SKU: FG.55011-608-5
ISBN 9790550116085.
Aulis Sallinen (b. 1935) is one of the most famous Finnish contemporary composers. In his early instrumental works, Sallinen was still seeking to establish a style of his own. He had studied at the Sibelius Academy in the late 1950s, first with Aarre Merikanto - a composer representing a national brand of Neoclassicism - and then with Joonas Kokkonen, at that time just transitioning from Neoclassicism to dodecaphony. Twelve-tone music had won fairly widespread acceptance in contemporary Finn-ish music, and Sallinen was influenced, too. The Variations are Sallinen's first real work for the cello - an instrument that would later be one of his favourites, its warm, deep voice corres-ponding to his music's often dark undercurrent. The Variations for Cello and Orchestra, Op. 5 were composed in 1961-1962 and premiered in October 1962. The basic motif consists of a set of three descending intervals stated by the cello at the beginning: D-D flat-F, C-B-G and B flat-A-F sharp. Their use as basic material is a ref-lection of the composer's dodecaphony-oriented period, and variation of this material provides the framework for the piece. Variations for Cello and Orchestra are now published for the first time. Available are a reduction for cello and piano, study score and complete performance material with orchestra.
SKU: HL.49019901
ISBN 9790001196611. 9.25x12.0x0.186 inches.
Enjott Schneider's Concerto for violoncello takes up the Sumerian legend of the bird deity 'Dugud' in archaic scenes. Legend has it that Princess Emeshe was impregnated by the hermaphrodite - half eagle, half falcon - in a dream and founded with her son Almos, who had thus been conceived, the royal Hungarian dynasty.In expressive musical pictures, Schneider describes the dark-erotic struggle of impregnation as well as the chant of the unborn. Hovering above everything is the vision of life in complete freedom like a bird.The work was premiered by the Hungarian cellist Laszlo Fenyo in 2011. Thanks to the piano score written by the composer, the work can now also be studied and performed by a duo.
SKU: BT.SCHEE1250
Cello, Piano. Reicha, J.
SKU: BT.SCHEE1170
Cello, Piano. Tschaikowsky, Pi.
SKU: BT.SCHEE3107
For Cello and Piano.
SKU: BT.SCHEE3117
Cello, Piano. Dvorak, A.
SKU: BT.SCHEE419
Cello, Piano. Bortkiewicz, S.
SKU: BT.SCHEE3529
Cello, Piano. Loehr, H.
SKU: BT.SCHEE1217
Cello, Piano. Weber, Cm.
SKU: BT.DMP114011
SKU: BT.SCHEE3121
SKU: BT.EMBZ14893
The concerto was inspired by István Várdai's play and is dedicated to him. The triple movement structure and the character of the movements follow the patterns of classical concertos, while the thematic connections spanning the movements rather reflect the structural principles of Romantic symphonies. In the first movement, which resembles the form of a sonata, the characters of the themes are spectacularly separated. The motif of the main theme, constructed with glissandos, is supplemented by a theme the composer refers to as a motif of fate, and the two together form a significant contrast with the minor theme with its lyrical tone and the playful, ending themeresembling a children's song. The contrasts between depth and height, as well as darkness and light, have a significant role in all three movements. The music of the first movement gradually rises to increasingly bright and higher regions, the gloomy atmosphere of the marginal parts in the second movement is offset by the tune's transcendental light in its central part, while the rondo theme of the third movement with its 6/8 metre dance-like character is supplemented with motifs of a contrasting nature from the earlier movements.
