Composed by Johannes Brahms (1833-1897). Edited by Clive Brown / Neal Peres Da Costa / Kate Bennett Wadsworth. For cello and piano. This edition: Urtext edition. Stapled. With an Urtext solo part by Clive Brown and a solo part with bowing and fingering by Kate Bennett Wadsworth; Fingering in the piano part by Neal Peres Da Costa; Performance Practice Commentary by C. Brown, N. P. Da Costa and K. B. Wadsworth. Level 3. Score and part. Text Language: German/English. Opus 38. Published by Baerenreiter Verlag

Cello and Piano Schott Student Edition Level 1. Composed by Arnold Trowell. Edited by Beverley Ellis. This edition: Saddle stitching. Sheet music. Schott Student Edition. Classical. Softcover. Op. 4/1-6. 40 pages. Schott Music #SE 1024. Published by Schott Music

Cello and Piano. Composed by Camille Saint-Saens (1835-1921). Arranged by Giuseppe Gariboldi. Editions Durand. Classical. Softcover. 20 pages. Editions Durand #DF16278. Published by Editions Durand (HL.50565813).

Choral Cello, Piano, alto 1, alto 2, soprano 1, soprano 2

SKU: CF.CM9625

Composed by Jimmy Baas. Sws. Performance Score. 16 pages. Duration 3 minutes, 49 seconds. Carl Fischer Music #CM9625. Published by Carl Fischer Music (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.

18 Recital Pieces in First Position for Cello and Piano or Two Celli. Edited by Christoph Sassmannshaus / Melissa Lusk. Stapled. Baerenreiter's Sassmannshaus. Performance score, parts. 22/24/17 pages pages. Published by Baerenreiter Verlag

By Janice Tucker Rhoda. For Cello, Cello and Piano. CD contains piano accompaniments as audio and printable PDF; Also includes complete performances. Instructional. Instructional book and CD. Published by Carl Fischer