, Mitropoulos and Ansermet. They felt that the excision was a misunderstanding and that the fanfare was necessary for the structure of the movement. And so, the Bärenreiter edition presents the revival of a performing tradition which is committed to the fanfare.- New Urtext edition with numerous corrections in comparison to other editions- Important sources which were previously inaccessible have been taken into account- Score and orchestral parts in large format (25.5 x 32.5cm)- Score and orchestral parts with an impeccable generous layout- Includes an informative introduction (Eng/Fr/Ger), facsimiles, source descriptions and a Critical Commentary (Eng) / Violoncelle
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Trio For Piano, Violin And Violoncello Op. 120
Piano Trio: piano, violin, cello
[Score and Parts]
Barenreiter
Piano Trio de Gabriel Fauré, son travail avant-dernier, a été composée en 19...
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Piano Trio de Gabriel Fauré, son travail avant-dernier, a été composée en 1922-23 et publié en Juin 1923. Le travail en trois mouvements montre clairement la capacité de Fauré à combiner une texture transparente avec des thèmes charmantes et élégantes.Jusqu'à présent, la composition a toujours présenté des musiciens avec des problèmes considérables que le score propose des lectures contradictoires par rapport aux parties de cordes séparées. Sans informations fiables sur les différentes lectures, des informations de base importantes pour une interprétation appropriée du travail a fait défaut.Toute première édition critique de Bärenreiter de ce chef-d'oeuvre réunit enfin les parties avec le score. Toutes les variantes apparaissent dans le commentaire critique le volume d'édition complet correspondant des 'oeuvres complètes de Gabriel Fauré'.- Première édition savante critique de cet ouvrage- Edition Urtext de haute qualité basé sur 'les oeuvres complètes de Gabriel Fauré'- Avant-propos (Eng / Fr / Ger) / Violon, Violoncelle Et Piano
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String Quartets Opp. 42, 50 And 54
String Quartet: 2 violins, viola, cello
[Sheet music]
Dover Publications
Au cours d'une période de 50 ans, Haydn a composé plus de 80 quatuors à corde...
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Au cours d'une période de 50 ans, Haydn a composé plus de 80 quatuors à cordes mettant en vedette une gamme et la variété de l'invention structurelle dépassé que par les oeuvres de Beethoven. Dans ce volume, la maîtrise du compositeur de la forme est frappante, en particulier dans les six populaires et bien-enregistré 'Quatuors prussiens.'Les grandes têtes de notes lisibles, de larges marges pour les notations, papier opaque et contraignantes permanentes en font un ajout fondamental aux bibliothèques musicales et des répertoires des musiciens.Réimpression de Ernst Eulenburg, Londres, n.d. édition. / Quatuor A Cordes
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Female Composers
Cello, Piano
Schott
Le quatrième volume de cette série de compositeurs femelles est dédié aux oe...
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Le quatrième volume de cette série de compositeurs femelles est dédié aux oeuvres de la XIXe et XXe siècles. Les pièces par Violetta Dinescu, Caroline Ansink, Myriam Marbe et Lucie Robert-Diessel ont été composées spécialement pour cette anthologie. / Violoncelle Et Piano
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Dvorak A. - String Quartet N°13 Op.106 - Set Of Parts
String Quartet: 2 violins, viola, cello
Barenreiter
After working for three years at the NationalConservatory in New York, Dvorak re...
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After working for three years at the NationalConservatory in New York, Dvorak returnedhome in 1895 feeling extraordinarily happy. The fruit of this ecstatic periodare thecomposer's last two string quartets. The Quartet in G major, Op. 106, waswrittenimmediately after his return from America. The melodic freshness of the light,airythemes, alternating folk idioms in a temperate, unobtrusive musical allusion,betraysthe composer's maturity and mastery. The editor of this work, published as partof the first Complete Critical Edition of Works by Antonin Dvorak, is FrantisekBartos.
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Figura (SAARIAHO KAIJA)
Clarinette, Piano et Quatuor à Cordes
[Score and Parts]
Chester
Par SAARIAHO KAIJA. Figura is a work by composerKaija Saariaho for Solo Clarinet...
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Par SAARIAHO KAIJA. Figura is a work by composerKaija Saariaho for Solo Clarinet, Piano and String Quartet. This is the score and parts. Figura is a work by composer Kaija Saariaho for Solo Clarinet, Piano and String Quartet. This is the score and parts./ Répertoire / Clarinette, Piano et Quatuor à Cordes
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Schnebel Dieter - Versuche I-iv - Study Score
String Quartet: 2 violins, viola, cello
Schott
Studienpartitur - STP - I: for Strings and Percussion - II: for String Quartet o...
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Studienpartitur - STP - I: for Strings and Percussion - II: for String Quartet or Strings - III: for Chamber Ensemble (and Voice ad libitum) - IV: for Orchestra composer: Schnebel, Dieter Éditeur: Schott Music pages: 92 Contenu - I. Analysis - II. Stücke - III. Fragment - IV. Composition
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Marcello Benedetto - Sonata No. 3 A Minor - Cello And Basso Continuo ; Cello Ad Lib.
Cello
Schott
A minor - VC/BC - cello and basso continuo (harpsichord/piano); cello (viola da ...
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A minor - VC/BC - cello and basso continuo (harpsichord/piano); cello (viola da gamba) ad lib. editor: Ruf, Hugo composer: Marcello, Benedetto Éditeur: Schott Music Série: Cello Library Difficulté: Intermediate pages: 20 Die sechs Sonaten von Benedetto Marcello (1686-1739) gehören neben denjenigen von Antonio Vivaldi zu den bekanntesten Barockkompositionen für Violoncello und Basso continuo. Schon zu Lebzeiten des zu seiner Zeit durchaus berühmten Komponisten wurde die Sammlung in den wichtigen europäischen Musikmetropolen London, Paris und Amsterdam in Drucken angeboten. Auch wenn es einige unbequeme Griffverbindungen in diesen Sonaten gibt, die daher rühren dürften, dass Marcello mit einem fünfsaitigen, um eine e’-Saite ergänzten Cello rechnete, so sind sie doch von moderater Schwierigkeit und gehören zu den Standardwerken des Violoncellounterrichts.
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Henze Hans Werner - 1. String Quartet - String Quartet
String Quartet: 2 violins, viola, cello
Schott
Studienpartitur - STP - string quartet composer: Henze, Hans Werner Éditeur: S...
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Studienpartitur - STP - string quartet composer: Henze, Hans Werner Éditeur: Schott Music pages: 32 Contenu - Allegro molto - Andantino - Lento, ma non troppo - Presto
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Ligeti Gyorgy - String Quartet No. 2 - String Quartet
String Quartet: 2 violins, viola, cello
Schott
Stimmensatz - ST - string quartet composer: Ligeti, György Éditeur: Schott Mu...
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Stimmensatz - ST - string quartet composer: Ligeti, György Éditeur: Schott Music pages: 64 Contenu - Allegro nervoso - Sostenuto, molto dalmo - Come un meccanismo di precisione - Presto furioso, brutale tumultuoso - Allegro con delicatezza-stets sehr mild-/-always very midly-
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Datura op. 57 (YE XIAOGANG)
Flute, Violin, Cello and Piano
[Score and Parts]
Schott
Par YE XIAOGANG. 'Datura was commissioned by Accessible Contemporary Music and w...
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Par YE XIAOGANG. 'Datura was commissioned by Accessible Contemporary Music and was written in a unique way. I composed the piece in installments over the summer of 2006 and emailed them to Seth Boustead who forwarded them on to the ensemble. In this unique way of working I was able to have time between each installment to think about what would come next and to get feedback from the performers about the music. This is a very new and different way for a composer to work. Usually I write the piece in solitude and then hand it to the performers but writing in installments allows more communications between the performers and the composer and allows the audience to hear the piece as its created. Datura is another series of pieces composer written about Asian plants and flowers. Datura is a very common houseplant in south China and very beautiful but it can also be used as a hallucinogen, usually with unpleasant results. In this piece the composer juxtaposed the other beauty of the plant with the intense inner would it can create by using alternately tranquil and intense musical passages.' (Xiaogang Ye)/ Répertoire / Flute, Violin, Cello and Piano
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Quintette A Cordes N02 (MILHAUD DARIUS)
2 Violons, Alto, Violoncelle et Contrebasse
Heugel
Par MILHAUD DARIUS. Composed in 1952, String Quintet No. 2 is an alternative, ex...
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Par MILHAUD DARIUS. Composed in 1952, String Quintet No. 2 is an alternative, exciting String Quintet for 2 Violins, Viola, Cello and Double Bass. Milhaud makes use of variation in bowings, complex rhythms, chromaticism, altering tempos, double stops, harmonics, variation in dynamics and a wide tessitura, among other aspects. Milhaud`s String Quintet No. 2 is essential to all advanced String Quintets seeking modern and exciting repertoire. French composer and teacher, Darius Milhaud (1892-1974) was a prolific composer of the 20th Century as a member of 'Les Six'. His compositions remain highly regarded, String Quintet No. 2 being no exception. Milhaud 's compositions are influenced by jazz and polytonality, as exemplified in String Quintet No. 2, which is the second of four String Quintets by the composer. Composed in 1952, String Quintet No. 2 is an alternative, exciting String Quintet for 2 Violins, Viola, Cello and Double Bass. Milhaud makes use of variation in bowings, complex rhythms, chromaticism, alteringtempos, double stops, harmonics, variation in dynamics and a wide tessitura, among other aspects. Milhaud 's String Quintet No. 2 is essential to all advanced String Quintets seeking modern and exciting repertoire./ Répertoire / 2 Violons, Alto, Violoncelle et Contrebasse
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Quatuor Pour 2 Violons, Alto Et Violoncelle / Streichquartett Op. 10. Hrsg Douglas Woodfull-Harris (DEBUSSY CLAUDE)
String Quartet: 2 violins, viola, cello
[Sheet music]
Barenreiter
Par DEBUSSY CLAUDE. Debussy's only string quartet, composed in 1893, was his fir...
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Par DEBUSSY CLAUDE. Debussy's only string quartet, composed in 1893, was his first masterwork. Together with two further works from this creative period, Prélude à l'après-midi d'un faune and Pelléas et Mélisande, the quartet established the composer's position as the rising star of the French music scene. Discrepancies existed from the initial publication in 1894 between the score, corrected and seen into print by the composer and the parts, not corrected by him. At a later point, Debussy made a large number of corrections and alterations in a copy of the first edition; these alterations have been incorporated in this Bärenreiter Urtext edition. Thisscholarly-critical edition utilises all sources including the composer's letters, which offer a valuable insight into the genesis of the composition./ Répertoire / Quatuor
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Wind Quintet No. 1 (VASKS PETERIS)
Flûte Traversière, Hautbois, Clarinette, Cor et Ba
[Score and Parts]
Schott
Muzika aizlidoju'ajiem putniem / Music for Fleeting Birds. Par VASKS PETERIS. Th...
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Muzika aizlidoju'ajiem putniem / Music for Fleeting Birds. Par VASKS PETERIS. This is the first of two works by the successful Latvian composer for this instrumentation. It was written in 1977 and shows his early compositional style: while freely notated in the beginning, improvisational sections then change over to chordal passages with sharply accentuated rhythm. It is particularly in the freely notated parts of the work that birdcalls and nature sounds appear as onomatopoeic sounds. The particular challenge is not in the virtuosity of the individual part, but in creating the special atmosphere through perfect harmony. As in most other works by the composer, the bond with nature plays a special role. Unlike any other composer, he gives nature a musical voice./ Répertoire / Flûte Traversière, Hautbois, Clarinette, Cor et Ba
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Suite Op. 28 (CALLIGARIS SERGIO)
Cello
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Intermediate
Ricordi
Per Violoncello Solo. Par CALLIGARIS SERGIO. Sergio Calligaris was born in Rosar...
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Per Violoncello Solo. Par CALLIGARIS SERGIO. Sergio Calligaris was born in Rosario (1941), Argentina. He is one of the last musicians to incarnate the traditional 19th century figure of pianist, teacher and composer, inaugurated at the beginning of the 19th century by Muzio Clementi and carriedon after that by a sequence of famous names that the history of music has handed down to us. As a pianist, he began to give public performances at the age of 13, making his debut in his home town Rosario. Following this success, he embarked upon an extremely busy career as a soloist, giving numerous recitals in Buenos Aires and other citiesin Argentina. He continued to take advanced lessons with eminent exponents of the most prestigious international piano schools. In 1974 he became an Italian citizen and settled in Rome, teaching piano as principal instrument at the S. Pietro a Majella StateConservatory in Naples, the Luisa DAnnunzio Conservatory in Pescara and the Alfredo Casella Conservatory in Aquila. As a composer, he began - at just 9 years of age - to study in the rigorous school of Paul Hindemith, under the guidance of Father Luis Machado, from whom he inherited a love of counterpoint and a strong taste for harmony. He took a diploma incomposition, counterpoint and fugue at the age of 16 at the Amigos del Arte Society in Rosario, going on in 1964 to do an advanced course in 12-tone counterpoint at the Cleveland Institute of Music. The catalogue of his compositions, which has nowreached Op. 55, encompasses a huge range of instrumental/vocal chamber music and symphonic works: a vast and articulated catalogue, in which Sergio Calligaris’s composition expresses its inspiration through the dramatic development of a dialecticalcontrast between the two natures of the composer’s personality - the elegiac and the dithyrambic - which confront and interact with each other giving rise to artistic outcomes of a deeply moving nature. / Niveau : Intermédiaire / Date parution : 1905-06-13/ Répertoire / Violoncelle
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Albumblatt für Arriaga (CASABLANCAS BENET)
Piano Trio: piano, violin, cello
[Score and Parts]
Unión Musical Ediciones
Par CASABLANCAS BENET. Albumblatt für Arriaga, commissioned by the Trio Arriaga...
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Par CASABLANCAS BENET. Albumblatt für Arriaga, commissioned by the Trio Arriaga and lasting some 7:30 minutes, is the composer's fourth contribution to the classical violin, cello and piano ensemble, for which he has a special esteem. The work was written in homage to the composer Juan Crisóstomo Arriaga, and at the same time as a token of gratitude and admiration for the Trio Arriaga, to whose members the work is dedicated; a double motivation that is reflected in the title of the work. Its course is presided over by a markedly lyrical character that coexists with passages full of energy, rhythmic vivacity and drama. The introduction and epilogue of the work are based on a musical motif derived from the name of the Basque composer (Ju-A-n C-r-I-S-ostomo A-rr-I-A-G-A), made up of the notes A, C, E, Eb, A, E, E, A, G, A, in the manner of a musical acrostic, and from whose nature the harmonic and thematic material of the whole work is largely derived. The premiere of this Trio took place on 5 November 2015 in the Chamber Hall of the Palau de la Música Catalana in Barcelona. / Date parution : 2022-02-03/ Répertoire / Violon, Violoncelle et Piano
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Tema E Variazioni Op. 5B (CALLIGARIS SERGIO)
Piano Trio: piano, violin, cello
[Score and Parts]
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Intermediate
Ricordi
Per Violino, Violoncello E Pianoforte. Par CALLIGARIS SERGIO. Sergio Calligaris ...
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Per Violino, Violoncello E Pianoforte. Par CALLIGARIS SERGIO. Sergio Calligaris was born in Rosario (1941), Argentina. He is one of the last musicians to incarnate the traditional 19th century figure of pianist, teacher and composer, inaugurated at the beginning of the 19th century by Muzio Clementi and carriedon after that by a sequence of famous names that the history of music has handed down to us. As a pianist, he began to give public performances at the age of 13, making his debut in his home town Rosario. Following this success, he embarked upon an extremely busy career as a soloist, giving numerous recitals in Buenos Aires and other citiesin Argentina. He continued to take advanced lessons with eminent exponents of the most prestigious international piano schools. In 1974 he became an Italian citizen and settled in Rome, teaching piano as principal instrument at the S. Pietro a Majella StateConservatory in Naples, the Luisa DAnnunzio Conservatory in Pescara and the Alfredo Casella Conservatory in Aquila. As a composer, he began - at just 9 years of age - to study in the rigorous school of Paul Hindemith, under the guidance of Father Luis Machado, from whom he inherited a love of counterpoint and a strong taste for harmony. He took a diploma incomposition, counterpoint and fugue at the age of 16 at the Amigos del Arte Society in Rosario, going on in 1964 to do an advanced course in 12-tone counterpoint at the Cleveland Institute of Music. The catalogue of his compositions, which has nowreached Op. 55, encompasses a huge range of instrumental/vocal chamber music and symphonic works: a vast and articulated catalogue, in which Sergio Calligaris’s composition expresses its inspiration through the dramatic development of a dialecticalcontrast between the two natures of the composer’s personality - the elegiac and the dithyrambic - which confront and interact with each other giving rise to artistic outcomes of a deeply moving nature. / Niveau : Intermédiaire / Répertoire / Violon, Violoncelle et Piano
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Tema E Variazioni Op. 5A (CALLIGARIS SERGIO)
Clarinette, Violoncelle et Piano
[Score and Parts]
-
Intermediate
Ricordi
Per Clarinetto, Violoncello E Pianoforte. Par CALLIGARIS SERGIO. Sergio Calligar...
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Per Clarinetto, Violoncello E Pianoforte. Par CALLIGARIS SERGIO. Sergio Calligaris was born in Rosario (1941), Argentina. He is one of the last musicians to incarnate the traditional 19th century figure of pianist, teacher and composer, inaugurated at the beginning of the 19th century by Muzio Clementi and carriedon after that by a sequence of famous names that the history of music has handed down to us. As a pianist, he began to give public performances at the age of 13, making his debut in his home town Rosario. Following this success, he embarked upon an extremely busy career as a soloist, giving numerous recitals in Buenos Aires and other citiesin Argentina. He continued to take advanced lessons with eminent exponents of the most prestigious international piano schools. In 1974 he became an Italian citizen and settled in Rome, teaching piano as principal instrument at the S. Pietro a Majella StateConservatory in Naples, the Luisa DAnnunzio Conservatory in Pescara and the Alfredo Casella Conservatory in Aquila. As a composer, he began - at just 9 years of age - to study in the rigorous school of Paul Hindemith, under the guidance of Father Luis Machado, from whom he inherited a love of counterpoint and a strong taste for harmony. He took a diploma incomposition, counterpoint and fugue at the age of 16 at the Amigos del Arte Society in Rosario, going on in 1964 to do an advanced course in 12-tone counterpoint at the Cleveland Institute of Music. The catalogue of his compositions, which has nowreached Op. 55, encompasses a huge range of instrumental/vocal chamber music and symphonic works: a vast and articulated catalogue, in which Sergio Calligaris’s composition expresses its inspiration through the dramatic development of a dialecticalcontrast between the two natures of the composer’s personality - the elegiac and the dithyrambic - which confront and interact with each other giving rise to artistic outcomes of a deeply moving nature. / Niveau : Intermédiaire / Répertoire / Clarinette, Violoncelle et Piano
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Quatuor (BACEWICZ GRAZYNA)
String Quartet: 2 violins, viola, cello
PWM (Polskie Wydawnictwo Muzyczne)
Par BACEWICZ GRAZYNA. Studying the sketches for works which a composer considers...
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Par BACEWICZ GRAZYNA. Studying the sketches for works which a composer considers to be finished, perfected, is a fascinating activity. It enables one to penetrate the secrets of creative work, to compare the initial outline of a composition with its final version. A sketch is generally left untitled, but it does occur that a composer enhances the status of such a draft by giving it a title, before creating an improved version of that title on the basis of the finished work. The list of compositions by Grazyna Bacewicz, the full catalogue of which is held in the National Library in Warsaw, includes a work for string quartet entitled Quatuor. The manuscript was left undated, but analysis of the music allows us to date this work to the mid-1960s. In the composer?s output from that period, the instrumental tone colouring, often an element that helps to forge a work, takes on particular significance. The first movement of the Quatuor [à cordes] opens with three fifth-tritone chords ?cast forth?, in succession, in saltando-gettato technique by the cello, second violin and first violin. When we look at the beginning of the Seventh String Quartet, from 1965, such a chord appears in the second bar of the cello part. Further comparisons lead to interesting conclusions. The two opening movements are almost identical, built from the same elements, only spatially arranged in a different way. In the structure of the first movement of the Seventh Quartet, one distinguishes two thematic planes, which shape the narrative after the fashion of a sonata allegro. The first theme is a series of episodes of changing texture ? from passagework to chords and short glissandos repeated with varying intensity. The second theme (Meno mosso) displays an imitative form. Both works feature an inverted reprise. For the first 25 bars of the second movement, a nostalgic Grave, the two works sound identical. The continuation of this movement in the Quatuor [à cordes] is more modest than in the analogous segments of the Seventh Quartet, in terms of both changing textures and the use of differentiated means of articulation. Towards the end, a motif from the beginning of this movement returns in modified form. Both the third movements (Capriccioso in the Quatuor [à cordes], Con vivezza in the Seventh Quartet) take the form of a rondo, and appearing in each of them is the same ?warbling? theme, based on scattered notes with grace notes. The Seventh String Quartet is in three movements. The presumed prototype consists of four movements. The last movement of the Quatuor [à cordes] is a Maestoso resembling a mine of textural ideas for other works of a sonoristic provenance from this period. The introduction, constituting a closed narrative whole and a reference point for the rest of the movement, is followed by segments that are dominated by ostinatos of various kinds, including with the use of harmonics, passages built on the progressive shifting of short motifs, and unevenly spread chords. Grazyna Bacewicz used material from earlier works more than once in her compositions. Her oeuvre also includes ?twin? pieces merely scored for a different set of instruments. Yet the self-quotation that occurs in the case of the Quatuor [à cordes] and the Seventh String Quartet ? lengthy passages from another of her works reused with minor modifications ? is an unusual situation. It undermines the former?s status as an independent work. Malgorzata Gasiorowska/ Répertoire / Quatuor à Cordes
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Serenade (POULENC FRANCIS / GENDRON)
Cello, Piano
[Sheet music]
Heugel
Par POULENC FRANCIS / GENDRON. Born in Paris in 1899, Francis Poulenc soon becam...
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Par POULENC FRANCIS / GENDRON. Born in Paris in 1899, Francis Poulenc soon became a notable composer and pianist. His Serenade, originally composed in 1925-1926 for Voice and Piano, met much success as part of his Bawdy Songs. Therefore, it was well-received when Maurice Gendron transcribed it for Cello and Piano. Poulenc, as a member of Les Six, composed music in a style contrary to that of Richard Wagner and impressionists Claude Debussy and Maurice Ravel. Serenade reflects the composer's contrasting style, making use of a 6/8 time signature, double stops, variations in articulation and wide range on the Cello. Being an imaginative and evocative composition, Serenade, transcribed for Cello and Piano, is a pleasurable addition to the repertoire. / Répertoire d'Examen / Répertoire / Violoncelle et Piano
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Poulenc Francis - Serenade - Violoncelle and Piano
Cello, Piano
Heugel
Born in Paris in 1899, Francis Poulenc soon became a notable composer and pianis...
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Born in Paris in 1899, Francis Poulenc soon became a notable composer and pianist. His Serenade, originally composed in 1925-1926 for Voice and Piano, met much success as part of his Bawdy Songs. Therefore, it was well-received when Maurice Gendron transcribed it for Cello and Piano. Poulenc, as a member of Les Six, composed music in a style contrary to that of Richard Wagner and impressionists Claude Debussy and Maurice Ravel. Serenade reflects the composer's contrasting style, making use of a 6/8 time signature, double stops, variations in articulation and wide range on the Cello. Being an imaginative and evocative composition, Serenade, transcribed for Cello and Piano, is a pleasurable addition to the repertoire.
13.99 EUR - Sold by Woodbrass
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