Suite pour violoncelle et piano. Par LAKS SIMON. Simon Laks (1901-1983), who moved from Warsaw to Paris in 1926 at the age of 25, belonged to the large group of composers from Central and Eastern European countries who went down in 20th-century music history as the „École de Paris“. Slavic temperament amalgamated in their music with French esprit, the folklore of their native countries combined with the stylistic elements of neoclassicism and jazz typical of the time. As a member of the „Association of Young Polish Musicians“, Laks quickly made his way into French musical life. However, his career was ended with the beginning of World War 2 due to the collaboration of the Vichy government with Nazi Germany. Internment in 1941 was followed by deportation to Auschwitz in 1942. Laks survived the Shoah as a member and later leader of a camp band in Birkenau, which he testified to in his moving book Music in Auschwitz. After the traumatic experiences, Laks did not return to regular compositional activity until the 1960s, producing an opera, songs, and chamber music works, some of which were awarded important composition prizes. At the peak of this optimistic creative phase, he composed incidental music for Peretz Hirschbein's famous Yiddish comedy Dem Schmids Techter (The Blacksmith's Daughters), which premiered in New York in 1918, for a new production of the play at the Théâtre de l’Entrepôt in Paris. Along with Prokofiev's Overture on Hebrew Themes and Shostakovich's cycle From Yiddish (Jewish) Folk Poetry, it is one of the most significant 20th-century explorations of art music with Jewish folklore – homage to a culture irreparably destroyed. From the original score, Holger Groschopp compiled two suites, for violoncello and piano and piano solo, that capture the essence of Lak‘s enchanting drama music. The premiere recording of the suites with Holger Groschopp and Adele Bitter was awarded the Opus Klassik 2023 in the category Editorial Achievement of the Year. . / Date parution : 2024-01-06/ Répertoire / Violoncelle et Piano

Grade 3 Upwards-A flexible compendium of folk tunes from the North of England arranged for two violins or violin & viola plus optional cello. Includes On Ilkley Moor Bahtat Scarborough Fair Dance Ti Thy Daddy Blaydon Races and many more.

Unbeaten Tracks for Cello and Piano comprises eight contemporary graded pieces grades 4 and 7 in standard. These contemporary eight pieces in this volume are written in an array of musical styles by some of today's most talented composers and are undoubtedly destined to become standard repertoire for players of intermediate level upwards. Handy Biopics collect small details about various composers giving an insight into the inspiration and mood of the music.The solo Cello part is also included on a separate insert.

CELLOWISE is an exciting new collection of arrangements from the popular classics. The standard is from Grade 3 upwards and included are Bach Badinerie Handel Sarabande Haydn Gipsy Rondo Gossec Gavotte and Tambourin Brahms Hungarian Dance and other favourites with attached CD of top quality performances making a pleasant and varied recital programme both to listen to and of course to play. Cellowise is featured on the 2014 Bauhinia Cup String Competition in Hong Kong and is on the current syllabuses of Trinity College London the Musik-PrüfungsKommission in Vienna and the Royal Irish Academy of Music in Dublin 2015-2018.FOOTNOTE TO CONTENTSOriginally a folk-dance from Medieval Spain the Sarabande became the spiritual centre-point of the 18th. Century dance suite and well-known to cellists through the Bach Suites.The Badinerie is a musical haiku stunning in its precision and economy of means and like a poem condenses much meaning and expression into few words.Sir Yehudi Menuhin once called the 'Erbarme Dich' solo the most beautiful piece of music ever written for the violin. This poignant duet for voice and obligato is about remorse betrayal and the universal theme of suffering. It is one of the centre-pieces of the St. Matthew Passion and is sung after Peter has denied Christ betraying him to the authorities and to his Crucifixion.Gavotte and Tambourin. These two Dances reflect the political opposites of the French Revolution - one a popular dance for partying and celebration the other more courtly and considered a favourite of Marie Antoinette.Rondo all'Ongarese and Hungarian Dance.Hungarian Folk music is fiery and impassioned with virtuoso techniques of embellishment and improvisation. Haydn and Brahms incorporated these elements into Classical forms.Like other Romantic and early-Romantic composers (Mendelssohn and Schubert) Brahms was attracted to Scotland as a wild and beautiful country of myth and

This quartet collection of 13 keyboard, vocal and instrumental pieces covering the Renaissance to the Romantic periods can be played together in harmony by any number or combination of instruments. Woodwinds, brass, strings, and percussion can play in like-instrument or mixed instrumentation. It's an all-purpose folio that makes sacred music fun! Contains: Adoramus Te (We Adore Thee) (Palestrina) * Amen (Stainer) * Cherubim Song (Archangelsky) * Chorale (Bach) * Deep River (Anonymous) * Gloria Patri (Purcell) * Go Down, Moses (Anonymous) * God Of Our Fathers (Warren) * Missa Apostolorum (Cavazzoni) * Old Hundredth (Bourgeois) * Onward, Christian Soldiers (Sullivan) * The Quest (Marianlieder) * Shir Hamaalot (Anonymous).

A Harvard Musical Association performance of awarded commission. MIT and Premiered by the Arditti 2003 String Quartet.

'Verse 1' marks the beginning of a more ambitious and intense style of composition. The ideas are relatively simple and develop gradually in a cyclic fashion within a one movement sectional design. Progressively faster tempi leadto the main climax of the work near the end of the piece. Then a short coda leads to a very quiet ending and a return to the original tonal centre of C.Quoting composer:'In April 1975 I occupied a flat in Aldeburgh Suffolk near the seafront. As a member of the English Chamber Orchestra I had come to work for a week on a recording of Britten’s opera ‘Death in Venice’ so the real and suggested sound of the sea was in my ears so to speak for dayson end. A few weeks later when I started work on 'Verse 1' it became clear in the first few bars that I was recalling and suggesting the sea and the beach at Aldeburgh. I am not aware of any direct influence from Britten’smusic but I do however quote a small fragment from a theme to be found in a piano quartet by Mahler played early in the piece by the flute (bars 6 & 7).This work was awarded the First Prize in the Viotti InternationalCompetition for composers in Italy in 1975.

Commissioned by the Presteigne Festival of Music and the Arts Limited with funds provided by the Arts Council of Wales for premiere in August 2012 by the Carducci String Quartet in St. Andrew?s Church Presteigne.Composer's Note'Some years ago I noted down the opening theme of what I anticipated would be a relatively Classical string quartet ?Classical? in the sense of the forms adopted plus perhaps a predominantly lyrical tone of voice. The commission for this work from the Presteigne Festival for their 30th anniversary in 2012 gave me the opportunity of putting into practice this long-held idea. It isdedicated to the Festival and to the Carducci Quartet whose career as much-admired friends and colleagues I have greatly enjoyed.The only break with ?classical? tradition is that there are five movements instead of four with two Scherzi as the second and third though both these are very short and contrasting. I found myself listening to Haydn?s string quartets a lot before and during the composition of this work and I hope the spirit of his delight in writing for this medium is echoed in my own music. The opening movement is in sonata form unusually for me and lyricism is I hope the basis of it though there is a good deal of activity at times. The Scherzo light and marked by frequently-changing rhythms is followed by an equally short but ferocious Perpetuum mobile marked Wild und rasch (one of my favourite German tempo markings). The fourth movement is an intense Adagio in which a single phrase uttered strongly in unison is gradually transformed into gentle diatonic chords before the close intermingled with cadenzas for cello for viola and for the two violins together. The finale (a Rondo) resumes the classical tone of the first movement but apart from one dance-like episode it builds up a fair head of steam towards a final Presto which however ascends slows and quietens towards a gentle summer sky at dusk.'

part II of the cycle Profiles of Light. Par PINTSCHER MATTHIAS. 'Now II” is the second part of a triptych of chamber pieces entitled 'Profiles of Light”. The first part is written for solo piano (Now I, BA 11073), the second for unaccompanied cello. The two instruments are then combined in the concluding third part, Uriel (BA 11013). All three pieces were inspired by the Abstract Expressionist paintings of the American artist Barnett Newman. Newman's work has had a formative impact on Matthias Pintscher's artistic philosophy: what does it mean to reduce things to essentials while seeking maximum immediacy of expression? Several of Newman's paintings have a radiant light of uncommon intensity, yet resembling a dark illumination. The same sort of thing is found in the late works of Franz Schubert, where a comparable profundity and retrospective yearning likewise shine through the surface of even the brightest tonalities. This is a piece about resonances, about the inward and outward givens of existence, about life itself: 'I find the cello a highly suitable instrument for depicting such existential conditions'. / Niveau : 5 / Répertoire / Violoncelle

Aus Den 44 Duos Für Zwei Violinen. Par BARTOK BELA. 44 Duos' by Béla Bartók - the complete collection available for the first time in one edition for two celli. The '44 Duos' by Béla Bartók were written in 1931 and were originally included in a tutor for the violin, written by the teacher Erich Doflein (1900-1977). Since then they have become an indispensable key to the understanding of twentieth century music. Until now a version for two celli was limited to 18 selected duos. The present edition for two celli is the first to include them all. The arrangements are based either on the possibility of a downwards transposition by an octave, or, where the original makes use of the violin's open E string, downwards by a twelfth. • Introduction to Béla Bartók‘s musical world and to the most important elements of the folk music of Hungary and the neigbouring regions • All of the Duos are available for the first time in one edition arranged for two celli by Hans Erik Deckert • Provides aspiring cellists the chance to experience the musical partnership required by chamber music/ Répertoire / 2 Violoncelles

Domenico Della Bella was active as a chorus master and most likely as a cellist as well in Treviso toward 1700. Besides music for church use his compositions also include some instrumental pieces. This sonata is an example of early authentic Cello literature. With its charming melodies this concise work is guaranteed to delight cellists and their audiences today as much as in the composer's own time.

The Ultimate Beginner Series has helped many aspiring musicians take their first step toward experiencing the fun of playing music. Now you can experience both volume 1 and 2 together for the first time on DVD! This disc isperfect for beginning students for students who are changing to another instrument or as a refresher for player returning to the instrument after many years. You will learn about Care and Maintenance Posture and HandPositioning Simple Bowing and Plucking Techniques Basic Finger Patterns For Major Scales. Special features include: Getting To Know The Instrument Feature; Beginning Music Theory Interactive; Printable Reference Materials.

With Online Audio-This collection features 47 traditional Celtic tunes arranged by Renata Bratt for two Cellos with rockin' groove and chop-based accompaniments.Celtic Grooves For Two Cellos includestunes from Ireland Scotland the Shetland Isles and Canada in duet arrangements all chosen with cellists in mind and in a variety of styles including jigs slip jigs reels strathspeys planxtys and airs in traditionalkeys.Performing in the groove is so important for string players that the American String Teachers Association recognises this skill as a separate category in their Alternative String Style Awards. Playing theseidiomatic and often syncopated accompanimental patterns is a great way to learn these styles. Includes access to online audio with all arrangements performed by the author.

Par GREENWOOD JONNY. Jonny Greenwood, multi-instrumentalist of  rock band Radiohead, was nominated for the BBC British Composer Awards, for Popcorn Superhet Receiver in 2006.  Inspired by radio static and the extended, dissonant chords of Polish Composer Penderecki's Threnody for the victims of Hiroshima, the peiece was also used in Paul Thomas Anderson’s movie There Will Be Blood.   / Instrumental Music / Répertoire / Orchestre à Cordes

with optional part for viola-A delightful collection of duets for Cello players with some experience. The melodies which are of English and Irish origin are mainly found in the first part with the second forming a slightly more straight-forward counterpart. You will also find a set of parts to allow duets between Viola and Cello.