SKU: HL.14006097
ISBN 9788759872222. Danish.
Programme Note CANTICA for cello and piano (1977)When in 1975 I had finished composing my Symphony no. 3 (begun in 1973), I wrote three simple melodies for two psalm texts by Ole Sarvig: The Year and Choral Hymn. These three tunes were derived from the same material as the second movement of the symphony and could be harmonized together in several different tempo relationships, like proportional canons. For this reason they inspired me to write several choral and instrumental works in the following decade: Frost Psalm, Winter Cantata, the tuba octet Now all the earth is white with snow, Canticles (and others).Cantica, meaning song or singing, was composed (forthe Danish musicians Hans Erik Dechert og Kjeld Hansen) as a instrumental little brother the long, polyphonic choral pieces. As in these the canonical melodies in Cantica drift from foreground to background, from cello to piano. The melodies are simple, diatonic and in traditional rhythms and the surface of the music in a way traditional. The intention of the composer with this easily understood expression is to lead the listeners ears to the many internal, proportional developments. The story is in a way hidden between the lines. In the myriads of rhythmic and tempo relations the Golden Mean (near to 2:3:5:8: et cetera) plays an important role, like in nature. Among the experiences giving by this natural phenomenon are - perhaps - the musical points to be found (?).Per Norgard(1997).
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: HL.51481132
UPC: 840126989656. 9.0x12.0x0.35 inches.
“More than 20 years ago I was called upon by friends, artists, and aficionados to write about fingerings for the violoncello,” then-famous Berlin cellist Jean-Louis Duport thus opens his “Essai” from 1806, dedicated to “Professeurs de Violoncelle.” His methodology revolutionized cello technique, and the 21 etudes printed in its appendix are still regarded today as perhaps the most important set of studies for all budding cellists. Modelled after the volumes of etudes for violin, Henle is also issuing the Urtext here, together with all original fingerings and bowings, while also offering alternatives by the famous cellist and teacher Wolfgang Emanuel Schmidt. This edition also offers a second cello part provided by Duport for accompaniment.
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What I can expect from Henle Urtext editions:
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.”.
SKU: HL.49016913
ISBN 9790001147620. UPC: 884088262228. 9.0x12.0x0.127 inches.
Mustonen belongs to the young generation of composing piano virtuosos. What is remarkable is that 'his instrument' is not placed in the foreground of his works. He rather composed pieces for strings, sonatas with piano accompaniment, orchestral works and even a piece for guitar referring to the history of his home country Finland.The cello sonata was premiered by Mustonen with the cellist Daniel Muller-Schott in Hamburg. No special emphasis is given to polyphonic coexistence; instead, the piano, playing chordally, acts as a real accompaniment most of the time. Cantilenas of the cello, tricky rhythms, and almost symphonic sound eruptions make the piece a sure-fire hit with the public.
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.
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, “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.
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: BT.EMBZ14768
Not many people know that Franz Liszt arranged some of his piano pieces for the cello, with piano accompaniment, and that these versions of the works appeared in print during the maestro's lifetime. Árpád Pejtsik selected two of these for this volume compiled to mark Liszt's jubilee: Elegies I and II. The other compositions by Liszt that appear in the collection were likewise originally works for piano: the Ave Maria and Cantique d'amour (pieces from the Harmonies poétiques et religieuses cycle) were transcribed by a pupil of Liszt, Robert Pflughaupt the cello version, transposed into G major, of the E Major Consolation is by Jules de Swert, solo cellist in the Weimar orchestraof those days that of the Angelus (the opening piece in Volume 3 of the cycle entitled Years of Pilgrimage ) is by Lothar Windsperger, a German composer who lived at the turn of the 19th-20th century. The Valse oubliée No. 1 was transcribed by Liszt s virtuoso piano pupil Ferruccio Busoni Notturno, which became famous as the third piece in the Liebesträume series, is a transposed version of the original song ( O lieb, so lang du lieben kannst ) made by the editor of this volume. Not many people know that Ferenc Liszt arranged some of his piano pieces for the cello, with piano accompaniment, and this version of the works appeared in print during the maestro's lifetime. Árpád Pejtsik selected two of these forthis volume compiled to mark Liszt's jubilee: Elegy I and Elegy II. The other compositions by Liszt that appear in the collection were likewise originally works for piano: the Ave Maria and Cantique d'amour(pieces from the Harmonies poétiques et religieuses cycle) were transcribed by a pupil of Liszt, Robert Pflughaupt; the cello version, transposed into G major, of the E major Consolation is by Jules de Swert, solo cellistin the Weimar orchestra of those days; that of the Angelus (the opening piece in Volume 3 of the cycle entitled Years of Pilgrimage) is by Lothar Windsperger, a German composer who lived at the turn of the 19th-20thcentury.Nur Wenigen ist bekannt, dass Liszt einige seiner Klavierstücke auch für Violoncello mit Klavierbegleitung bearbeitet hatte, und dass diese Version der Werke noch zu Lebzeiten des Komponisten in Druck erschien. In diesem Band nahm Árpád Pejtsik zwei dieser Stücke, die I. und II. Elegie auf. Die anderen Liszt-Kompositionen in der Sammlung sind auch ursprünglich Klavierwerke: der Bearbeiter ist beim Ave Maria und Cantique d'amour (Stücke aus dem Zyklus Harmonies poétiques et religieuses) der Liszt-Schüler Robert Pflughaupt. Von Jules de Swert, der damals Solocellist des Weimarer Orchesters war, wurde die in G-Dur transponierte Violoncelloversion der E-Dur Consolation, und vonLothar Windsperger, dem an der Wende zum 20. Jahrhundert lebenden deutschen Komponisten, das Angelus (das Eröffnungsstück des III. Bandes des Zyklus Pilgerjahre) bearbeitet.
SKU: HL.49033093
ISBN 9790001131773. 9.25x12.0x0.36 inches.
SKU: HL.48025315
UPC: 196288175193.
Note by the composer: “This piece was written in 2006 (for violoncello and piano) for an exhibition dedicated to artists suffering from schizophrenia. The basis of the piece is a sequence of four chords, very simple and minimalistic. A person with schizophrenia hears voices that can be very disturbing; there is a longing for silence. I wrote this piece so that my son Alex, who suffers from the illness, could hear silence and meditation from it. It's called Blue Silence because blue is sometimes associated with healing.” Elena Kats-Chernin.
SKU: AP.36-52730061
ISBN 9781628760101. UPC: 746241200297. English.
1st-4th positions; cello plays melody with simple accompaniments. Includes optional descant for violin in addition to descant part for cello. Hymns included: Jesus Loves Me; I Sing the Mighty Power of God; Take My Life, and Let it Be; Come Thou Long-Expected Jesus; Joyful, Joyful, We Adore Thee; Amazing Grace; For the Beauty of the Earth; Holy, Holy, Holy; Be Thou My Vision; Fairest Lord Jesus.
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: HL.48025329
UPC: 196288175490.
SKU: HL.48025398
UPC: 196288195504.
The composer, whose family was severely affected by the Second World War and the Holocaust, considers his Anne Frank Suite as a “personal memorial diary and a reminder in view of the futility of war”. The score is prefaced by a quotation from Anne Frank: “In spite of everything, I still believe that people are really good at heart”, which has impressed the composer since his youth. His three-movement suite attempts to musically reflect the emotionality and thoughtfulness of the theme, which eludes all words. The piano is treated in a classical manner and creates the emotional space for the solo cello. Playing in a high register in a cantabilestyle over long passages, the cello also astounds with sound effects, harmonics and an expressive solo cadenza in the middle of the work.
SKU: BA.BA04913
ISBN 9790006460441. 33 x 26 cm inches. Key: A major, e-flat major, c minor.
About Barenreiter Urtext
What can I expect from a Barenreiter Urtext edition?
MUSICOLOGICALLY SOUND - A reliable musical text based on all available sources - A description of the sources - Information on the genesis and history of the work - Valuable notes on performance practice - Includes an introduction with critical commentary explaining source discrepancies and editorial decisions ... AND PRACTICAL - Page-turns, fold-out pages, and cues where you need them - A well-presented layout and a user-friendly format - Excellent print quality - Superior paper and binding
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