SKU: HL.49030480
ISBN 9790220122415.
SKU: HL.49033093
ISBN 9790001131773. 9.25x12.0x0.36 inches.
SKU: BT.DHP-1175829-401
ISBN 9789043153034. English-German-French-Dutch.
To the beat of the Habanera rhythm, our young cellists will travel to the land of multi-coloured hats. Composer Pascal Proust has many years of experience as a musician and music teacher. His work includes several hundred compositions for the most diverse instrumentations. He wrote Red Sombrero for cellists with an ability of approximately 3 4 years’ experience. He paid special attention to an easy-to-follow, attractive musical style. Red Sombrero is an ideal performance or competition work for young musicians.Op het ritme van de Habanera, reizen onze jonge cellisten naar het land van de kleurrijke hoeden. De componist Pascal Proust kan bogen op een jarenlange ervaring als muzikant en muziekdocent. Zijn oeuvre omvat honderden composities voor de meest diverse instrumentaties. Hij schreef Red Sombrero voor cellisten die ongeveer drie tot vier jaar les hebben gehad, waarbij hij speciaal aandacht heeft besteed aan een makkelijk te volgen, aantrekkelijke muziekstijl. Daardoor is Red Sombrero een ideaal voordrachts- of wedstrijdstuk voor jonge muzikanten.In einem Habanera-Rhythmus unternehmen die jungen Cellisten eine Reise ins Land der bunten Hüte. Der Komponist Pascal Proust kann aus seiner langjährigen Erfahrung als Musiker und Musikpädagoge schöpfen, sein Oeuvre umfasst mehrere hundert Kompositionen für verschiedenste Besetzungen. Er schrieb Red Sombrero für Cellisten mit ungefähr 3 4 Jahren Unterrichtserfahrung und legte besonderes Augenmerk auf einen leicht verständlichen, attraktiven musikalischen Stil. Dadurch eignet sich Red Sombrero ideal als Vortrags- und Wettbewerbsstück für junge Musiker.Sur un rythme de Habanera, nos jeunes violoncellistes feront un voyage au pays des chapeaux multicolores .... Le compositeur Pascal Proust puise volonté dans son immense expérience de musicien et professeur de musique - son catalogue d’œuvres englobe plusieurs centaines de compositions pour divers instruments. Il a notamment écrit Red Sombrero pour violoncellistes ayant environ 3 4 années de pratique, dans un style musical accessible et coloré. De ce fait, Red Sombrero est la pièce idéale pour tout examen ou audition de jeunes musiciens.
SKU: BT.DHP-1175823-401
ISBN 9789043152938. English-German-French-Dutch.
A small, playful piece that revives the famous Twinkle, twinkle, little star in a dance version (a short tango). Composer Pascal Proust has many years of experience as a musician and music teacher. His work includes several hundred compositions for the most diverse instrumentations. He wrote El violonchelo del niño for cellists with an ability of approximately one year’s experience. He paid special attention to an easy-to-follow, attractive musical style. El violonchelo del niño is an ideal performance or competition work for young musicians.Een kort, vrolijk werkje waarin Twinkel, Twinkel, little star is verwerkt als een dansbaar nummer (een korte tango). De componist Pascal Proust kan bogen op een jarenlange ervaring als muzikant en muziekdocent. Zijn oeuvre omvat honderden composities voor de meest diverse instrumentaties. Hij schreef El violonchelo del niño voor cellisten die ongeveer een jaar les hebben gehad, waarbij hij speciaal aandacht heeft besteed aan een makkelijk te volgen, aantrekkelijke muziekstijl. Daardoor is El violonchelo del niño een ideaal voordrachts- of wedstrijdstuk voor jonge muzikanten.Ein kurzes spielerisches Stück, in dem das bekannte LiedAh! vous dirais-je, maman in einer tänzerischen Version (ein kleiner Tango) verwendet wird. Der Komponist Pascal Proust kann aus seiner langjährigen Erfahrung als Musiker und Musikpädagoge schöpfen, sein Oeuvre umfasst mehrere hundert Kompositionen für verschiedenste Besetzungen. Er schrieb El violonchelo del niño für Cellisten mit ungefähr 1 Jahr Unterrichtserfahrung und legte besonderes Augenmerk auf einen leicht verständlichen, attraktiven musikalischen Stil. Dadurch eignet sich El violonchelo del niño ideal als Vortrags- und Wettbewerbsstück für junge Musiker.Une petite pièce ludique reprenant le célèbre Ah! vous dirai-je, maman dans une version dansante (un petit tango). Le compositeur Pascal Proust puise volonté dans son immense expérience de musicien et professeur de musique - son catalogue d’œuvres englobe plusieurs centaines de compositions pour divers instruments. Il a notamment écrit El violonchelo del niño pour violoncellistes ayant environ une année de pratique, dans un style musical accessible et coloré. De ce fait, El violonchelo del niño est la pièce idéale pour tout examen ou audition de jeunes musiciens.
SKU: HL.50603977
ISBN 9781705164419. UPC: 196288066934. 9.0x12.0x0.056 inches.
Recollection for cello and piano from the album 'ask the river' released on Node Records.
SKU: HL.50511962
ISBN 9790080128022. A/4 inches. Nicola Porpora; Gyorgy Orban; Arpad Pejtsik.
The source of the present edition is preserved in the Archivio di Stato, Bologna. Editorial principles: In the score, the number of editorial interventions has been kept to a minimum. The original dynamic and expression markings are extremely few and far between, but precise. Only three dynamic levels are specified: forte, dolce ( = piano) and dolce assai ( = pianissimo). As regards expression markings we note the complete absence of the legato sign, though the appoggiatura, staccato, trill and two different types of bow-vibrato (both in association with dolce or dolce assai) can all be found. It is a well known fact that 18th century vibrato, obtained not by a movement of the left hand but rather by a variation in the pressure of the bow, was an expressive effect to be used with discretion and not, as today, a constant means of sound production. Territorial restrictions may apply. Please ask before ordering.
SKU: HL.50486815
ISBN 9790080059937. A/4 inches. S. Lev Ginsburg.
Territorial restrictions may apply. Please ask before ordering.
SKU: HL.50511950
ISBN 9790080120439. K/4 (23,5x31) inches. Antonio Caldara; Laszlo Mezo; Gyorgy Orban.
The two manuscripts in oblong size (by the same hand) entitled Sinfonia a Violoncello Solo which served as the basis for the present edition are being kept in the Osterreichische Nationalbibliothek in Vienna under shelf mark E.M.29. Apart from the continuo realization and modifications in the sense of present-day notation carried out tacitly all other changes are listed in the footnotes, editorial additions have been put in square brackets. The bass part was supported in contemporary practice by a melody instrument. If performing with piano accompaniment, the supporting of the bass is not necessary. In case of harpsichord accompaniment, however, it is recommended to play the bass on bassoon instead of violoncello. Territorial restrictions may apply. Please ask before ordering.
SKU: HL.645730
ISBN 9790080064252. UPC: 008148064250. 9.0x12.0x0.01 inches. Akos Fodor.
SKU: HL.50511974
ISBN 9790080134917. Bach (23 x 30,2 cm) inches. Benedetto Marcello; Arpad Pejtsik.
SKU: HL.50487526
ISBN 9790080132562. Bach (23 x 30,2 cm) inches. Battista Giovanni Martini; Istvan Homolya; Arpad Pejtsik.
SKU: HL.50487637
ISBN 9790080134719. Bach (23 x 30,2 cm) inches. Pasquale Anfossi; Arpad Pejtsik.
SKU: BT.SLB-00595900
INSSTR inches. French.
A previously unreleased piece by Francis Poulenc, published with permission from the Bibliothèque Historique de la Ville de Paris and Benoît Seringe, secretary of the Association des amis de Francis Poulenc [Association of the Friends ofFrancis Poulenc]. Le Voyageur sans bagage [The Traveller Without Luggage], which had been premiered in 1937 with music by Darius Milhaud, was reprised on 1 April 1944 at the Thé tre de la Michodière; Francis Poulenc was asked to compose new stage music. Theentire unpublished score lay undiscovered until Bérengère de l’Épine, a librarian at the Bibliothèque Historique de la Ville de Paris, announced the existence of a manuscript in the Association de la Régie Thé trale collection.Poulenc finalised the score between 19 and 21 March 1944. It contains nine songs, all written for a small instrumental ensemble including oboe, clarinet, cello and piano. However, at the end of the manuscript, the composer echoes the second song Lent [Slow] and creates another version for cello and piano; curiously, the original version of the song has not been erased in the manuscript. Poulenc seems to suggest that we consider the piece for cello and piano, that we have publishedhere, as a different piece of music. It was premiered on Wednesday 23 January 2013 by Marc Coppey, accompanied by Jean-François Heisser, in the organ auditorium of the Conservatoire National Supérieur de Musique et Danse de Paris (CNSMDP), during thesymposium for the fiftieth anniversary of Poulenc’s death.Given in a dramatic context, some elements allow us to get an idea of the character of the piece, which Benoît Seringe, Poulenc’s beneficiary, judiciously chose to name Souvenirs.The main character of Anouilh’s play, Gaston, is suffering from amnesia at the end of World War One. Several families try to claim him; they want him to be their missing relative. The Renaud family prove to be particularly stubborn, but Gaston doesnot recognize himself in the child and young man they depict: a ruthless and violent person. In Act 1 Scene 3, left alone for a moment, overwhelmed by the story of the “old Gaston†that is gradually coming to light, and outraged by the desire ofthose around him to appropriate him (to the detriment of the person he would like to be from now on), he whispers these words: “You all have proof, photographs that look like me, memories as clear as day… I’ve listened to you all and it’s slowlycausing a hybrid person to rise up in me; a person in which there is a piece of each of your sons and nothing of me.†Poulenc chose to place the second piece from his stage music score as these words are spoken.He borrowed part of the material, as he often did, from an earlier composition. In this particular case, the beginning is a recycled version of the “slow and melancholic†section from L’Histoire de Babar , composed between 1940 and 1945, andpremiered in 1946 (unless it is Babar that reuses the musical idea from Voyageur ).The eponymous elephant decides to leave in search of the great forest. He embraces the old lady, promises her he will return and reassures her that he will never forget her. Left alone, the old lady, feeling sad and pensive, wonders when she’ll seeher friend Babar again. The situation is similar to that in Voyageur sans bagage: solitude, sadness, a distressing and introspective time, fear of oblivion, the presence of memories…Pièce inédite de Francis Poulenc, publiée avec l’autorisation de la Bibliothèque historique de la ville de Paris et de Benoît Seringe, secrétaire de l’Association des Amis de Francis Poulenc.Le 1er avril 1944, Le Voyageur sans bagage d’Anouilh, qui avait été créé en 1937 avec de la musique de Darius Milhaud, est repris au Thé tre de la Michodière. Francis Poulenc a été sollicité afin d’écrire une nouvelle musique de scène. On ignoraittout de cette partition inédite, jusqu’au jour où Bérengère de l’Épine, conservateur la Bibliothèque historique de la ville de Paris, nous signala l’existence d’un manuscrit dans le fonds de l’Association de la Régie thé trale.Poulenc mit au point sa partition entre le 19 et le 21 mars 1944. Elle comprend neuf numéros, tous écrits pour un petit effectif instrumental réunissant un hautbois, une clarinette, un violoncelle et un piano.Cependant, la fin de son manuscrit, le compositeur reprend le no 2 Lent et en donne une seconde version, pour violoncelle et piano. Curieusement, la version originale de ce numéro n’est pas biffée dans le manuscrit.Poulenc semble nous inviter considérer comme un morceau distinct cette pièce pour violoncelle et piano dont nous proposons ici l’édition. Elle a été créée par Marc Coppey, accompagné de Jean-François Heisser, lors du concert donné durant lecolloque organisé pour le cinquantenaire du décès de Poulenc, le mercredi 23 janvier 2013, salle d’orgue du Conservatoire National Supérieur de Musique et de Danse de Paris (CNSMDP).Quelques éléments sur le contexte dramatique permettront de se faire une idée du caractère du morceau, que Benoît Seringe, ayant droit Poulenc, a judicieusement choisi d’intituler Souvenirs.Le personnage principal de la pièce d’Anouilh, Gaston, a été retrouvé amnésique la fin de la Première Guerre Mondiale. Plusieurs familles le réclament. On veut voir en lui un parent disparu. Les Renaud se montrent particulièrement tenaces ; maisGaston ne parvient se reconnaître dans l’enfant et le jeune homme dont on lui trace le portrait : un être violent et sans scrupule. Au tableau 3 de l’acte I, resté seul un moment, écrasé par l’histoire de cet autre lui-même qu’il découvre peu peu, indigné par le désir des personnes qui l’entourent de le ramener elles au détriment de celui qu’il voudrait être désormais, il se murmure ces paroles : « Vous avez tous des preuves, des photographies ressemblantes, des souvenirs précis commedes crimes… je vous écoute tous et je sens surgir peu peu derrière moi un être hybride où il y a un peu de chacun de vos fils et rien de moi »…C’est sur ces mots que Poulenc a choisi de placer le no 2 de sa partition de musique de scène.Comme il le fait souvent, il emprunte une composition antérieure une part de son matériau. Dans ce cas précis, il réutilise pour le début du morceau la section « Lent et mélancolique » de l’Histoire de Babar, composée entre 1940 et 1945, créée en1946 ( moins que ce ne soit Babar qui réutilise l’idée musicale du Voyageur). Le héros-éléphant s’est décidé partir pour retrouver la grande forêt. Il a embrassé la vieille dame, lui a promis de revenir, l’a rassurée : jamais il ne l’oubliera.Restée seule, la vieille dame, triste et pensive, se demande quand elle reverra son ami Babar. La situation est similaire celle du Voyageur sans bagage : solitude, tristesse, instantde trouble et de retour sur soi, crainte de l’oubli, présence des souvenirs….
SKU: BT.EMBZ13622
Debussy's Small Suite written for piano duet in 1889 is being published by Editio Musica Budapest in a transcription for cello and piano for the first time. A guarantee for the quality of the transcription is the name of the two outstanding artists Zoltán Kocsis and Miklós Perényi who make us forget the difficulty of the task and exploit the full capabilities of their respective instruments, enchanting thereby the audience.
SKU: HL.50600993
8.0x11.75x0.078 inches.
The ensemble work “Scattered Shades,†composed in 2014, of the Chinese composer Guoping Jia for the instrumentation flute, clarinet, violin, violoncello and piano was premiered on 21 May 2014 in Beijing at the 'Beijing Modern Music Festival,' performed by the ensemble 'Les Temps Modernes.' Although this work received its essential inspiration from ancient Chinese pen-and-ink painting, it also simultaneously documents the overcoming of a creative crisis. During an artistically difficult period, Jia assigned himself the task in 1997 to compose a study that was to supersede the compositional techniques used so far with the means of rational construction. “Scattered Shades†has recourse to this study, retracing its structure in a more profound way with a different ensemble.
SKU: HL.50512037
ISBN 9790080147795. UPC: 884088668723. 9.0x12.0x0.079 inches. Ferenc Liszt; Boldizsar Csiky.
The arranger of this work (a well-known Hungarian composer living in Romania) writes: +This piece has always excited my imagination, from several points of view. First of all, its name. The German title, the obstinate one, may refer to its ostinato character. This is close to Liszt's programme concept, but the French word 'obstine' is closer in meaning to stubborn. There is just a shade of difference, but to me it is important, because the latter suggests the description of a type of behaviour, the emotional state of a dancer's inner frame of mind abstracted into movements, expressed in dance movements, and this is a fascinating interpretation. The demonstration of stubborn resistance and defiance to the point of exhaustion was not a frequently occurring phenomenon with Liszt. Secondly, at the beginning of the seventies Zoltan Kocsis played the piece in Transylvania. At that time, I asked the composer, +Is the character of the continuous staccato in the left hand sharp, short, or an accompanying background like a constant shadow? Is it a weighty Brahmsian staccato, an ominous knocking? - and so on. Then there are the Bartokian false relations that keep recurring in the work, the B-E flat-G, etc. That foreshadows Debussy, creating harmonic thrills that, when I hear the work, keep my continuing interest alive for it. Finally, my immediate reason for arranging the work was of a family nature: in connection with Liszt's jubilee year, my daughter, who is a cellist, wanted a 'more energetic' piece to play at a bicentenary concert an addition to the existing slow, lyrical, or sombre works written by Liszt for the cello.+.
SKU: SU.94010750
Ekah is the Hebrew word for Lamentations, as in the book of Lamentations in the Bible. The literal translation of this word would be How or Ah! How. When the cellist, Inbal Segev asked me to write a new piece for cello and piano, and as a part of our discussion, I decided to compose a new piece that reflected on the immense challenges that the year 2020 has presented. The hows and lamentations in this piece might be: how can there still be so much hate in the world since we are all equal and created in the image of God? How can there be such police brutality in 2020? How and why is the whole world suffering with the Coronavirus (COVID-19)? How can our mental health, cities, and communities be so desolate? We can hope, pray, and do our responsible part to make our life on this planet meaningful during these challenging times of the year 2020. — James Lee III Violoncello & Piano Duration: 6' Composed: 2020 Published by: Subito Music Publishing.
SKU: BR.CB-215
ISBN 9790001157223. 9 x 12 inches.
The triumphal concert hall success of Tchaikovsky's most popular and musically most valuable concert pieces for solo instrument and orchestra was preceded by severe teething troubles. His Piano Concerto No. 1 Op. 23 of 1874/75 was slated by Tchaikovsky's mentor and potential performer at the premiere, the pianist, conductor and director of the Moscow Conservatory, Nikolai Rubinstein. So Hans von Bulow premiered it gratefully and enthusiastically (in Boston, USA, on 25 October 1875). Leopold Auer, violin virtuoso and professor at the Petersburg Conservatory, to whom Tchaikovsky wanted to dedicate his Violin Concerto Op. 35 of 1878, refused to premiere it - he regarded the solo part as unrewarding and unplayable. On 4 December 1881, Adolf Brodsky premiered the Violin Concerto in Vienna, with Hans Richter conducting, but Eduard Hanslick wrote a crushing and unpleasant review. The Variations on a Rococo Theme for Cello and Orchestra Op. 33 were finally published by their dedicatee, the German cellist and professor at the Moscow Conservatory, Wilhelm Fitzenhagen, after he had almost completely rewritten and then premiered it on 18 December 1877 in Moscow, while Tchaikovsky, who had asked him to publish the work, was abroad. The original version, which can be found in this edition, was not published until the 1950s.
SKU: HL.50487683
ISBN 9790080136225. 9.0x12.0x0.124 inches. French. Claude Debussy; Zoltan Kocsis; Miklos Perenyi.
Debussy's Small Suite written for piano duet in 1889 is being published by Editio Musica Budapest in a transcription for cello and piano for the first time. A guarantee for the quality of the transcription is the name of the two outstanding artists Zoltan Kocsis and Miklos Perenyi who make us forget the difficulty of the task and exploit the full capabilities of their respective instruments, enchanting thereby the audience.
SKU: BT.EMBZ14779
The arranger of this work (a well-known Hungarian composer living in Romania) writes: This piece has always excited my imagination, from several points of view. First of all, its name. The German title, the obstinate one, may refer to its ostinato character. This is close to Liszt's programme concept, but the French word 'obstiné' is closer in meaning to stubborn. There is just a shade of difference, but to me it is important, because the latter suggests the description of a type of behaviour, the emotional state of a dancer's inner frame of mind abstracted into movements, expressed in dance movements, and this is a fascinating interpretation. The demonstration ofstubborn resistance and defiance to the point of exhaustion was not a frequently occurring phenomenon with Liszt. Secondly, at the beginning of the seventies Zoltán Kocsis played the piece in Transylvania. At that time, I asked the composer, Is the character of the continuous staccato in the left hand sharp, short, or an accompanying background like a constant shadow? Is it a weighty Brahmsian staccato, an ominous knocking? - and so on. Then there are the Bartókian false relations that keep recurring in the work, the B-E flat-G, etc. That foreshadows Debussy, creating harmonic thrills that, when I hear the work, keep my continuing interest alive for it. Finally, my immediate reason for arranging the work was of a family nature: in connection with Liszt's jubilee year, my daughter, who is a cellist, wanted a 'more energetic' piece to play at a bicentenary concert an addition to the existing slow, lyrical, or sombre works written by Liszt for the cello. The arranger of this work, the well-known Romania-based Hungarian composer Cs ky Boldizsár writes: This piece has always excited my imagination, from several points of view. First of all, its name. The German title, the obstinateone, may refer to its ostinato character, this is close to Liszt's programme concept, but the French word 'obstiné' is closer in meaning to stubborn. There is just a shade of difference, but to me it is important, because the lattersuggests the description of a type of behaviour, the emotional state of a dancer's inner frame of mind abstracted into movements, expressed in dance movements, and this is a fascinating interpretation. The demonstration of stubbornresistance , defiance to the point of exhaustion, was not a frequently occurring phenomenon with Liszt. Secondly, at the beginning of the seventies Zoltán Kocsis played the piece here in Transylvania (Romania).Der Bearbeiter des Werkes, der renommierte ungarische Komponist aus Rumänien, schreibt: Dieses Stück reizte immer schon meine Phantasie, sogar in vielerlei Hinsicht. Als erstes sein Name. Der deutsche Titel ‚Hartnäckiger' kann auf den ihm innewohnenden ostinativen Charakter hinweisen, was der Liszt'schen Programm-Konzeption näher kommt, das französische ,obstiné' steht jedoch eher dem Wort ‚dickköpfig' nah. Das sind nur geringfügige Unterschiede, mir ist das dennoch wichtig, weil aus Letzterem die Darstellung eines Verhaltens, der in Tanzgesten ausgedrückte, zur Bewegung abstrahierte innere emotionale Zustand eines Tänzers durchscheint, und das ist eine überaus beeindruckendeErklärung. Die Demonstration des bis zur Erschöpfung reichenden Trotzes, der störrischen Kraft erscheint bei Liszt selten. Der zweite Aspekt: Zu Beginn der 70er Jahre spielte bei uns Zoltán Kocsis das Stück. Schon damals (und seitdem) frage ich den Komponisten:.
SKU: HL.49001532
ISBN 9790001131346. UPC: 073999353754. 9.0x12.0x0.159 inches.
SKU: PR.114418870
UPC: 680160667918.
Hailstork had originally written his Elegy in 1980, in memory of a friend's passing. Decades later, he was asked by cellist Tim Holly to finish the work, and the Caprice was added in 2016. Despite 35 years of intervening life and changes in musical language, Hailstork has matched the tonality of the earlier movement. His transcription for viola and piano was performed in October at New Music Norfolk (Hampton Roads) by Rebecca Sinclair Kim and Susan Ha.
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