SKU: HL.14026530
Contrast and Variants for Piano Quartet in One Movement.
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: FG.55011-903-1
ISBN 9790550119031.
Victoria Yagling's Suite for Cello and String Orchestra (1967) is one of her first successes as a composer. The movement layout of the Suite is fast-slow-fast-slow. The first movement, Toccata, is a perpetual motion with a brisk tempo of 100 per dotted half. The Aria is reminiscent of Rachmaninov's Vocalise melody and Prokofiev's tonal language. This movement is the centerpiece of the Suite. The Humoresque is closely connected in style and motives to the March and Aria movements from Boris Tchaikovsky's Suite for Cello Solo. Mostly homophonic Finale plays with bitonality and contains several circle-of-fifth sequences.This product is is the reduction for violoncello and piano by prof. Yuriy Leonovich. Orchestral material available on hire from the publisher. Stydy score with solo part is available for sale (ISMN 9790550116436).Victoria Yagling (1946?2011) was born in Russia and lived in Finland since 1990. Her long career as a cellist served as an excellent accompaniment to the composition she began at an early age. For 11 years she was a cello student of Mstislav Rostropovich at the Moscow Conservatory and Dmitry Kabalevsky and Tikhon Khrennikov taught her composition.Yagling won the first prize in the Gaspar Cassadò Cello Competition and the following year the second prize in the Moscow Tchaikovsky Competition. Her solo engagements took her to countless countries. She has also taught at several international music courses and master classes and was often a jury member for international cello competitions.Yagling left a profilic oeuvre, and the three cello concertos are her main works. Her other orchestral works include Finnish Notebook, Lyrical Preludes and the Suite for Cello and String Orchestra. She has also composed solo works (e.g. the Suite for Cello Solo No. 1 chosen as an obligatory piece for the 7th Tchaikovsky Competition in Moscow in 1982), chamber works, including two string quartets, and vocal music. Her expressive, romantically orientated style is Russian in spirit and has grown out of the soil provided by Prokofiev and Shostakovich.
SKU: AP.36-M388991
ISBN 9798892704182. UPC: 659359984921. English.
An immensely powerful piece for solo cello and piano, Brahms' SONATA NO. 2, OP. 99 is one of the most impressive cello repertoire selections. Composed of four movements, the first Allegro vivace contains the grandiose main theme. The hauntingly beautiful second movement is Adagio affetuoso. The fiery and furious third movement is Allegro passionato. The fourth Allegro molto movement ends the piece with exhilaration and an optimistic feeling.
These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months.
SKU: FG.55011-673-3
ISBN 9790550116733.
A large-scale work in four movements lasting over half an hour, Kalevi Aho's Sonata for violoncello and piano (2019) in four movements is furios, virtuosic and poweful, with a lyrical second movement. The third movement is a cello cadenza, provided in two versions: with and without throat singing.
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: HL.49045757
ISBN 9781540020321. UPC: 888680727222. 9.25x12.0x0.183 inches.
Friction, Pressure, Impact comprises three movements, each of which focuses on the question of musical metabolism in a different way. The first movement, Friction, has a moderately fast metabolism, working through the musical material between the instruments with some speed yet with a kind of compulsively controlled rate of evolution. Pressure has a much slower pace of working through its musical argument, which is relatively minimal. It moves heavily and sensuously through its course. Impact changes and shifts with a mercurial speed; although this movement has one single argument throughout, it is an argument that is constantly changing shape and perspective: phrase-lengths, local patterns, registers, and harmonic inversions are constantly in flux, pelting the music's surface like a hale storm.- Hannah Lash.
SKU: CF.BF141
ISBN 9781491159989. UPC: 680160918584.
The three pieces From Jewish Life were composed by Swiss-American composer Ernest Bloch in 1924, the same year he took U.S. citizenship. Though clearly inspired and influenced by Jewish experience, they are purely concert pieces, and do not provide any specific liturgical significance.The first movement, Prayer, is a deeply heartfelt plea to the almighty. As Neil W Levin writes, The initial four-note motive in the minor mode, together with its elaboration in the ensuing phrases, sounds as if it might have served as the skeletal model for Max Janowski's (1912-1991) now well-known setting of the High Holyday prayer Avinu Malkenu. This prayer has special meaning in my own spiritual life, as I have been singing it since my childhood. Both Prayer and Janowski's Avinu Malkenu are cantorial in nature, to be sung with heartfelt pathos.The second movement, Supplication (the act of begging humbly), has more angst, almost a sense of urgency as a result of the rhythmic motor in the piano. The third movement, Jewish Song, evokes a quintessentially Eastern-European melancholy. Its falling motives with bent intonation might represent the pain of the Jewish experience.The works were dedicated to Dutch-American cellist Hans Kindler, a highly influential musician of his time, and founder of the National Symphony Orchestra in Washington, D.C. Mr. Kindler was the soloist for the world premiere of Bloch's most celebrated work, Schelomo in 1917.Though the popularity of Bloch's oeuvre has been dominated by works of Jewish connection, we should not forget that Bloch had many other stylistic periods, including Franco-Belgian, modal, serial, and even American folk. In 1927, he was awarded Musical America's composition prize in a unanimous vote, despite being regarded as an outsider by American music writers at the time. His winning work America (1928) was performed by every major orchestra and conductor in the following seasons. May we be proud of his contributions to American music.The three pieces From Jewish Life were composed by Swiss-American composer Ernest Bloch in 1924, the same year he took U.S. citizenship. Though clearly inspired and influenced by Jewish experience, they are purely concert pieces, and do not provide any specific liturgical significance. The first movement, Prayer, is a deeply heartfelt plea to the almighty. As Neil W Levin writes, The initial four-note motive in the minor mode, together with its elaboration in the ensuing phrases, sounds as if it might have served as the skeletal model for Max Janowski's (1912-1991) now well-known setting of the High Holyday prayer Avinu Malkenu. This prayer has special meaning in my own spiritual life, as I have been singing it since my childhood. Both Prayer and Janowski's Avinu Malkenu are cantorial in nature, to be sung with heartfelt pathos. The second movement, Supplication (the act of begging humbly), has more angst, almost a sense of urgency as a result of the rhythmic motor in the piano. The third movement, Jewish Song, evokes a quintessentially Eastern-European melancholy. Its falling motives with bent intonation might represent the pain of the Jewish experience. The works were dedicated to Dutch-American cellist Hans Kindler, a highly influential musician of his time, and founder of the National Symphony Orchestra in Washington, D.C. Mr. Kindler was the soloist for the world premiere of Bloch's most celebrated work, Schelomo in 1917. Though the popularity of Bloch's oeuvre has been dominated by works of Jewish connection, we should not forget that Bloch had many other stylistic periods, including Franco-Belgian, modal, serial, and even American folk. In 1927, he was awarded Musical America's composition prize in a unanimous vote, despite being regarded as an outsider by American music writers at the time. His winning work America (1928) was performed by every major orchestra and conductor in the following seasons. May we be proud of his contributions to American music.The three pieces From Jewish Life were composed by Swiss-American composer Ernest Bloch in 1924, the same year he took U.S. citizenship. Though clearly inspired and influenced by Jewish experience, they are purely concert pieces, and do not provide any specific liturgical significance.The first movement, “Prayerâ€, is a deeply heartfelt plea to the almighty. As Neil W Levin writes, “The initial four-note motive in the minor mode, together with its elaboration in the ensuing phrases, sounds as if it might have served as the skeletal model for Max Janowski’s (1912–1991) now well-known setting of the High Holyday prayer Avinu Malkenu.†This prayer has special meaning in my own spiritual life, as I have been singing it since my childhood. Both “Prayer†and Janowski’s Avinu Malkenu are cantorial in nature, to be sung with heartfelt pathos.The second movement, “Supplication†(the act of begging humbly), has more angst, almost a sense of urgency as a result of the rhythmic motor in the piano. The third movement, “Jewish Songâ€, evokes a quintessentially Eastern-European melancholy. Its falling motives with bent intonation might represent the pain of the Jewish experience.The works were dedicated to Dutch-American cellist Hans Kindler, a highly influential musician of his time, and founder of the National Symphony Orchestra in Washington, D.C. Mr. Kindler was the soloist for the world premiere of Bloch’s most celebrated work, Schelomo in 1917.Though the popularity of Bloch’s oeuvre has been dominated by works of Jewish connection, we should not forget that Bloch had many other stylistic periods, including Franco-Belgian, modal, serial, and even American folk. In 1927, he was awarded Musical America’s composition prize in a unanimous vote, despite being regarded as an outsider by American music writers at the time. His winning work America (1928) was performed by every major orchestra and conductor in the following seasons. May we be proud of his contributions to American music.
SKU: HL.49045797
The first movement of my Piano Quintet is filled with drama and passion. Its atmosphere can be related to my Second Symphony Johannes Angelos. The second movement is a set of polyphonic variations in a form reminiscent of a passacaglia. The music seems to be hypnotized by a theme consisting of a chromatic cluster of ten notes. In the beginning of the last movement, materials from the previous movements start to reappear, but this time in a mysterious, incoherent way. The strings find new music resembling a fragmented hymn. Fast-moving triplets start to appear and the music reaches a joyful and ecstatic conclusion. Olli Mustonen.
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.49047317
ISBN 9798350121902. UPC: 196288201052.
This cello sonata by the renowned jazz pianist and professor of jazz piano unites in a certain way “the best of two worldsâ€: melodies, sophisticated harmonies and rousing rhythms, which are also convincing in a pure jazz context, are fused here with a formal language and movement techniques that are oriented towards classical models. The voices of both instruments are interwoven on an equal footing and take the listener on an exciting musical journey from the very first moment, which finds its virtuoso climax in the lively rondo via a classical sonata main movement and a quiet middle movement.
SKU: HL.48024888
UPC: 840126919769.
As a lesson and lecture piece, Bertold Hummel's Sonatine op. 35, created in 1969, accompanied many young musicians on their way. Sold a thousand times all over the world, it is one of the composer's best-known works and has been included in the repertoire list for the 'Jugend musiziert' competition by the German Music Council. Warmth and sparkling rhythm characterize the three movements: inthe powerful maestoso, the sonority of the main theme is contrasted with a lyrical side theme; the recapitulation ends with an impulsive fugato. The second movement Elegie consists of a single soulful melody about spherical harmonies of the piano. As the highlight in the Finale vivace, playful lightness, marching rhythms and dramatic increases replace each other in quick succession; wild arpeggios lead to the end. Originally composed for violin, versions for viola and cello were already familiar. For the 50th birthday, Simrock / Boosey & Hawkespresents the work in a revised, revised edition. A repertoire enrichment for beginning instrumentalists are the first available versions for alto and tenor saxophone, which the composer made himself in the 1990s.
SKU: HL.51481469
UPC: 840126989649. 9.0x12.0x0.258 inches.
Fingering Michael Korstick; fingering & bowing for cello Johannes Moser Aside from the Piano Quartet op. 13 and the Violin Sonata op. 18, the Cello Sonata numbers among the most mature works of chamber music from Strauss' early oeuvre. The influences of Mendelssohn, Schumann, and Brahms are noticeable, while leaving sufficient space for a very personal tonal language, often with surprising rhythmic and harmonic turns of phrase. Strauss subjected the first version completed in early 1881 to a radical revision over the winter of 1882/83; the opening movement was thoroughly reworked, the two subsequent movements rewritten completely. It was worth it, because after the premiere in Dresden, the composer wrote to his mother, “My sonata garnered extraordinary acclaim, the applause was enormous, congratulations came to me from all sides.â€.
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SKU: PR.114414310
UPC: 680160594467. 9 x 12 inches.
Three diverse pieces by Samuel Adler are presented. Emunah (Faith) is a paean to his wife, Emily. L'olam Vaed dates back to 1978 and is printed in proportional notation, to better guide the musicians and to maximize the performers' expressive freedom. Tribute, the most recent of the three, was written to mark the reopening of Alice Tully Hall in 2009.
SKU: HL.50487934
ISBN 9790080027943. A/4 inches.
Ruralia Hungarica was originally a five movements cycle of piano pieces (Op. 32/a) composed in 1923 on Hungarian folk songs, dedicated to Dohnanyi-s mother. In 1924, five movements of the piano cycle was orchestrated (Op. 32/b), the orchestral version was premiered under the baton of the composer on 14 September 1924, in Pecs (South Hungary). Ruralia Hungarica was one of Dohnanyi-s favorite works. He often performed both the version for piano and the one for orchestra, and he composed other versions, too: three movements for violin and piano (Op. 32/c) and one movement for violoncello and piano (Op. 32/d).
SKU: HL.49046417
ISBN 9781540090553. UPC: 840126915457.
The Seven Ballet Scenes have been extracted from a ballet music that I composed in 2008. The basic idea was to use different combinations of the three instruments and to get very different characters and forms of movement, which nevertheless form a whole. There is a piece for cello solo, one for violin and piano, one for violin and cello etc. At the beginning, in the middle and at the end there are different variants of a fast movement for all three instruments, which form a kind of refrain. Anno Schreier.
SKU: CF.MXE5
ISBN 9780825853401. UPC: 798408053406. 9 X 12 inches.
Commissioned in 1998, this chamber piece is truly unique experience! A short piece (18 minutes), the work is derived from the composer’s fascination with a theory from quantum physics stating that time is fluid and that matter can exist concurrently in one place. To encompass this idea, the composer asks that a passage of music that he wrote when he was 15 be pre-recorded and played during the second movement (Desolato). The music of the adult David Carlson is coupled with music written thirty years ago, creating a sonic continuum. The highly charged, rhythmically aggressive music of the first movement is contrasted by the nostalgic slow mood of the second movement. The final movement is both energetic and passionate, which brings this imaginative work to a positive conclusion.
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