SKU: BT.EMBZ6748
Hungarian-English-German-French.
The volumes of the series cover the entire music literature from the earliest centurties to our days. The material of the individual volumes containing short, easy pieces to be played in the first three-four years of studying the instrument has been compiled by accomplished music teachers. The majority of the contemporary works included in the volumes have been published in this series for the first time. An ABRSM syllabus title, 2010-16, Grade 2-3.
SKU: FL.FX071927
The wind carries away the yellow leaves fallen on the pavement, the cafes put tables and chairs in... I evoke here a fall tour that is difficult to do quietly in Paris. How to take your time in this city with so many streets to cross (musical phrases of 3 measures), cars or buses to avoid (musical phrases starts on the second time). While the chestnut vendors are on subway entrances, how not to hurry like others (theme B) to 'catch' the subway...
SKU: HL.50600437
8.0x11.75 inches.
For cello and piano. “This work was the result of a collaboration with my wonderful friend, the outstanding cellist Julius Berger. Several years ago, his exceptional interpretation of my Concerto for violin and violoncello impressed me deeply. Later, when he played my 2nd Sonata for violoncello solo, a work written for him, my enthusiasm became even greater. In my new piece, composed on the occasion of his 60th birthday, I intended to write kind of music in which not only virtuosity but also a beautiful sound should stand at the forefront. Above all, however, I wanted to please Julius with it and also give enjoyment to the audience. The title 'three times four' describes the basic idea of the work: three musical characters are varied in four different respective forms. Or put the other way round: four characteristic sound designs appear in three different shapes. It is difficult to say more about the piece than that. My ideal is music that is sufficient unto itself, a kind of music that requires no commentary - that itself says so much that all commentary becomes superfluous.†(Krzysztof Meyer).
SKU: HL.49047032
UPC: 196288108702.
Dotzauer etudes have been part of the standard repertoire in cello lessons for generations. Friedrich Dotzauer (1783-1860) was amongthe major cellists and cello pedagogues of the 19th century and knew what makes a good etude: it should deal specifically with a certain technical problem and at the same time not be monotonous, but musically appealing. The cellist of the Leipzig Gewandhaus and the Dresden Hofkapelle managed to do that in an exemplary manner. 24 Caprici in tutti tuoni Op. 35 (1816) is Dotzauer's masterpiece,wonderfully showing off the varied tone colours and playing techniques of the violoncello. Demanding etudes for lessons and performances, with beautiful melodic and harmonic ideas, some with slow expressive introductions, some with artistic arpeggios or contrapuntal polyphony. Our new edition follows the original sources and contains the original text.
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: HL.48186482
Reynaldo Hahn: Works for cello and piano [AL 30 749] For quite some time, posterity remembered Reynaldo Hahn (1874-1947) for just a handful of songs and the operetta Ciboulette, overlooking the incredible diversity of a catalogue as eclectic as it is appealing. Yet his chamber music contains many little-known treasures: thus, cellist Steven Isserlis, in his preface, hastens to hail the first modern edition of these two scores, which he regularly plays in recital, so much does their beauty enchant the audience. Published in 1911, the Two Improvisations on Irish Airs for cello and piano turn out to be the transcription of his first and third Preludes for piano four hands (1894). These folk themes come from the collection Songs of Old Ireland, published 12 years earlier by Charles Villiers Stanford: gracefully and tenderly, The Little Red Lark unfurls a melancholic tune of which the regular foundation respects the breadth of phrase typical of folk songs; in The Willow-Tree, the lover begs his beloved in vain to take him in her arms one last time before he lies down, lifeless, in the shade of the tree. Beyond this sensitive exploration of the Irish soul, Hahn offers us a journey into the past: the Variations chantantes sur un air ancien develop a theme borrowed from Cavalli?s opera Xerse. In this aria (1660 version: Act IV, sc. 6), Ambassador Periarco dreams of moving away from court intrigues to be able to taste the pleasures ?to which the gods have destined him?. Reynaldo Hahn?s variations succeed in maintaining the sweet simplicity of this theme, as noble as it is refined. Let us wager that this publication will delight cellists and pianists alike: it contains some nuggets. Deux improvisations sur des airs irlandais (The Little Red Lark, The Willow-Tree) Variations chantantes sur un air ancien.
SKU: BT.EMBZ14636
ABRSM Syllabus title - Grades 5, 6, 8The two volumes contain a selection from 200 years of music. Eight Baroque sonatas are included, apart from the famous D minor one by Corelli there are some that are appearing in a modern edition for the first time in 300 years. In addition to cyclical works (Haydn: Sonatina, Mozart: Divertimento, Vivaldi: Concerto) and sets of variations (Beethoven, Tartini) there are many shorter pieces as well, not only the famous minuets by Boccherini, Mozart and Beethoven but also works published for the first time here. Virtuoso pieces are represented by Goltermann s Etude-caprice and Jenkinson s Dance of the sylphids, the lighter kind includeJoplin s Ragtime. This colourful, ample selection provides a good basis for a music-lover s library. ABRSM Cello Syllabus title - Grade 5, 6, 8. Die zwei Bände präsentieren eine Auswahl an Musik aus zweihundert Jahren. Sie beinhalten acht Barocksonaten, neben der berühmten Corelli in d-Moll auch solche, die nach 300 Jahren erst jetzt in einer modernen Ausgabe erscheinen. Es kommen neben zyklischen (Haydn: Sonatine, Mozart: Divertimento, Vivaldi: Concerto) und Variationswerken (Beethoven, Tartini), auch mehrere kleinere Stücke wie die berühmten Mozart-, Boccherini- und Beethoven-Menuette sowie solche vor, die hier das erste Mal erscheinen. Die virtuosen Stücke werden durch Goltermanns Etüde-Caprice und Jenkinsons Tanz der Sylphiden, die leichtere Gattungen von Joplins Ragtime vertreten. Die reichhaltige, bunte Auswahlkann für Musikliebhaber zur Grundlage einer Notensammlung werden.
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: 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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SKU: HL.48025295
UPC: 196288174271.
Tangos, like ragtimes and waltzes, are an integral part of Elena Kats-Chernin's music, always in a new and varied form. In it, the composer allusively combines her present time with the classical tradition and high art with light music. Slicked Back Tango was originally composed in 1995 for piano four hands and has since been written for numerous other instrumentations. The music “harks back to the time of silent movies. I was thinking of the 1920s and film star Rudolph Valentino. The title refers to his hairstyleâ€, says Kats-Chernin.
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: HL.50499441
9.0x12.0x0.2 inches.
SKU: HL.50601313
SKU: BO.B.3724
Cassado could be considered are the first great Catalan symphonist of the 19th Century and one of the first pre-coursers of Nationalism in our country. His is a Nationalism that is solidly based on central European traditions, mainly Germanic in its.Plus Ultra is a special case in which the desire to exhibit his deepest Nationalist sentiments took a second place to a more global style into which he incorporated harmonies and melodic turns that recall Rachmaninoff more than Albeniz. Plus Ultra can be considered as a musical thought which, in spite of references or paraphrases of some typical aspects of Spanish music of the era, is an authentic lied in which the cello sings out, using maximum of its expressive possibilities, with a piano accompaniment of the first order.In this work Cassado makes more extensive use of pianissimo, which is more typical of the French school, than in any other of his works. Through the use of gestures which are almost Impressionist, as well as refined and tasteful harmonies, the composer divides the musical discourse between the two instruments creating a fantastic work which his son Gaspar performed in concerts.
SKU: HL.49007557
ISBN 9790001081214. UPC: 196288050568. 9.0x12.0x0.125 inches.
'Humour plays a role, and my pieces are also an attempt to entertain people.' Words not often associated with contemporary music, but Wilhelm Killmayer wants to place fun and seriousness side by side. Different tonal spheres are found in the 'Impromptu' and the jaunty 'Scherzo lento' which uses tap tones for example. The 'Chorale' that follows allows the music to drift seamlessly into atonality. In the fourth romance 'Im Schumannschen Ton' ('The Schumann Sound'), a diatonic melody is complicated so much that the ending distorts to the beginning, 'just like man combines many different qualities'.In the concluding 'Capriccio', shifting time signatures and dynamic fluctuations are combined in a virtuoso manner. A humourous piece which demands the purest concentration from the players.
SKU: HL.51481532
UPC: 840126989298. 9.25x12.25x0.357 inches.
After the great success of his first Piano Trio in d minor op. 49, some five years passed before Mendelssohn set to work on a new composition for this formation. But then the c-minor Trio came into being in a relatively short period in March/April 1845 and was published around a year later. Much more sombre in character than the sibling work, this second trio is also considered much more difficult in terms of technique (above all in the piano part). Thus, it has always stood somewhat in the shadow of the earlier trio. However, chamber music aficionados generally regard it as the more mature and challenging work in terms of compositional technique. The trio, taken from the volume Mendelssohn • Piano Trios HN 957, is now available from Henle for the first time also as a practical single edition.
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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: 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: BR.EB-32083
With supplementary violoncello part marked by Maria Kliegel
ISBN 9790004186299. 9 x 12 inches.
There are many composers about whom it is believed, today, that they composed conservatively, or against the taste of their time. The question is also raised, today, which extract of this large amount of effective and high-quality music, unknown for the most part, should receive our attention; which of it is worth rediscovering or re-editing. Camillo Schumann is one of the most important representatives of these composers, but his works are still largely unknown today. He was born on 10 March 1872 in Konigstein, Saxony. His musical language combines the sound world of Brahms with the grand, late-romantic Liszt School. He wrote piano parts of incredible power and virtuosity, approaching the sounds of Rachmaninoff. His wonderfully individual melodic language makes these works a valuable testimony to a composer who never had his due recognition. The cello sonatas Opp. 59 (EB 32082) and 99 (EB 32083) are the first of three works for this combination. Op. 59 was composed around 1905/06, Op. 99 followed in 1932. Nothing is known so far of the circumstances of the composition of this work, including for whom it was composed. However, it is quite evident that Schumann wrote it, like most of his works, primarily for his own concerts and befriended musicians. The extensive entries in the piano part bear witness to a considerably practical approach. Crossed-out bars, notes added or crossed out in chords as well as a number of revisions of other kinds are more the rule than the exception. The composer's own fingerings written in the piano part also underline this assumption. The present edition contains two solo-parts each. One clean Urtext-part free of any additions from the editor and a second one with bowing marks and fingerings by Maria Kliegel who recorded both sonatas for the first time with the label Naxos. Both sonatas show evident resemblance to the works of this combination by Johannes Brahms and are therefore a must have for ambitious cellists.With supplementary violoncello part marked by Maria Kliegel.
SKU: BR.EB-9426
ISBN 9790004189030. 9 x 12 inches.
Joachim Raff's celebrated first cello concerto is only gradually being rediscovered today. This is astounding, taking into account both the quality of the composition as well as its enthusiastic reception in the past. All renowned cellists of the time performed the work, but the history of op. 193 is still more closely linked to Friedrich Grutzmacher, its commissioner, co-editor, and soloist in its world premiere, than to any other musician. Grutzmachers wish for a concerto to free us poor cellists from our situation that is becoming truly unbearable and driving us to the utmost discontent was certainly fulfilled by Raff.The extensive preface of this first Urtext-Edition documents the close collaboration between composer and interpreter, as well as performance practice of the time. The corresponding piano reduction includes not only an Urtext-solo part, but also a part with the markings by the Zurich cellist Jonas Kreienbuhl. In collaboration with the Joachim-Raff-Archiv Lachen (CH).
SKU: BT.EMBZ6312
ABRSM Syllabus title - Grade 2.This is a collection of popular classics and European folk tunes arranged for beginning cellists.The volumes 'Music for Beginners' series cover the entire music literature from the earliest centuries to our days. The contents of the individual volumes, comprising short, easy pieces to be played in the first three-four years of instrumental study, has been compiled by accomplished music teachers. The majority of the contemporary works included in the volumes have been published in this series for the first time.Eine Sammlung von beliebten Klassikern und Volksmelodien aus Europa für Celloanfänger.
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