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Op. 85
GUITAR
Cello
NARROW BY INSTRUMENTATION
NARROW BY INSTRUMENTATION
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6 Caprices Op. 109
Cello
Schott
The 6 Caprices by the famous 19th-century teacher and virtuoso are aimed at adva...
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The 6 Caprices by the famous 19th-century teacher and virtuoso are aimed at advanced pupils and students. They are intended to focus on improving technique and virtuosity. The accompaniment of a second violoncello is optional. / Violoncelle
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Edward Elgar: Cello Concerto In E Minor Op.85: Cello: Instrumental Work
Cello
Fentone Music
Edward Elgar's Cello Concerto Op.85 arranged for Cello with Piano reduction by t...
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Edward Elgar's Cello Concerto Op.85 arranged for Cello with Piano reduction by the composer and edited here by Eirian Griffiths.
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Elgar Edward - Concerto E Minor Op. 85 - Cello And Orchestra
Cello
Eulenburg
Instrumentation : cello and orchestra Version : study score Contenu : Preface ...
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Instrumentation : cello and orchestra Version : study score Contenu : Preface / Vorwort - 2 Faksimiles - I. Adagio / Moderato - II. Lento / Allegro molto - III. Adagio - IV. Allegro / Moderato / Allegro, ma non troppo / Poco più lento Nombre de pages : 120 Collection : Eulenburg Miniature Scores Format : ETP small
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John Tavener: Popule Meus - a Meditation (Solo Part): Cello: Part
Cello
[Part]
Chester
For solo Cello Timpani and Strings.Popule Meus was commissioned through the Ma...
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For solo Cello Timpani and Strings.Popule Meus was commissioned through the Magnum Opus project: Kathryn Gould founding patron and commissioner and Meet the Composer project manager.It was first performed on 6thFebruary 2010 by Yuri Hooker (cello) and the Winnipeg Symphony Orchestra conducted by Alexander Micklethwate. Composer's Notes 'Popule Meus is a meditation on the Judaic and Christian text ?O my People whathave I done to you?? but itis also a Universalist contemplation of the wholesale rejection of God by modern man. However much manrejects God he cannot escape Him and indeed he is condemned to the supernatural by his deiformnature. InHindu terms he is the Absolute Ayam Atma Brahma (The Self is the Absolute).In this work the solo cello is the All-Compassionate One while the timpani represent man in his vain andpointless rejection. Although the solocello and strings and the timpani share the same material (four ideas aregradually revealed and they revolve four times during the piece) the timpani music is violent and becomesincreasingly frenzied and contracted while thecello and strings remain still and serene.So even in winning the Darkness loses and even in losing the Light wins. Passion Resurrection andRedemption; or in Hindu terms Atma (The Absolute) alone is real Maya (The Relative) ismerely illusion.'
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ETUDES POUR VIOLONCELLE, OPUS 73 (POPPER DAVID)
Cello
[Sheet music]
Editions Buissonnieres
RÉVISION ET PARTIE DE CELLO II, XAVIER GAGNEPAIN. Par POPPER DAVID. Les 40 étu...
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RÉVISION ET PARTIE DE CELLO II, XAVIER GAGNEPAIN. Par POPPER DAVID. Les 40 études opus 73 de Popper constituent un précieux élément du patrimoine éducatif du violoncelliste. ?Hohe Schule des Violoncellspiels?, le titre du recueil laisse entrevoir la hauteur des sommets vers lesquels l?auteur prétend conduire les instrumentistes qui s?y confrontent. Cette nouvelle édition a pour ambition de restituer fidèlement le texte original et de respecter intégralement les choix instrumentaux de l?auteur (articulations, doigtés et indications techniques). En s?y conformant avec rigueur, le violoncelliste s?approchera au plus près de la palette expressive et technique de l?un des plus grands maîtres de l?histoire du violoncelle. L?apport de Popper à la musique ne s?est pas limité à son grand niveau instrumental. Sa proximité avec Brahms, Liszt, Hans van Bülow, Bartok ou Hubai en a fait un acteur important de la vie artistique de son époque. Tour à tour soliste ou chambriste, violoncelle solo d?orchestre ou professeur, il était aussi excellent pianiste. Et, en tant que compositeur - outre ses séries d?études - il nous a légué de véritable bijoux qui ont grandement élargi le répertoire de son instrument. Sa finesse et son savoir-faire de compositeur se retrouvent dans la qualité musicale des 40 études op.73. Elles suivent toutes une trame harmonique latente d?une grande richesse, dissimulée derrière une présentation généralement monodique. La réalisation d?un accompagnement pour second violoncelle a pour objectif d?aider l?interprète a en découvrir la beauté cachée. Ce support peut aussi le guider dans son travail d?intonation et d?organisation rythmique. Il permet enfin de présenter ces études au public sous un jour moins aride. Xavier Gagnepain/ Etude / 1-2 Violoncelles
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Edward Elgar: Cello Concerto Miniature Score: Cello: Score
Cello
[Sheet music]
Novello & Co Ltd.
Edward Elgar's Cello Concerto in E minor Op. 85 his last notable work is a co...
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Edward Elgar's Cello Concerto in E minor Op. 85 his last notable work is a cornerstone of the solo Cello repertoire. In contrast with Elgar's earlier Violin Concerto which is lyrical and passionate the Cello Concerto written in the aftermath of the First World War is for the most part contemplative and elegiac. The four-movement concerto scored for solo Cello 2 Flutes 2 Oboes 2 Clarinets in A 2 Bassoons 4 Horns in F 2 Trumpets in C 3 Trombones Tuba Timpani and Strings did not achieve wide popularity until the 1960s however is now regarded to 'rank not only among his finest works but among the greatest ofits kind' (Michael Kennedy).Sir Edward William Elgar was an English composer many of whose works have entered the British and international classical concert repertoire. Although Elgar is often regarded as ‘typically English’ most of his musical influences were not from England but from continental Europe.
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Carlo Alfredo Piatti: 12 Capricci Opus 25: Cello: Instrumental Album
Cello
G. Henle
Piatti’s Twelve Caprices Op. 25 are the daily bread of all advanced pla...
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Piatti’s Twelve Caprices Op. 25 are the daily bread of all advanced players of the Cello: Sir Yehudi Menuhin mentioned them in the same breath with the Bach Suites. Now Henle is presenting the veryfirst urtext edition of this opus with information on sources and alternative readings and with fold-out pages to solve the previously knotty problem of page turns.
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Sonatina Melodiosa Op. 21 / 3 Op. 21/3 (WALZEL LEOPOLD MATTHIAS)
Cello
Doblinger
1. Und 4. Lage. Par WALZEL LEOPOLD MATTHIAS. Vc Klav / Niveau : Facile à Assez ...
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1. Und 4. Lage. Par WALZEL LEOPOLD MATTHIAS. Vc Klav / Niveau : Facile à Assez Facile / Répertoire / Violoncelle
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Studies Op. 76 (POPPER DAVID)
Cello
[Score]
-
Beginner
IMC (International Music Co.)
Par POPPER DAVID. Preparatory Of The High School ('Höhe Schule) Of Cello Playin...
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Par POPPER DAVID. Preparatory Of The High School ('Höhe Schule) Of Cello Playing / Niveau : Préparatoire / Etude / Violoncelle
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Eugene Goossens: Rhapsodie Op.13: Cello: Instrumental Work
Cello
Chester
Eugène Goossens' Rhapsodie Op.13 for Cello and Piano.
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Nikolai Miaskovsky: Cello Concerto Op. 66: Cello: Instrumental Work
Français
Cello
Chant du Monde
réduction pour violoncelle & piano-Nikola? Myaskovsky: Concerto pour violoncell...
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réduction pour violoncelle & piano-Nikola? Myaskovsky: Concerto pour violoncelle Op. 66
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Hohe Schule Des Violoncellospiels, Op. 73, Heft 3 (POPPER DAVID)
Cello
Hofmeister Musikverlag
Par POPPER DAVID. / Etude / Violoncelle
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Hohe Schule Des Violoncellospiels, Op. 73, Heft 2 (POPPER DAVID)
Cello
[Sheet music]
Hofmeister Musikverlag
Par POPPER DAVID. / Etude / Violoncelle
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11 Oblique Strategies
Cello
Bote and Bock
The composer states:'The term 'oblique strategies? was coined jointly by British...
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The composer states:'The term 'oblique strategies? was coined jointly by British musician Brian Eno and German-born British visual artist Peter Schmidt to describe a series of printed cards they developed throughout the 1970's. The cards had their origins in sets of uncannily similar working principles that both artists had established independently, and featured aphorisms intended as a means of triggering inspiration or providing useful stimulus during the creative process, particularly when encountering difficulties of fatigue or time constraint.As Eno and Schmidt wrote in their introduction to the first edition in 1975: 'They can be used as a pack (a set of possibilities being continuously reviewed in the mind) or by drawing a single card from the shuffled pack when a dilemma occurs in a working situation. In this case, the card is trusted even if its appropriateness is quite unclear. They are not final, as new ideas will present themselves, and others will become self-evident?.I chose eleven of Eno and Schmidt's strategies, ordering them in a way that revealed to me a logic and potential inter-relatedness within a hitherto disparate set of single ideas I had assembled for solo cello, each of them in turn a reflection upon the commission's initial purpose of creating a test piece for the 2014 Emanuel Feuermann cello competition.It's my hope then that the resultant composition may provide not only an interesting test of the competitors' talents but also offer the interpreter an opportunity to reflect upon the delights and pitfalls of creativity as he or she comes to terms with the various musical and technical challenges to be found within these ten minutes of music for solo cello.? / Violoncelle
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André Ameller: 9 Animal's Pieces Op.277: Cello: Score
Français
Cello
[Sheet music]
Billaudot
9 Animal's Pieces Op.277
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Friedrich August Kummer: 10 Melodious Exercises Op.57: Cello
Cello
[Sheet music]
Peters
10 Melodious Exercises Op.57
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David Blake: Scenes Cello Solo: Cello: Instrumental Work
Cello
[Sheet music]
Novello & Co Ltd.
Written for Moray Welsh whilst still an undergraduate at York University. This p...
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Written for Moray Welsh whilst still an undergraduate at York University. This piece was completed in mid-September. Inspired by Hermann Hesse's Steppenwolf. A solo 'cello seemed an appropriate medium for music which might explore the character of Harry Haller with his desire for bourgeois comfort and his strong misanthropic and suicidal tendencies. The opening theme attempts to express this - melancholy nostalgic a bit Biedermeyer (cf. Brahms Intermezzi). The basic theme of the book at its simplest is that every human personality consists of hundred of different personalities - within every man there lurks a wolf. Accordingly the tendency of my piece is for allits musical material to become distorted either by thematic transformation or by changes of timbre. There are three movements played without a break. The first is a character portrait of the Steppenwolf. The second is concerned in the most general sort of way with the dance elements in the novel - Harry's being taught to dance and appreciate low 'popular' music - a tango is recapitulated in a waltz and 'Yearning' a popular song of the time (1927) is hinted at. The third movement concerns the Masked Ball and the Magic Theatre. Mozart is one of Hesse's great loves and he is repeatedly mentioned in the book. Inevitably some Mozart quotes have been worked in the most significant being a reference to The Magic Flute 'fire and water' flute theme in the middle of the second movement. Long before I finished the piece I was disenchanted with the work of Hesse. Much of Steppenwolf I now find rather embarrassing and the claims currently made for Hesse's greatness seem to me exaggerated. Since my piece is in no important sense programmatically specific this change of heart doesn't really matter.© David Blake
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Joseph Merk: 20 Studies Opus 11: Cello: Instrumental Tutor
Cello
[Sheet music]
Barenreiter
After his succesful publishment of the violoncello-etudes by Popper Duport GrÃ...
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After his succesful publishment of the violoncello-etudes by Popper Duport Grützmacher and Lee Martin Rummel aimed his pedagogic attention onto the famous opus 11 by Josef Merk (1795 1852). Merk was one of the most
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Cello Concerto In E Minor Op. 85
Cello
Music Minus One
/ Violoncelle
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Robert Schumann: Cello Concerto In A minor Op. 129: Cello: Piano Reduction
Cello
Breitkopf & Härtel
Robert Schumann’s Violoncello Concerto Op. 129 can be regarded as the firs...
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Robert Schumann’s Violoncello Concerto Op. 129 can be regarded as the first great concerto for this instrument’s repertoire. It is thus somewhat surprising that this work had an extremely problematic reception history at the outset. Schumann wrote the score in 1850 during his Düsseldorf years but there was neither a concrete occasion nor a soloist for a world premiere. After its publication more years elapsed before the world premiere. It was only towards the end of the 19th century that Schumann’s Cello Concerto finally made its breakthrough as a repertoire piece. The Urtext edition is based on theoriginal print of the parts and the Piano reduction which had still been supervised by Schumann. In addition the autograph of the score was consulted for purposes of comparison. The internationally renowned soloist Heinrich Schiff took part in the preparation of the edition for Violoncello and Piano. His experiences have been incorporated into his arrangement of the solo part. With his comments Schiff also provides valuable tips on the interpretation of the work.
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Julius Klengel: Concertino Nr.1 C-Dur Op.7: Cello: Instrumental Work
Cello
Breitkopf & Härtel
für Violoncello und Klavier-Julius Klengel (1859-1933) was a German cellist mo...
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für Violoncello und Klavier-Julius Klengel (1859-1933) was a German cellist most famous for his etudes and solo pieces written for the instrument - he ultimately composed hundreds of pieces for the Cello including four Violoncello concertos two double Cello concertos Cello quartets a Cello sonata as well as numerous caprices etudes and other technical pieces. Unfortunately the majority of his compositions for Cello are rarely remembered however this piece stands out for its value to developing cellists – it is a wonderful brief introduction to the concerto form. The diverse three movements of the Concertino in C Major give the student pleasure whilst onlyinvolving the 6th and 7th positions at the higher register (but no thumb positions). With a total performance time of approximately 20 minutes this concerto is perfect for intermediate to advanced cellists (Grade 6-8).
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Frankie Henry: Abracadabra Cello Beginner: Cello: Instrumental Tutor
Cello
[Sheet music + CD]
-
Beginner
A and C Black
This pupil's book provides a lively and comprehensive introduction to the very f...
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This pupil's book provides a lively and comprehensive introduction to the very first steps of playing the cello.All the titles in the Abracadabra series work in conjunction with each other making them ideal for ensemble group and whole class tuition. Used alone they remain perfect for individual lessons. The book contains activities games and pieces that teach the fundamentals of playing the cello: good posture (with and without the instrument) bow hold finger position and pitch awareness as well as developing rhythm and notation reading. The CD also aids pitch development with performances of the pieces and backing tracks to motivate pupils topractise pieces and activities outside of their lessons. The basics are constantly reinforced and revisited with the pupils building up to 'performance pieces' that combine and showcase all of the skills they have developed.
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Boismortier Joseph Bodin De - Sonata Op. 16 - Cello And Basso Continuo
Cello
Schott
No. 5 G Minor Instrumentation : cello (bassoon, viola da gamba) and basso conti...
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No. 5 G Minor Instrumentation : cello (bassoon, viola da gamba) and basso continuo Date de parution : 14/06/1985 Nombre de pages : 24 Collection : Cello Library Format : New Edition portrait
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String Time Starters (BLACKWELL KATHY)
Cello
[Sheet music]
-
Easy
Oxford University Press
24 Pieces For Flexible String Ensemble. Par BLACKWELL KATHY. 21 easy, characterf...
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24 Pieces For Flexible String Ensemble. Par BLACKWELL KATHY. 21 easy, characterful ensemble pieces, plus fun warm ups Flexible scoring for violin, viola, cello, and double bass with piano or CD accompaniment - from duets in any combination to large ensembles The level approximately corresponds to the Starters books for violin, viola, and cello - some parts use open strings only, some use open strings and first fingers, and some use all fingers, catering for groups of mixed ability Pupil books for violin, viola, cello, and double bass with lively illustrations Teacher's book with score, including piano part, and a CD with performances and backing tracks for all pieces / Niveau : Facile / Recueil / Violoncelle
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D'Un Trait - Trentemps (Qui Passe) (HUREL PHILIPPE)
Français
Cello
[Sheet music]
Lemoine, Henry
Par HUREL PHILIPPE. Ayant joué du violon dans mon enfance, j'ai toujours repous...
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Par HUREL PHILIPPE. Ayant joué du violon dans mon enfance, j'ai toujours repoussé le moment d'écrire pour les cordes seules, comme si la peur d'aborder mon instrument reprenait corps lors du passage à l'écriture. Mais l'amitié fait des miracles et Alexis Descharmes n'a eu aucun mal à me convaincre d'écrire pour le violoncelle. Il faut dire que notre collaboration au sein de Court-circuit n'a fait qu'aiguiser mon envie de me confronter à son instrument. Après une série de Loops, pièces solistes pour flûte(s) et percussion organisées autour de l'idée de bouclage, de morphing et de labyrinthe formel, cette nouvelle pièce pour instrument seul emprunte des voies totalement différentes, voire volontairement contradictoires. En effet, ici pas de processus linéaires de transformation, pas de répétition littérale ni de bouclage, pas de brouillage des pistes, pas de refus des modes de jeux ni des gestes instrumentaux. Au contraire, la pièce est construite à partir de quelques éléments 'énergétiques' particulièrement violoncellistiques et liés au caractère impétueux de son dédicataire qui s'enchaînent, se catapultent et se transforment de façon non prévisible. Par ailleurs, comme son titre le laisse supposer, D'un trait a été composé dans un laps de temps restreint et concentré et il y a une sorte 'd'animalité' qui s'en dégage, une forme d'urgence et de tension que l'on retrouve dans les autres pièces que j'ai écrites dernièrement, malgré l'intervention de l'ordinateur dans le calcul de bon nombre de paramètres. Pour paraphraser Gérard Grisey, 'la musique se situe entre le nombre et le drame, entre le délire et la structure'. Philippe Hurel La dernière partie de D'un Trait, intitulée Trentemps peut-être jouée séparément. / contemporain / Répertoire / Violoncelle
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Cello Method: Lesson Book 2 Buch 2
Cello
[Sheet music + Audio access]
Schott
Have fun playing the Cello. Par . The second lesson book in the trailblazing new...
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Have fun playing the Cello. Par . The second lesson book in the trailblazing new Koeppen Cello Method, putting the emphasis on having fun with your cello! Taking a playful and effective approach to learning the cello, the Koeppen Cello Method breaks new ground, sprucing up the usual Baroque and Classical repertoire by adding pieces in popular styles: rock, bossa nova, reggae, swing and more! Exciting pieces and exercises in these styles illustrate specific musical concepts and techniques, whilst teacher-pupil duets feature throughout, encouraging strong ensemble skills right from the get-go. Structured in an easy and understandable way, the Koeppen Cello Method lays the foundation for a solid technical and musical training. There is a core Lesson Book and a supplementary Tune Book at each level. All books are accompanied by audio tracks which will help motivate and inspire. For players from around the age of 10 right up to adult learners. / Date parution : 2022-05-31/ Méthode / Violoncelle
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Billie Eilish: Billie Eilish: Cello Solo: Instrumental Collection
Cello
[Sheet music + Audio access]
Hal Leonard
Instrumental Play-Along. Solo instrumental arrangements with audio accompaniment...
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Instrumental Play-Along. Solo instrumental arrangements with audio accompaniment for 9 of Billie's biggest hits so far: Bad Guy ? Everything I Wanted ? I Love You ? idontwannabeyouanymore ? Lovely ? No Time to Die ? Ocean Eyes ? When the Party's Over ? You Should See Me in a Crown. The audio is accessed online using the unique code inside each book and can be streamed or downloaded. The audio files include PLAYBACK , a multi-functional audio player that allows you to slow down audio without changing pitch, set loop points, change keys, and pan left or right.
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Sonata (LARCHER THOMAS)
Cello
Schott
for solo cello. Par LARCHER THOMAS. I do not compose my pieces for a certain voi...
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for solo cello. Par LARCHER THOMAS. I do not compose my pieces for a certain voice range or orchestration, but for musicians, for people. It is almost impossible for me to produce a piece without having a particular person in mind or to hear him/her inwardly. No matter how standardized the interpretation of classical music is, and no matter how many coordinates have been fixed and defined, I do not want to have them seen (and therewith the notation) as determining and limiting signs, but rather as guideposts towards the creation of vital, organic music. In differentiated music, two participants are necessary in order for a piece to evolve-- the composer and the musician. Just as there is no one way for a composer to express himself or to notate music, etc., neither is there one way for a musician to read the notation, to interpret, or to live. We find ourselves, for this reason, in a network of meanings, gestures, and signs which have to be fathomed and expanded together. The tone, the breath, the gestures, the dedication, and the potentialities of a musician were also ultimately decisive for the form of this piece. It is music which pushes the expressive and technical possibilities of the instrument to its very limits. It is music in which the musician has to transport the contexts and expression over and above the notation. It was not necessary for me to find a new form for this piece; it is a work which can and should be performed in a ‘normal’ concert situation. I deliberately wanted to integrate the perhaps new and unusual content into a familiar form (thus the title ‘Sonata’) And I also wanted to embed the aforementioned extreme situations (in which the technical extremes are synonyms for tension, isolation, loss or tenderness) in an organic process in order for the listener to be able to empathize with and comprehend what is expressed in the piece. I would like to thank Natalie Clein, to whom the Sonata is dedicated, for inspiring this piece and for the path that led to the realization of the music. Thomas Larcher/ Répertoire / Violoncelle
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John Tavener: Innocence: Cello: Instrumental Work
Cello
[Part]
Chester
Solo Cello Part-Work for Cello Organ Soprano Tenor SATB Chorus and Handbells...
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Solo Cello Part-Work for Cello Organ Soprano Tenor SATB Chorus and Handbells.
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