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Cello, Orchestra
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CD (10)
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:: (4)
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Voice (2)
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Voice Mezzo-Soprano, Orchestra… (2)
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MAND::Mandolin (2)
Orchestre d'Harmonie 4 Voix et… (2)
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Ukulélé Soprano (2)
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REC/VLN/VLA/VLC::Fl–te … B… (2)
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Voix Elevée(s)/Moyenne(s) Et … (2)
Mandoline et Violon (2)
Trompette04 (2)
Chœur Mixte SATB et Quatuor … (2)
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Carte Postale (2)
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Solistes (AT) Et Choeur Mixte (2)
Lyrics & Chords (2)
String Trio: 3 violins (2)
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Male Voice (2)
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Carillon (2)
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Baritone Ukulele (2)
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Alfred Schnittke: Cello Concerto No.1: Cello: Study Score
Cello, Orchestra
Sikorski
für Violoncello und Orchester-Schnittke?s first cello concerto was written duri...
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für Violoncello und Orchester-Schnittke?s first cello concerto was written during a near fatal time in his life after having suffered a severe stroke in 1985 during which his heart stopped three times. Upon recovery he completed the concerto the music becoming more dissonant and discordant with the melodies more contorted.The first cello concerto was a monumental endeavor for large orchestra and approximately 40 minutes in duration. The work was written for Schnittke?s close friend Russian cellist Natalia Gutman. The solo part is most feverish and virtuosic exhausting the performer both technically and emotionally. The last fourth movement creates an unusual structuralprogression ending in what feels like a celestial hymn-like prayer. Schnittke himself said: Suddenly I was given this finale from somewhere and I?ve just written it down.Available here is the study score for Schnittke?s emotionally and technically demanding Cello Concerto No.1. This Sikorski edition study score is well presented and provides an excellent resource for study or perusal use.
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Cello Concerto (BRYARS GAVIN)
Cello, Orchestra
[Study Score / Miniature]
Schott
Farewell to philosophy. Par BRYARS GAVIN. I have a great fondness for the lower ...
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Farewell to philosophy. Par BRYARS GAVIN. I have a great fondness for the lower string instruments: I am a bass player, my mother is a cellist, as are both my daughters; my own ensemble includes two violas, a cello and a bass, and for the instrumentation of my opera Medea I omit the entire violin section from the orchestra. As I have written a number of works for solo instrument or voice with orchestra I welcomed the opportunity to write a concerto for cello and orchestra and especially one which focuses particularly on the instrument’s lyrical qualities. Although the piece is in one continuous movement, and the soloist is playing almost without a break, it nevertheless falls into distinct sections which are recognisable by a shift of tempo as well as by a change in the music’s character. One of the early ideas Julian Lloyd Webber and I discussed was that it might form a companion piece to one of the Haydn concertos. Given my friendship with some members of the English Chamber Orchestra and my awareness of their repertoire, this suggested a number of particular musical references. The subtitle to the work, for example, combines the subtitles of two idiosyncratic Haydn symphonies and I allude to them in different ways but chiefly through orchestration: for The Philosopher by including a section in the concerto where the orchestration resembles that of the symphony’s first movement (pairs of English and French horns, muted violins and unmuted lower strings); for The Farewell, by the progressive reduction in the orchestration towards the end. Indeed, apart from the orchestral tutti in the last few bars, the last pages of the score are virtually for string quartet. The subtitle also refers to my own background as a philosophy graduate... The piece was commissioned by Philips Classics for Julian Lloyd Webber and is dedicated to him. The first performance was given by Julian Lloyd Webber and the English Chamber Orchestra conducted by James Judd, 21 November 1995, Barbican Hall, London. Gavin Bryars/ Répertoire / Violoncelle et Orchestre
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Concerto No. 2: Cello: Study Score
Cello, Orchestra
Schott
Per Violoncello e Orchestra-The Cello Concerto No. 2 is Nino Rota's third contri...
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Per Violoncello e Orchestra-The Cello Concerto No. 2 is Nino Rota's third contribution to the genre but he does not include the early Cello Concerto dating back to 1925 in his own list of works: this composition only received its very much delayed first performance in Milan in November 2010. The much later Cello Concerto No. 2 was created around the same time as Rota???s work on the soundtrack for The Godfather II for which the composer received an Oscar in 1975. Although there are no direct quotations from the film-track in this concerto the section in 6/8-time displays a slight hint of the well-known Sicilian Pastorale.
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Peter Sculthorpe: Cello Dreaming: Orchestra: Score
Cello, Orchestra
[Sheet music]
-
Intermediate
Faber Music Limited
Written in 1998 Peter Sculthorpe's calm work draws its inspiration from his own...
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Written in 1998 Peter Sculthorpe's calm work draws its inspiration from his own environmental concerns for Northern Australia's so-called 'Top End'. There along the coastline Aboriginal and Torres Strait Island cultures mingle with those of Melanesia and Indonesia. Cello Dreaming reflects this plurality.
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Arne Nordheim: Tenebrae: Cello: Score
Cello, Orchestra
[Sheet music]
Wilhelm Hansen
Tenebrae (1982) a single-movement cello concerto commissioned and premiered by...
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Tenebrae (1982) a single-movement cello concerto commissioned and premiered by Rostropovich who praised the composer for his fine understanding and command of the rich timbre of the instrument. It is a convincing and almost nightmarish work containing music which leaves a tremendous impact on the listener. Not least in the central section where ghastly and terrifying apparitions are invoked out of the darkness. The final poetical section of the work is directly inspired by the description of the closing movement of Leverkühn?s Cantata in Thomas Mann?s Doktor Faustus.
28.99 GBP - Sold by Musicroom UK
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Cheremissian Fantasy (KLAMI UUNO)
Cello, Orchestra
[Sheet music]
Fennica Gehrman
Par KLAMI UUNO. / Répertoire / Violoncelle et Orchestre
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