SKU: BR.EB-9406
ISBN 9790004188804. 9 x 12 inches.
Raff's Cello Sonata op. 183 appeared in print in late 1873; at a time when Raff's success was at its zenith with Symphonies Nos. 3 and 5 as well as many chamber works. Little is known about the circumstances of its genesis and possible performances. Since Raff did not dedicate this sonata to any distinguished artist, unlike most of his other chamber works, it apparently lacked a drawing card for distribution. While Raff composed several well-known works for violin and piano, the present cello sonata is one of his few outstanding works for cello and piano. Incidentally, in the first edition, the score is headed for piano and cello, as was quite often the case in the 19th century, for instance also with Brahms's sonatas. This is also evident in the music: Cello and piano are equal partners that develop the musical material and are challenged both technically and artistically. This current edition contains an Urtext cello part as well as a part with markings by Claus Kanngiesser. In collaboration with the Joachim-Raff-Archiv Lachen (CH)With a preface by Severin Kolb. Contains 2 cello parts.
SKU: BO.B.3652
Sonata for cello and piano was written between September and October of 2010. It is made up of three movements, each of which has unique characteristics. The first, Allegro appassionato, is monothematic, although the theme itself is presented in several ways. Following a vigorous start featuring cello cadenza, the movement is developed with a lively feel, alternating lyrical fragments with other energetic ones. Its conclusion is resounding.Meanwhile, the second movement, Quasi un lamento, is introspective and fragile. A long melody is sustained by a delicate and transparent piano accompaniment, evoking once again the theme of the first movement and concluding with a Lento of descending piano harmonies while the cello follows, in octaves, with heartfelt glissando.The third movement, Scherzando-Allegro, is a light-hearted game between the piano and the cello. The main theme is repeated once again, this time with a binary time signature. The cello uses ricochet (the rebounding of notes in a bow stroke), as well as natural and artificial harmonies in quick time. The piano part unfolds completely naturally, excluding any gratuitous artifice.The piece lasts approximately 20 minutes.
SKU: HL.48187593
UPC: 888680984359. 9.0x12.0x0.048 inches.
“Born in Paris in 1899, Francis Poulenc soon became a notable composer and pianist. His Serenade, originally composed in 1925-1926 for Voice and Piano, met much success as part of his Bawdy Songs. Therefore, it was well-received when Maurice Gendron transcribed it for Cello and Piano. Poulenc, as a member of Les Six, composed music in a style contrary to that of Richard Wagner and impressionists Claude Debussy and Maurice Ravel. Serenade reflects the composer's contrasting style, making use of a 6/8 time signature, double stops, variations in articulation and wide range on the Cello. Being an imaginative and evocative composition, Serenade, transcribed for Cello and Piano, is a pleasurable addition to the repertoire.â€.
SKU: HL.48025019
ISBN 9781784544331.
Leokadiya Kashperova (1872-1940), hitherto consigned to a footnote in musical history as Stravinsky's piano teacher, is undergoing rediscovery. A double graduate of the St Petersburg Conservatoire, she emerged as a virtuoso pianist and composer in the romantic tradition. She was associated with some of the great musicians of her day, including Mily Alexayevich Balakirev and Leopold von Auer. She performed in both Germany and the UK in the 1900s, but her career petered out after 1920. These new editions of the Cello Sonatas 1 & 2 have been broadcast and recorded, whilst new editions of her Symphony and hitherto unpublished Piano Concerto have recently been issued.
SKU: HL.14011746
Danish.
Fra For Cello Og Orkester For Cello Og Klaver For Marianne was composed by Pelle Gudmundsen-Holmgreen in 2002. For Cello and Piano.
SKU: BT.EMBZ14832
The source of this publication was issued in London in 1745 by John Walsh Jr. Walsh s publication contains six four-movement works, originally written for violin, solo cello, a keyboard instrument and a second cello to reinforce the bass of the latter, but the role of the violin is insignificant, so these works can be regarded as pieces for cello. Of the six works, the arranger of the volume was publishing the three most suitable ones to that as cello concertos the piano part incorporates both the violin interludes and the continuo. In the cello part higher positions do occur, but they do not necessarily require use of the thumb they are playable after 4-5 years intensivestudy of the instrument. Die 1745 in London veröffentlichten Stücke waren ursprünglich für Geige, Solo-Cello, ein Tasteninstrument und ein zweites Cello geschrieben. Die Rolle der Geige war jedoch so unwesentlich, dass es sich im Grunde um Cellowerke handelt. Von den ursprünglich sechs Werken hat der Arrangeur die drei geeignetsten ausgewählt, wobei die Klavierstimme die Geigen- und die Continuostimme in sich vereint. Die Cellopassagen sind für fortgeschrittene Spieler geeignet.
SKU: HL.48180232
UPC: 888680795016. 9.0x12.0x0.04 inches.
As a prestigious composer of the late 18th century, Luigi Boccherini's (1743-1805) Rondo, transcribed for the cello by Paul Bazelaire, contains many features which continue to make the composer's music popular and loved to this day. Known for his courtly, gallant style, Rondo, originally composed for violin and harpsichord, clearly exemplifies these qualities through the 2/4 time signature, flourishing cello lines and evocative, chordal and rhythmic Piano accompaniment. Moreover, syncopation rhythms and ornamentation heard throughout the piece create further excitement. All of these musical elements combine to create a highly enjoyable piece for the cello repertoire. In addition, the clear print of separate cello and piano parts in this edition of Rondo add to this irresistable purchase for budding cellists.
SKU: CF.CM9625
ISBN 9781491156988. UPC: 680160915545. 6.875 x 10.5 inches. Key: Bb major. English, English. William Butler Yeats.
The Everlasting Voices is the perfect blend of textural variety and harmonic interest for the advanced treble ensemble. Employing a powerful text, Baas' vocal layering coupled with piano and optional cello make this compelling piece a programming must!.O sweet everlasting Voices, be still; Go to the guards of the heavenly fold And bid them wander obeying your will, Flame under flame, till Time be no more; Have you not heard that our hearts are old, That you call in birds, in wind on the hill, In shaken boughs, in tide on the shore? O sweet everlasting Voices, be still. This SSAA choral work by Jimmy Baas was comissioned by the Lumberton HS Varsity Treble Choir. The opening and closing lines of the poem, O sweet everlasting voices, be still provide the perfect bookends for two larger sections of the poem. These two sections are equally divided into verses. The opening line is used once again as a transition between the verses. The previously mentioned lines, O sweet everlasting voices, are overlapped as different layers of voices enter and sustain. A fifth and sixth voice, the cello and piano accompaniment take part in these layers as well. The words be still are very much a part of the mood each time as the everlasting voices become quiet and still. The two verses feature different voices within the SSAA choir. Verse 1, the sopranos, and verse 2 the altos. There are many moments in this piece to explore the full range and color of the SSAA choir. The piano and cello play an important part throughout, making this piece an excellent choice for any festival women's chorus.O sweet everlasting Voices, be still;Go to the guards of the heavenly foldAnd bid them wander obeying your will,Flame under flame, till Time be no more;Have you not heard that our hearts are old,That you call in birds, in wind on the hill,In shaken boughs, in tide on the shore?O sweet everlasting Voices, be still.This SSAA choral work by Jimmy Baas wascomissioned by the Lumberton HS Varsity Treble Choir.The opening and closing lines of the poem, “O sweeteverlasting voices, be still†provide the perfect bookendsfor two larger sections of the poem. These two sectionsare equally divided into verses. The opening line is usedonce again as a transition between the verses.The previously mentioned lines, “O sweet everlastingvoices,†are overlapped as different layers of voices enterand sustain. A fifth and sixth voice, the cello and pianoaccompaniment take part in these layers as well.The words “be still†are very much a part of the moodeach time as the everlasting voices become quietand still.The two verses feature different voices within the SSAAchoir. Verse 1, the sopranos, and verse 2 the altos. Thereare many moments in this piece to explore the full range andcolor of the SSAA choir. The piano and cello play an importantpart throughout, making this piece an excellent choice for anyfestival women’s chorus.
SKU: BT.EMBZ14768
Not many people know that Franz Liszt arranged some of his piano pieces for the cello, with piano accompaniment, and that these versions of the works appeared in print during the maestro's lifetime. Ãrpád Pejtsik selected two of these for this volume compiled to mark Liszt's jubilee: Elegies I and II. The other compositions by Liszt that appear in the collection were likewise originally works for piano: the Ave Maria and Cantique d'amour (pieces from the Harmonies poétiques et religieuses cycle) were transcribed by a pupil of Liszt, Robert Pflughaupt the cello version, transposed into G major, of the E Major Consolation is by Jules de Swert, solo cellist in the Weimar orchestraof those days that of the Angelus (the opening piece in Volume 3 of the cycle entitled Years of Pilgrimage ) is by Lothar Windsperger, a German composer who lived at the turn of the 19th-20th century. The Valse oubliée No. 1 was transcribed by Liszt s virtuoso piano pupil Ferruccio Busoni Notturno, which became famous as the third piece in the Liebesträume series, is a transposed version of the original song ( O lieb, so lang du lieben kannst ) made by the editor of this volume. Not many people know that Ferenc Liszt arranged some of his piano pieces for the cello, with piano accompaniment, and this version of the works appeared in print during the maestro's lifetime. Ãrpád Pejtsik selected two of these forthis volume compiled to mark Liszt's jubilee: Elegy I and Elegy II. The other compositions by Liszt that appear in the collection were likewise originally works for piano: the Ave Maria and Cantique d'amour(pieces from the Harmonies poétiques et religieuses cycle) were transcribed by a pupil of Liszt, Robert Pflughaupt; the cello version, transposed into G major, of the E major Consolation is by Jules de Swert, solo cellistin the Weimar orchestra of those days; that of the Angelus (the opening piece in Volume 3 of the cycle entitled Years of Pilgrimage) is by Lothar Windsperger, a German composer who lived at the turn of the 19th-20thcentury.Nur Wenigen ist bekannt, dass Liszt einige seiner Klavierstücke auch für Violoncello mit Klavierbegleitung bearbeitet hatte, und dass diese Version der Werke noch zu Lebzeiten des Komponisten in Druck erschien. In diesem Band nahm Ãrpád Pejtsik zwei dieser Stücke, die I. und II. Elegie auf. Die anderen Liszt-Kompositionen in der Sammlung sind auch ursprünglich Klavierwerke: der Bearbeiter ist beim Ave Maria und Cantique d'amour (Stücke aus dem Zyklus Harmonies poétiques et religieuses) der Liszt-Schüler Robert Pflughaupt. Von Jules de Swert, der damals Solocellist des Weimarer Orchesters war, wurde die in G-Dur transponierte Violoncelloversion der E-Dur Consolation, und vonLothar Windsperger, dem an der Wende zum 20. Jahrhundert lebenden deutschen Komponisten, das Angelus (das Eröffnungsstück des III. Bandes des Zyklus Pilgerjahre) bearbeitet.
SKU: HL.48183027
UPC: 888680877927. 9.0x12.0x0.154 inches.
“Bohuslav Martinu (1890-1959) was a prolific Czech composer, writing many large scale works. The composer moved to Paris in 1923 where he began experimenting in a variety of composition styles. Pastorales for Cello and Piano was published in 1931 and is made up of six pieces. Martinu himself was a violinist and the beginning of his experiments in composing for solo instruments saw him write for strings. Pastorales for Cello exemplifies the composer's influence of Stravinsky, Debussy neoclassicism, surrealism and jazz. The piece is excitingly virtuosic in its use of double stops, complex rhythms, chromaticism, and ensemble between the Cello and Piano. As a varied, substantial work for the Cello repertoire, Martinu's Pastorales is essential for the advanced performer.â€.
SKU: HL.49016913
ISBN 9790001147620. UPC: 884088262228. 9.0x12.0x0.127 inches.
Mustonen belongs to the young generation of composing piano virtuosos. What is remarkable is that 'his instrument' is not placed in the foreground of his works. He rather composed pieces for strings, sonatas with piano accompaniment, orchestral works and even a piece for guitar referring to the history of his home country Finland.The cello sonata was premiered by Mustonen with the cellist Daniel Muller-Schott in Hamburg. No special emphasis is given to polyphonic coexistence; instead, the piano, playing chordally, acts as a real accompaniment most of the time. Cantilenas of the cello, tricky rhythms, and almost symphonic sound eruptions make the piece a sure-fire hit with the public.
SKU: HL.49043959
ISBN 9790220134036. 9.25x12.0x0.081 inches.
SKU: HL.48025018
ISBN 9781784544324.
SKU: HL.49046442
ISBN 9781540094780. UPC: 842819113003.
The Cello Sonata Op. 6 was composed over an apparently frequently interrupted period of three years, an extraordinarily long time for Strauss's early creative phase. The compositional process spawned two independent versions of the work, the first of which is published for the first time on the basis of the text in the Critical Edition of the Works of Richard Strauss in the current editionas a practical musical text. The genesis of the two versions and the reasons for revision can only be reconstructed in part: only one of the surviving autographs bears a date and the second version only survives in printed form. What is more, Strauss did not communicate in greater detail on this composition in correspondence with his family and friends. There are enormous differences between the two versions of the Sonata: Strauss deleted the entire second and third movements Larghetto and Allegro vivace, replacing them with a newly composed Andante and Finale. In the first movement, Allegro con brio, Strauss retained the thematic-motivic material and compositionally complex passages such as the three-voice fugue in the developmentsection (from bar 241 in the first version and bar 275 in the second version) almost intact in the new version of the sonata, but also undertook extensive alterations, particularly in the structure of the piano part, the motivic-thematic development of the movement and its harmony which became far more ambitious.12 Particular attention should be drawn to the repetitive accompaniment of the con espressione theme beginning in bar 32 and the significantly shorter development in the first version. The current printed edition of the first version of Richard Strauss's Cello Sonata now makes it possible to follow Strauss's compositional development during this period. The significance of the differences between the versions also mean that two sonata compositions for violoncello and piano by Richard Strauss with fundamental disparities in their underlying character are now available for performance.
SKU: SU.28170150
Exploring the extremes of cello and piano respectively, this work is a deep journey, from its contemporary, thorny outer movements, to its very romantic middle movement. There is a spectrum of harmonic and rhythmic complexity throughout the work’s venturesome landscape.Cello, Piano Duration: 21’ Composed: 2017 Published by: Raphael Press.
SKU: HL.48183028
UPC: 888680877941. 9.0x12.0x0.093 inches.
Composed by the Czech composer Bohuslav Martinu in 1930, Miniature Study is a chamber work for Cello and Piano that lasts 10 minutes and 30 seconds. The difficulty for Cello is considered as medium and for the Piano, easy to medium. Miniature Study is divided in seven sections: I. Moderato II. Poco andante III. Poco moderato IV. Andante V. Poco allegro VI. Allegretto VII. Moderato Good for recitals, this piece is really melodic and cheerful, with some parts quiet and others quite energetic. Bohuslav Martinu(1890-1959) also wrote 13 other ballets, 15 operas and 6 symphonies and some orchestral and chamber music..
SKU: HL.48024838
ISBN 9780851627946. UPC: 840126908787. 9.0x12.0x0.256 inches.
Commissioned by the Orchestre de Paris, and first performed by them in 1999 with soloist Anssi Karttunen, conducted by Esa-Pekka Salonen. The work is cast in a 25-minute span punctuated by an improvised cadenza. Performers not wishing to improvise may substitute Boria from Lindbergs solo cello suite Partia, which is included in the publication. Diapason commented, The writing is homogeneous, virtuosic, energetic, with the cello up near the bridge almost without interruption in a highly taut style which travels at a quickstep through all the possibilities of the instrument. Those possibilities include scordatura (for both soloist and orchestral cellos) and the so-called 'seagull' glissando.
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