SKU: BT.SLB-00595900
INSSTR inches. French.
A previously unreleased piece by Francis Poulenc, published with permission from the Bibliothèque Historique de la Ville de Paris and Benoît Seringe, secretary of the Association des amis de Francis Poulenc [Association of the Friends ofFrancis Poulenc]. Le Voyageur sans bagage [The Traveller Without Luggage], which had been premiered in 1937 with music by Darius Milhaud, was reprised on 1 April 1944 at the Thé tre de la Michodière; Francis Poulenc was asked to compose new stage music. Theentire unpublished score lay undiscovered until Bérengère de l’Épine, a librarian at the Bibliothèque Historique de la Ville de Paris, announced the existence of a manuscript in the Association de la Régie Thé trale collection.Poulenc finalised the score between 19 and 21 March 1944. It contains nine songs, all written for a small instrumental ensemble including oboe, clarinet, cello and piano. However, at the end of the manuscript, the composer echoes the second song Lent [Slow] and creates another version for cello and piano; curiously, the original version of the song has not been erased in the manuscript. Poulenc seems to suggest that we consider the piece for cello and piano, that we have publishedhere, as a different piece of music. It was premiered on Wednesday 23 January 2013 by Marc Coppey, accompanied by Jean-François Heisser, in the organ auditorium of the Conservatoire National Supérieur de Musique et Danse de Paris (CNSMDP), during thesymposium for the fiftieth anniversary of Poulenc’s death.Given in a dramatic context, some elements allow us to get an idea of the character of the piece, which Benoît Seringe, Poulenc’s beneficiary, judiciously chose to name Souvenirs.The main character of Anouilh’s play, Gaston, is suffering from amnesia at the end of World War One. Several families try to claim him; they want him to be their missing relative. The Renaud family prove to be particularly stubborn, but Gaston doesnot recognize himself in the child and young man they depict: a ruthless and violent person. In Act 1 Scene 3, left alone for a moment, overwhelmed by the story of the “old Gaston†that is gradually coming to light, and outraged by the desire ofthose around him to appropriate him (to the detriment of the person he would like to be from now on), he whispers these words: “You all have proof, photographs that look like me, memories as clear as day… I’ve listened to you all and it’s slowlycausing a hybrid person to rise up in me; a person in which there is a piece of each of your sons and nothing of me.†Poulenc chose to place the second piece from his stage music score as these words are spoken.He borrowed part of the material, as he often did, from an earlier composition. In this particular case, the beginning is a recycled version of the “slow and melancholic†section from L’Histoire de Babar , composed between 1940 and 1945, andpremiered in 1946 (unless it is Babar that reuses the musical idea from Voyageur ).The eponymous elephant decides to leave in search of the great forest. He embraces the old lady, promises her he will return and reassures her that he will never forget her. Left alone, the old lady, feeling sad and pensive, wonders when she’ll seeher friend Babar again. The situation is similar to that in Voyageur sans bagage: solitude, sadness, a distressing and introspective time, fear of oblivion, the presence of memories…Pièce inédite de Francis Poulenc, publiée avec l’autorisation de la Bibliothèque historique de la ville de Paris et de Benoît Seringe, secrétaire de l’Association des Amis de Francis Poulenc.Le 1er avril 1944, Le Voyageur sans bagage d’Anouilh, qui avait été créé en 1937 avec de la musique de Darius Milhaud, est repris au Thé tre de la Michodière. Francis Poulenc a été sollicité afin d’écrire une nouvelle musique de scène. On ignoraittout de cette partition inédite, jusqu’au jour où Bérengère de l’Épine, conservateur la Bibliothèque historique de la ville de Paris, nous signala l’existence d’un manuscrit dans le fonds de l’Association de la Régie thé trale.Poulenc mit au point sa partition entre le 19 et le 21 mars 1944. Elle comprend neuf numéros, tous écrits pour un petit effectif instrumental réunissant un hautbois, une clarinette, un violoncelle et un piano.Cependant, la fin de son manuscrit, le compositeur reprend le no 2 Lent et en donne une seconde version, pour violoncelle et piano. Curieusement, la version originale de ce numéro n’est pas biffée dans le manuscrit.Poulenc semble nous inviter considérer comme un morceau distinct cette pièce pour violoncelle et piano dont nous proposons ici l’édition. Elle a été créée par Marc Coppey, accompagné de Jean-François Heisser, lors du concert donné durant lecolloque organisé pour le cinquantenaire du décès de Poulenc, le mercredi 23 janvier 2013, salle d’orgue du Conservatoire National Supérieur de Musique et de Danse de Paris (CNSMDP).Quelques éléments sur le contexte dramatique permettront de se faire une idée du caractère du morceau, que Benoît Seringe, ayant droit Poulenc, a judicieusement choisi d’intituler Souvenirs.Le personnage principal de la pièce d’Anouilh, Gaston, a été retrouvé amnésique la fin de la Première Guerre Mondiale. Plusieurs familles le réclament. On veut voir en lui un parent disparu. Les Renaud se montrent particulièrement tenaces ; maisGaston ne parvient se reconnaître dans l’enfant et le jeune homme dont on lui trace le portrait : un être violent et sans scrupule. Au tableau 3 de l’acte I, resté seul un moment, écrasé par l’histoire de cet autre lui-même qu’il découvre peu peu, indigné par le désir des personnes qui l’entourent de le ramener elles au détriment de celui qu’il voudrait être désormais, il se murmure ces paroles : « Vous avez tous des preuves, des photographies ressemblantes, des souvenirs précis commedes crimes… je vous écoute tous et je sens surgir peu peu derrière moi un être hybride où il y a un peu de chacun de vos fils et rien de moi »…C’est sur ces mots que Poulenc a choisi de placer le no 2 de sa partition de musique de scène.Comme il le fait souvent, il emprunte une composition antérieure une part de son matériau. Dans ce cas précis, il réutilise pour le début du morceau la section « Lent et mélancolique » de l’Histoire de Babar, composée entre 1940 et 1945, créée en1946 ( moins que ce ne soit Babar qui réutilise l’idée musicale du Voyageur). Le héros-éléphant s’est décidé partir pour retrouver la grande forêt. Il a embrassé la vieille dame, lui a promis de revenir, l’a rassurée : jamais il ne l’oubliera.Restée seule, la vieille dame, triste et pensive, se demande quand elle reverra son ami Babar. La situation est similaire celle du Voyageur sans bagage : solitude, tristesse, instantde trouble et de retour sur soi, crainte de l’oubli, présence des souvenirs….
SKU: BT.EMBZ6528
An ABRSM syllabus title - Grade 7.Pál Járdányi (1920-1966) was one of Zoltán Kodály's most faithful pupils and followers. At the end of his short career in 1965, he wrote his Sonata for Cello and Piano. The two movement format follows the format of a rhapsody. The Larghetto is dominated by pentatonic melodies characteristic of Hungarian folksongs. In contrast, the Allegro assai takes the tone of a bagpipe song, offering rhythmic and virtuosic parts for each instrument.
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: 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: 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: 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.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: CF.B3417
ISBN 9780825859274. UPC: 798408059279. 9 X 12 inches.
Commissioned by Chamber Music America, this beautiful neo-romantic work was first performed on January 17, 1993 by Emil Miland and Robin Sutherland. A substantial work at 20 minutes, the sonata, alternates between lyrical writing and music with a scherzo-like feel that is both lively and animated. Sonata for Cello and Piano is written in one movement that flows extremely well with an intertwined cohesiveness between the two players. A memorable piece for a cello recital!
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: BT.ALHE31275
English.
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 diMarcia) - 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 alsoproduced Piano and Chamber pieces, Operas ('Dialogues des Carmélites'), ballets ('Les Biches') as well as some orchestral works.
SKU: FL.FX074241
An entertaining little piece depicting Mr. Loyal who is the master of the circus track and the conductor of all acts, including clowns entrance. From 3 years of instruments practice. - Jerome NAULAIS ; Instruments: 1 Cello 1 Piano; Difficuly Level: Grade 2; Duration: 1 mn 30 s; Musical Style: Classical, Educational; Category: Original Composition; Composer: Jerome NAULAIS.
SKU: CF.B3473
ISBN 9781491161999. UPC: 680160920679. Key: C major.
Composed in 1924, Ernest Bloch’s Méditation Hébraϊque is a plaintive and reverent musical reflection that flows through many emotions in a series of uninterrupted movements: Moderato, Allegro deciso, and Moderato. Passionate rubato phrases are flecked with light touches of ornamentation, much like the inflections of a cantor's voice. Hemiola rhythms, dynamic swells, and contrapuntal interaction with the piano lead the soulful voice of the cello to its upper range in a dramatic dialogue that eventually descends to a more subdued and stately resolution. Cellist and teacher Julian Schwarz provides practical fingerings and phrase markings to achieve the alternating bright and warm tone that are essential to adequately express the sacred beauty of the music. .
SKU: HL.49033212
ISBN 9790001135894. UPC: 073999282085. 9.0x12.0x0.132 inches.
This Piano Trio Passacaglia is the 'junior' companion piece to my Cello Concerto Dunkle Saiten [Dark Strings], or more precisely to the concerto's large-dimensional introductory section with the indication 'Feierlich, schreitend' [solemnly, striding]. What in the Cello concerto then inescapably culminates in a catastrophe remains in this composition ostensibly largely conflict-free. This is in fact perhaps one of my most peaceful and conflict-free compositions; it consists of half an hour of almost exclusively tonal progressions. Here, passacaglia (stepping dance!) is taken literally: the step progressions themselves become the subject of the work. This also includes pausing, not being able to progress, feeling one's way, stumbling and taking compulsive steps forward.As familiar as the harmonic surface of the structure appears, for me the natural adaptation of the musical flow was new to a similar degree. This is my attempt to produce a linear tonal band (a horizontal) exclusively with the aid of harmonic - i.e. vertical - progressions.- Jorg Widmann.
SKU: PR.114415500
UPC: 680160607280. 8.5 x 11 inches.
Another commissioned work has Ewazen borrowing from his own The Eternal Dance of Life for a special new gift for cello and piano. The composer says it best: As a former cellist in my youth, have always loved the instrument, and have enjoyed writing for it. The work contains swirling arpeggiated gestures, a lilting compound meter and a real sense of expressivity, allowing the cello to sing with soaring lines and genuine lyricism. For advanced performers.
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