Incarnant le classicisme viennois tout comme Mozart et Beethoven, le compositeur autrichien Franz Joseph Haydn, a eu une carrière musicale couvrant tout la période baroque en allant jusqu'au début du romantisme. A travers cette partition Concerto for Violoncello and Orchestra C major Hob. VIIb:1 écrite et composée pour Violoncelle et plus précisément pour Violoncelle Et Piano vous retrouverez tout le talent de ce compositeur. Ce sont les éditions Henle qui ont eu le privilège d'imprimer cette oeuvre. / Violoncelle Et Piano / Chanson En Séparée

Edition : piano reduction with solo part Instrumentation : cello and string orchestra Catalogue of works : G 479 Duration : 20' Date of Publications : 18/04/1986 Number of Pages : 37 Arranger : Lebermann, Walter Series : Cello Library

Par POULENC FRANCIS. Composed in 1948, the Cello Sonata or Sonata for Cello and Piano by Francis Poulenc (1899-1963) was dedicated to Pierre Fournier, the French cellist. Its four movements, mainly ternary, are as listed below: - Allegro (Tempo di Marcia) - Cavatine - Ballabile - Finale Pierre Fournier partly helped Francis Poulenc to compose the Cello part as this latter was not a specialist of this instrument. Francis Poulenc is French composer and pianist. He also produced Piano and Chamber pieces, Operas ('Dialogues des Carmelites'), ballets ('Les Biches') as well as some orchestralworks./ Répertoire / Violoncelle et Piano

Hungarian Rondo was composed by Zoltán Kodály in December 1917, drawing on material from the incidental music he had written for Zsigmond Móriczs play Pacsirtaszó (Skylarking). The rondo form is shaped out of four new-style Hungarian folk songs and an instrumental dance melody. Kodály prepared the piece in two somewhat different versions, one for two clarinets, two bassoons and string orchestra, and the other for cello and piano. The orchestral version received its first performance in Vienna on 12 January 1918 at a 'historical concert' organized by the War Ministry of the Austro-Hungarian Monarchy. The cello version was premi?red by Miklós Zsámboky and Ottó Herz at the Budapest Academy of Music on 4 November 1927. Neither version appeared in print in the composers lifetime. The version for string orchestra was edited in 1976 by Ferenc Farkas and István Máriássy (and is distributed as a hire material under the order number K-1). The cello version appears here in print for the first time. The publication is based on the composers surviving manuscript and a contemporary manuscript copy of this. The fingerings are by the editor. / Violoncelle Et Piano

Par AHO KALEVI. Kalevi Aho's (b. 1949) concerto no. 2 for cello and orchestra (2013) is in five movements performed without a break. It begins with a swinging Berceuse, followed by a very quick, virtuosic Presto in 5/8 time. The heart of the concerto is the cadenza-like third movement, Adagio, dominated throughout by the soloist. A fairly short Allegretto is followed by the closing Epilogue. This has flashbacks to the opening movement, and they lead to a cadenza in which the soloist plays only flageolet notes and pizzicatos. The concerto ends with a virtuosic coda in 5/8 time evocative of the second movement. Arto Noras gave the concerto its first performance with the Lahti Symphony Orchestra conducted by Osmo Vänskä in Naantali on June 5, 2014. It was a joint commission from the Naantali Music Festival and the Lahti Symphony Orchestra. This product consists of the solo part (18 pages) and piano reduction by Kari Vehmanen (62 pages) - have a look inside by clicking “sample”. The concerto is scored for a fairly small orchestra. The instrumentation is 2(II=afl)2(II=ca)2(II=bcl)2-2200-bar-02-str and the orchestral material is available for hire from the publisher. / Date parution : 2022-05-31/ Répertoire / Violoncelle et Piano

Par BRIDGE FRANK. These four pieces for Cello and Piano accompaniment, were composed separately between the years 1901 and 1910 and appeared in print in several different versions, ranging from piano solo to full orchestra. They were all primarily written, however, for cello and piano so appear here in their original form. The editor - Julian Lloyd Webber - has been responsible for the addition of bowings and fingerings. / Niveau : Assez Facile / Répertoire / Violoncelle et Piano

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. This is the piano reduction and cello part. / Répertoire / Violoncelle et Piano

These four pieces were composed separately between the years 1901 and 1910 and appeared in print in several different versions, ranging from piano solo to full orchestra. They were all originally written, however, for cello and piano. The editor - Julian Lloyd Webber - has been responsible for the addition of bowings and fingerings.

Par CHAUSSON ERNEST. Chausson's 'Piece Op.39', the composer's only work for solo cello, was written during his final years and belongs with the intensity lyrical Poeme for violin and orchestra (1896) and the two quartets (1897 and 1899). Like these more 'classical' late works, 'Piece' derives potency from its restrained lyricism, but is rhythmically unusual with 5/4 and 7/4 the predominant time signatures. Neil Heyde's new edition, the first authoritative one of the work, is based on the composer's autograph manuscript and will be welcomed by cellists seeking fresh, first-rate repertoire by major French composers. The edition includes an informative introduction and critical commentary./ Répertoire / Violoncelle et Piano

piano reduction with solo part. Par SHCHEDRIN RODION. Shchedrin’s œuvre spans nearly every musical genre, and it is hardly surprising that an output of such versatility contains some rather remarkable instrumental combinations, for example “Music from afar” for 2 bass recorders, or “Balalaika” for a solo violin playing pizzicato throughout. This predilection for the unusual leads the composer in “Parabola concertante” with its basically subdued and contemplative mood to add a charcteristic counterpoint by contrasting the accompanying string orchestra with timpani. The piece was composed for master virtuoso Mstislav Rostropovitch, who played the solo part in the first performance at the International Cello Festival in Kronberg./ Répertoire / Violoncelle et Piano

Par BRUCH MAX. Aside from his popular Violin Concerto no. 1, “ Kol Nidrei ” numbers among Max Bruch ’s most famous compositions. The melancholy “Adagio after Hebrew melodies” was written in 1880 for the cellist Robert Hausmann. It treats two old Jewish songs whose extraordinary beauty proved deeply moving to the Protestant Bruch, by his own admission. The tenor Cello sound is the ideal medium for the voice of a Jewish cantor, and thus to this day “ Kol Nidrei ” offers every cellist a wonderful opportunity to make the instrument “sing”. In this text, based on the first edition of 1881, “ Kol Nidrei ” appears for the first time in an Urtextedition substantiated by scholarly research, for which not just the musical sources, but also numerous letters and documents from the Max Bruch Archive were consulted. Christian Poltéra was able to be procured for the markings in the solo part. / Oppermann, Annette / Répertoire / Violoncelle et Piano

C'était pour Fauré sur sa main, après l'accueil enthousiaste de sa première sonate pour violon (HN 980) continuer à payer la musique de chambre. 1880, une petite pièce pour violoncelle et piano, qui a été conçu comme le mouvement lent d'une sonate. Le projet a donné Fauré Sonata mais ensuite, et a plutôt présenté la pièce intitulée 'Elégie' out. Le succès a été si grand que Fauré a été poussé par l'éditeur à une autre propriété et le conducteur Edouard Colonne en 1895 une version orchestrale de 'Elégie' a été commandé, qui a atteint ses deux premiere ans plus tard. Notre édition Urtext contient comme d'habitude à la fois désigné comme une voix solo banalisée. / Piano

Par HARVEY JONATHAN. l'interaction entre le violoncelle et la voix supplémentaires électroniques et sons sont extraordinairement efficace et parfois construire prosternation massives sur une échelle près-orchestrale. Il a fait une expérience unique, une saisie par main force à l'imagination. Ingéniosité sauvage de Harvey nous a laissé awestricken. ' David Murray, Financial Times, 22 novembre 1994/ Répertoire / Violoncelle et Piano