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Cello, Orchestra
INSTRUMENTS
INSTRUMENTS
ACCORDION
AUTOHARP
BAGPIPE
BANJO
BASS
BASSOON
BOOKS
BOUZOUKI
BUGLE
CHORAL - VOCAL - CHOIR
CLARINET
CORNET
DIDGERIDOO
DJ GEAR
DRUM
DULCIMER
ENGLISH HORN
EUPHONIUM
FLUTE
FRENCH HORN
GUITAR
HANDBELLS
HARMONICA
HARP
HARPSICHORD
LAP STEEL GUITAR
LUTE
MANDOLIN
MARCHING BAND
MARIMBA
MUSIC COURSE
OBOE
OCARINA
ORCHESTRA - BAND
ORGAN
PANPIPES
PERCUSSION
PIANO
RECORDER
SAXOPHONE
SYNTHESIZER KEYBOARD
TROMBONE
TRUMPET
TUBA
UKULELE
VIBRAPHONE
VIOLA
VIOLIN - FIDDLE
VIOLONCELLO - CELLO
XYLOPHONE
ZITHER
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Basse En Eb Et Piano (60)
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2 Bassons et Piano ou Orgue (57)
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Violin, Organ (55)
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Voix Mixtes (52)
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Trompette, Trombone et Piano (52)
2 Cors en Mib et Piano (51)
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Vocal duet, Piano (51)
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Voix et Orchestre à vent (51)
2 Trompettes et 3 Trombones (51)
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Trombone et Piano ou Orgue (48)
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Bass Clef Instruments (46)
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Accordion and Orchestra (46)
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3 Trombones et Piano ou Orgue (44)
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Viola and orchestra (44)
Trombone Alto et Piano (44)
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Bugle (42)
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2 Cornets, Cor En Eb Et Tuba (42)
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Cor Des Alpes Et Piano (41)
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Livre Musical (41)
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Xylophone, Piano (40)
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Tenor (38)
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Xylophone (37)
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Saxophone Soprano, Saxophone A… (33)
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2 Trompettes ou Cornets et Tub… (33)
Solistes SATB, Choeur SATB, 2 … (33)
3 Trumpets (trio) (33)
Xylophone or Marimba or Vibrap… (33)
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String Trio: 3 cellos (33)
Trombone Et Orgue (33)
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Quatuor à vent (32)
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2 Violins and Basso (32)
Flûte à Bec et Piano (32)
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Choeur SSATB, 2 Flûtes Traver… (31)
Choeur SSATTB, (6 Instruments,… (31)
Orgue et Brass Band (31)
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2 Trompettes Et 2 Trombones (31)
Voice, Organ (31)
Choeur SS (B) ou SA (B), 2 Vio… (31)
Percussions et Piano (31)
Lap Steel Guitar (30)
Batterie Fanfare En Mib (30)
Clarinette, Violoncelle Et Pia… (30)
Bassoon, Orchestra (30)
Conducteur et Poche (30)
Flute and String Quartet (30)
Trompette et Piano ou Orgue (30)
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Medium Voice (29)
Ensemble Divers (29)
Bugle et Piano (29)
Trompette Et Orchestre (29)
Euphonium et Brass Band (29)
Flûte A Bec, Guitare Et Musiq… (29)
Oeuvres Théâtrales/Oratorios… (29)
Organ and Brass Band (29)
Diverses Formations (29)
Flûte Traversière, Hautbois,… (28)
Flûte à Bec F1, C1, 2 Violon… (28)
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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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B Minor. Par DVORAK ANTONIN. Like every other great 19th-century solo concerto, ...
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B Minor. Par DVORAK ANTONIN. Like every other great 19th-century solo concerto, Dvorák ’s famous Cello Concerto was a collaboration between composer and virtuoso. It has long been known that certain solo passages in Dvorák ’s autograph score were actually written by the cellist Hanuš 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 painstakingly examined all the surviving sources, including two that have hitherto been either ignored or crucially undervalued, in order to produce anauthoritative edition which restores – for the first time since the original edition was published in 1896 - Dvorák ’s final and definitive version of the solo Cello part. This differs, in details, in almost every bar from the version found in all other modern editions, while hundreds of corrections have also been made to the Orchestral parts. - With Dvorák ’s final and definitive version of the solo Cello part. - With hundreds of corrections in the solo Cello part as well as the Orchestral parts. - With hitherto unknown details regarding the collaboration between Dvorák and Wihan. - With Dvorák ’s original Piano reduction. - With Feuermann's and Casals' alternatives to a passage in the first movement. - Full score, performance material (BA9045), Cello & Piano (BA9045-90) & Facsimile (BVK1849) available for sale./ Répertoire / Violoncelle et Orchestre
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Concerto For Cello (VINE CARL)
Cello, Orchestra
[Sheet music]
Faber Music Limited
Par VINE CARL. Composed for Steven Isserlis in 2004, Carl Vine's Cello Concerto ...
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Par VINE CARL. Composed for Steven Isserlis in 2004, Carl Vine's Cello Concerto is an exhilarating 20-minute work that traverses a vast emotional palette. The Concerto begins arrestingly, with soloist pitted against orchestra, though as it develops the two factions move towards union. A slow chorale led by the cellist frames the central section, whilst relentless motor rhythms drive the work to its close./ Répertoire / Violoncelle et Orchestre
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Fantasy On Little Russian Songs Op. 43
Cello, Orchestra
Schott
David Popper (1843-1913), un élève de Julius Goltermann, n'était pas seulemen...
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David Popper (1843-1913), un élève de Julius Goltermann, n'était pas seulement un violoncelliste de concert a voyagé beaucoup et réussie. Comme beaucoup de ses collègues musiciens virtuoses, il quitte un certain nombre de compositions pour ses instruments pour la postérité, tels que la 'fantaisie sur l / Violoncelle Et Orchestre
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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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Cello Dreaming (Score) (SCULTHORPE PETER)
Cello, Orchestra
[Sheet music]
-
Easy
Faber Music Limited
Par SCULTHORPE PETER. Written in 1998, Peter Sculthorpe's calm work draws its in...
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Par SCULTHORPE PETER. 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. / Niveau : Assez Facile / Répertoire / Conducteur
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Concerto for Cello and Orchestra (Concertstück)
Cello, Orchestra
[Sheet music]
Peters
Original Version. Par SCHUMANN ROBERT. Schumann’s Cello Concerto Rediscovered ...
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Original Version. Par SCHUMANN ROBERT. Schumann’s Cello Concerto Rediscovered In her first Urtext edition for Edition Peters, internationally renowned cellist Josephine Knight reveals Robert Schumann’s original version of his Cello Concerto in A minor Op. 129 – a piece he actually called a ‘Concertstück’ – removing generations of inauthentic editorial interventions. This is the only available modern scholarly edition of the work as Schumann originally conceived it, and restores the text from October 1850, based on the composer’s manuscript held in the Biblioteka Jagiellonska in Kraków. This Full Score matches the separately available edition for Cello and Piano (EP 73488). Matching orchestral material is also available from the publisher. Only modern Urtext edition based on Schumann’s original 1850 manuscript Many new corrections and clarifications, especially to the cello part Scholarly preface detailing history of the work and this edition by editor Josephine Knight, Piatti Professor of Cello at the Royal Academy of Music London Cello Part contains Josephine Knight's fingering and bowing suggestions Critical Commentary Cello and piano edition available separately from Edition Peters: orchestral parts available for rental Recording of the Concertstück featuring Josephine Knight available from Dutton Robert Schumann’s tragic last years have mired many of his greatest works in unnecessary doubt. The story of the suppression of his Violin Concerto by well-meaning friends is relatively well-known. Few, however, know that the version of the Cello Concerto that is routinely heard today is so far from Schumann’s original conception of the work – not only in details of phrasing and articulation, but also featuring a different ending with a bold final flourish from the cello. Composed in a burst of inspiration in two weeks in October 1850 shortly after he and Clara had moved to Düsseldorf, Schumann (who in 1850 was still in good health) never heard the piece performed. In an effort to promote a performance of the work, he gave the score to the cellist Robert Emil Bockmühl. Bockmühl made revisions that Schumann resisted, and the hoped-for performance never happened. Schumann’s health failed and he died aged just 46 in 1856. The Concerto, in an already substantially revised form, was premiered in 1860 but it was not given significant recognition until it was championed by Pablo Casals in the 20th century by which time (and since) the text for the work had accreted additions and alterations from generations of soloists. Now Josephine Knight, Piatti Professor of Cello at the Royal Academy of Music, London has returned to the original 1850 manuscript of the work, which is in the Biblioteka Jagiellonska in Kraków, to reveal Schumann’s original thoughts for the first time in a modern Urtext edition. The edition reflects Schumann’s original conception of the work as a Concertstück and restores Schumann’s musical text, free of posthumous interventions. ‘My ultimate wish,’ says the editor, ‘is to give performers both access to, and confidence that they are playing from, an edition which is a true representation of the piece in its original form, no matter how much more difficult this might be. I found that incorporating the changes enabled the piece to take on a completely different character – one that is lighter and happier, even “cheerful”, as Schumann himself described the work.'/ Répertoire / Violoncelle et Orchestre
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Variations On A Rococo Theme For Cello And Orchestra Op. 33 (TCHAIKOVSKI PIOTR ILITCH)
Cello, Orchestra
[Set of Parts]
Eulenburg
Original Version. Par TCHAIKOVSKI PIOTR ILITCH. Un hommage de Tchaïkovski à l'...
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Original Version. Par TCHAIKOVSKI PIOTR ILITCH. Un hommage de Tchaïkovski à l'excellent exemple admiré de Mozart et un défi pour le violoncelliste solo: ' Rokoko-variations ' dont le thème suit de près le style de musique du XVIIIe siècle exige un maximum d'accomplir et brillance technique de la violoncelliste solo. Les variations sont connectées musicalement par orchestrales ritournelles qui, en matière de musique et de la substance, presque forment une deuxième séquence de variations./ Répertoire / Violoncelle et Orchestre
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Variations On A Rococo Theme For Cello And Orchestra Op. 33 (TCHAIKOVSKI PIOTR ILITCH)
Cello, Orchestra
Eulenburg
Original Version. Par TCHAIKOVSKI PIOTR ILITCH. Cet hommage de Tchaïkovski à l...
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Original Version. Par TCHAIKOVSKI PIOTR ILITCH. Cet hommage de Tchaïkovski à l'excellent exemple admiré de Mozart et un défi pour le violoncelliste solo: ' Rokoko-variations ', dont le thème suit de près le style de musique du XVIIIe siècle, exige un maximum d'accomplir et brillance technique de la violoncelliste solo. Les variations sont connectées musicalement par orchestrales ritournelles qui, en matière de musique et de la substance, presque forment une deuxième séquence de variations./ Répertoire / Violoncelle et Orchestre
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Variations On A Rococo Theme For Cello And Orchestra Op. 33 (TCHAIKOVSKI PIOTR ILITCH)
Cello, Orchestra
Eulenburg
Version Of The Cellist Wilhellm Fitzenhagen. Par TCHAIKOVSKI PIOTR ILITCH. Un ho...
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Version Of The Cellist Wilhellm Fitzenhagen. Par TCHAIKOVSKI PIOTR ILITCH. Un hommage de Tchaïkovski à l'excellent exemple admiré de Mozart et un défi pour le violoncelliste solo: ' Rokoko-variations ', dont le thème suit de près le style de musique du XVIIIe siècle, exige un maximum d'effectuer et de brillance technique de th/ Répertoire / Violoncelle et Orchestre
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Violoncellokonzert C-Dur (STAMITZ CARL)
Cello, Orchestra
[Sheet music]
Breitkopf & Härtel
Par STAMITZ CARL. Editeur(s) d'origine: Gradenwitz, Peter E./ Répertoire / Viol...
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Par STAMITZ CARL. Editeur(s) d'origine: Gradenwitz, Peter E./ Répertoire / Violoncelle et Orchestre
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Cello Concerto (WALTON WILLIAM)
Cello, Orchestra
[Sheet music]
-
Advanced
Oxford University Press
William Walton Edition. Par WALTON WILLIAM. This edition of Walton's Cello Conce...
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William Walton Edition. Par WALTON WILLIAM. This edition of Walton's Cello Concerto combines the scholarship of the Wiliam Walton Edition with the practical benefits of a study score, including an introduction by the editor. Written 1956, the work was commissioned by Gregor Piatigorsky and premiered by him the following year. Walton regarded this work as the best of his three solo concertos. / Niveau : Très Avancé / Répertoire / Violoncelle et Orchestre
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Horizons Réflexes
Cello, Orchestra
Jobert
Après Altius (1999) pour violoncelle et 16 instruments et Huit à l'infini (200...
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Après Altius (1999) pour violoncelle et 16 instruments et Huit à l'infini (2001) pour octuor de violoncelles et orchestre, Horizons réflexes est ma troisième oeuvre de nature concertante écrite pour le violoncelle.Au début de la composition de cette pièce, dédiée à Gary Hoffman et commandée par le festival Automne en Normandie, j'avais à l'esprit l'idée quasi picturale d'un paysage étrange, constitué de lignes se développant horizontalement et de verticalités presque régulières qui se rencontrent, se trouvent, se dérobent ou se métamorphosent.Non seulement le vers du poète Alexis Pelletier 'Un matin, je fus saisi par l'évidence des horizons réflexes' m'a donné l'idée du titre de la pièce, mais il m'a également permis de conceptualiser la plastique sonore que je souhaitais développer au long des six sections enchaînées que compte cette composition.Dans la plupart de mes oeuvres concertantes - et c'est de nouveau le cas dans Horizons reflexes, le soliste devient la 'voix supérieure' d'une matière sonore en mouvement prolongée par un orchestre 'résonateur' qui sait aussi se montrer éloquent. (...)Dominique Lemaître / Violoncelle Et Orchestre
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Pezzo Capriccioso In B Minor Op. 62 (TCHAIKOVSKI PIOTR ILITCH)
Cello, Orchestra
[Reduction]
Simrock
Par TCHAIKOVSKI PIOTR ILITCH. Format: New Edition portrait / Simrock Original Ed...
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Par TCHAIKOVSKI PIOTR ILITCH. Format: New Edition portrait / Simrock Original Edition / Répertoire / Violoncelle et Orchestre
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Concerto For Violoncello And Orchestra (ELGAR EDWARD)
Cello, Orchestra
[Sheet music]
Barenreiter
Par ELGAR EDWARD. The Barenreiter Facsimile seal is used exclusively for facsimi...
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Par ELGAR EDWARD. The Barenreiter Facsimile seal is used exclusively for facsimile publications that meet the highest technical and scholarly demands. The distinguishing features include A facsimile in high resolution full-colour printing, reflecting the original Specially selected paper Decorative binding in keeping with the historic theme Individually trimmed pages, as far as the edition allows A commentary by internationally renowned scholars Facsimile of the autograph in the Royal College of Music, London With an introduction by Jonathan Del Marand a preface by Stephen Isserlis (English/German)/ Répertoire / Violoncelle et Orchestre
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Konzert Nr.1 Dugud
Cello, Orchestra
Schott
Le Concerto pour violoncelle Enjott Schneider reprend la légende sumérienne de...
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Le Concerto pour violoncelle Enjott Schneider reprend la légende sumérienne de la divinité oiseau 'Dugud 'dans les scènes archaïques. La légende raconte que la princesse Emeshe a été imprégné par l'hermaphrodite - moitié aigle, moitié faucon - dans un rêve et fonde avec ses Álmos fils, qui avait ainsi été conçus, la dynastie royale hongroise.En images musicales expressives, Schneider décrit la lutte dark-érotique d'imprégnation ainsi que le chant de l'enfant à naître. Planant au-dessus de tout, c'est la vision de la vie en toute liberté comme un oiseau.L'oeuvre a été créée par le violoncelliste hongrois László Fenyö en 2011. Merci à la partition de piano écrite par le compositeur, le travail peut désormais être étudiés et réalisés par un duo. / Violoncelle Et Orchestre
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Danza Ritual Del Fuego (La danse du feu)
Cello, Orchestra
Chester
The Ritual Fire Dance / Violoncelle Et Orchestre
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Concert N02 (Vcelle Et Orch.) (KABALEVSKY DIMITRI)
Cello, Orchestra
[Sheet music]
Sikorski
Par KABALEVSKY DIMITRI. Cello, Piano. Kabalevsky, D/ Répertoire / Violoncelle e...
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Par KABALEVSKY DIMITRI. Cello, Piano. Kabalevsky, D/ Répertoire / Violoncelle et Orchestre
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Concert N02 Op. 126 (CHOSTAKOVITCH DIMITRI)
Cello, Orchestra
[Sheet music]
Sikorski
Per Violoncello E Orchestra. Par CHOSTAKOVITCH DIMITRI. Pocket or Study Score./ ...
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Per Violoncello E Orchestra. Par CHOSTAKOVITCH DIMITRI. Pocket or Study Score./ Répertoire / Conducteur Violoncelle et Orchestre
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Concerto N01 Op. 107 (Vclle Et (CHOSTAKOVITCH DIMITRI)
Cello, Orchestra
[Sheet music]
Sikorski
Arrangeur: Mstislaw Rostropowitsch. Par CHOSTAKOVITCH DIMITRI. / Répertoire / V...
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Arrangeur: Mstislaw Rostropowitsch. Par CHOSTAKOVITCH DIMITRI. / Répertoire / Violoncelle et Orchestre
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Concert N01 (SCHNITTKE ALFRED)
Cello, Orchestra
[Sheet music]
Sikorski
für Violoncello und Orchester. Par SCHNITTKE ALFRED. Schnittke’s first cello ...
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für Violoncello und Orchester. Par SCHNITTKE ALFRED. 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./ Répertoire / Violoncelle et Orchestre
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Konzert Für Violoncello Und Orchester (GURLITT MANFRED)
Cello, Orchestra
[Study Score / Miniature]
Ricordi
Par GURLITT MANFRED. / oeuvre solo et Orchestre / Répertoire / Violoncelle et...
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Par GURLITT MANFRED. / oeuvre solo et Orchestre / Répertoire / Violoncelle et Orchestre
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Konzert Für Violoncello Und Orchester (GURLITT MANFRED)
Cello, Orchestra
Ricordi
Par GURLITT MANFRED. Langue: Italiano/ Répertoire / Violoncelle et Orchestre
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