SKU: BR.OB-5509-23
The concertos in A minor and B flat major were first written as violoncello concertos between 1750 and 1753. They thus rank among the very first concertos for solo cello in Germany.
ISBN 9790004338490. 9 x 12 inches.
The concertos in A minor, B flat major and A major were first written as violoncello concertos between 1750 and 1753. They thus rank among the very first concertos for solo cello in Germany. The A minor Concerto, composed in 1750, is performed quite frequently today. C. P. E. Bach most likely wrote the Concerto in B flat major Wq. 171 as the last of the little work group in 1753 in Potsdam, at the court of King Frederick the Great. He reworked the composition for flute and harpsichord shortly thereafter. Various sources prove that copies of the work had made it known quite extensively in the second half of the 18th century. In his new Urtext edition, Ulrich Leisinger bases himself on two reliable manuscripts.
SKU: PE.EP68766
ISBN 9790300762760.
Each of these five movements for solo cello uses a different technique to extend the performer's control over various dimensions of the music. The composer writes:
There are five pieces. In the first, second and fifth there are phrase sequences with free pauses between them. There are also notations for just dynamics (sounds free), and for just rhythms (free sounds). The third and fourth pieces are on grids of 6 x 6 and 8 x 8 bars, allowing continuities to be chosen in variously free ways.
The fifth piece, consisting of a series of passages that may be performed in any sequence, may also be played as a cello duo, with the second cellist playing a different sequence.
The Anton of the title is the dedicatee, cellist Anton Lukoszevieze, who gave the world premiere of this suite at St James' Church, Islington, London on September 21, 2018. This performing edition is a facsimile of the composer's autograph manuscript. At moderate tempi, the total duration of the work may be approximately 15 minutes.
This product is Printed on Demand and may take several weeks to fulfill. Please order from your favorite retailer.
SKU: PR.UE038036
SKU: HL.14028929
Written for Moray Welsh whilst still an undergraduate at York University. This piece was completed in mid-September. Inspired by Hermann Hesse's Steppenwolf. A solo 'cello seemed an appropriate medium for music which might explore the character of Harry Haller, with his desire for bourgeois comfort and his strong misanthropic and suicidal tendencies. The opening theme attempts to express this - melancholy, nostalgic, a bit Biedermeyer (cf. Brahms Intermezzi). The basic theme of the book, at its simplest, is that every human personality consists of hundred of different personalities - within every man there lurks a wolf. Accordingly the tendency of my piece is for all its musical material to become distorted, either by thematic transformation or by changes of timbre. There are three movements played without a break. The first is a character portrait of the Steppenwolf. The second is concerned in the most general sort of way with the dance elements in the novel - Harry's being taught to dance and appreciate low 'popular' music - a tango is recapitulated in a waltz and 'Yearning', a popular song of the time (1927) is hinted at. The third movement concerns the Masked Ball and the Magic Theatre. Mozart is one of Hesse's great loves and he is repeatedly mentioned in the book. Inevitably some Mozart quotes have been worked in, the most significant being a reference to The Magic Flute 'fire and water' flute theme in the middle of the second movement. Long before I finished the piece, I was disenchanted with the work of Hesse. Much of Steppenwolf I now find rather embarrassing and the claims currently made for Hesse's greatness seem to me exaggerated. Since my piece is in no important sense programmatically specific, this change of heart doesn't really matter. ~ David Blake.
SKU: BR.EB-8817
This large volume is designed for the young beginner cellist, and is attractively presented with large print and enchanting colour illustrations. (Stringendo AUSTA)
ISBN 9790004183830. 9 x 12 inches.
The Cellokasten (Cello Case) offers a wealth of varied material for the beginner. Like the successful Geigenkasten, it can be used in teaching as a supplement to any cello method. And with its steadily increasing level of difficulty within each chapter, it can also serve as a kind of instruction method as well. The chapters are devoted to the following topics: - Games of posture and movement - Music on open strings and fundamentals of bowing technique - Playing with close stops and wide-stretch stops, high and low - Combination of close stop, wide-stretch stop and chromaticism - Playing, reading, notating rhythms; reading and notating tones as well as improvisation in the chapter Inventing Music . Along with lyrics for singing, there is almost always a second part, which lets two cello lovers make music together. The book offers songs and cello pieces for a variety of occasions and for every season. Interesting information about the instrument is also scattered throughout the book.This large volume is designed for the young beginner cellist, and is attractively presented with large print and enchanting colour illustrations. (Stringendo AUSTA).
SKU: HL.49018052
ISBN 9790220131585. UPC: 884088567095. 9.0x12.0x0.075 inches.
In addition to Bryars' many vocal laude there are a growing number of connected instrumental works. Tre Laude Dolce for solo cello is the second of these to be released as a Schott Edition publication and follows Bryars' Lauda (con sordino) originally for cello and piano. Based on the same principals as the composer's vocal laude and as always, attempting to retain the purity and austerity of the original form, Tre Laude Dolce is characterised by long phrases and open structures; a beautiful work perfect for any good cellist.
SKU: HL.14043277
ISBN 9788759830987. International (more than one language).
Niels Rosing-Schow 's 2014 piece Views From A High Place for solo Cello. Version B. The work 'Views from a High Place' is a rhapsodic piece revisiting characteristic solo passages from both of my Cello concertos. The different musical 'views' share the instrument's high register as the point from which there is a view. Version B was written for the Danish String Players Contest 2014. - Niels Rosing-Schow.
SKU: KV.3611873
The pieces in the Fun Club will provide light relief between exams, consolidate what has been learned and move you to the next grade. In a variety of styles: classical, jazz, contemporary, rock, easy listening and ethnic. Each one explores a different aspect of cello technique and dynamic. The FREE companion CD gives a full performance and also a backing track. There's even a slower 'practice speed' recording to play along to as you learn. Offered in three graduated difficulty levels.
SKU: KV.3611872
SKU: HL.14043276
ISBN 9788759830970. International (more than one language).
Niels Rosing-Schow 's 2014 piece Views From A High Place for solo Cello. The work 'Views from a High Place' is a rhapsodic piece revisiting characteristic solo passages from both of my Cello concertos. The different musical 'views' share the instrument's high register as the point from which there is a view. - Niels Rosing-Schow .
SKU: SP.TS558
ISBN 9781585609185.
Due to the success of our Instrumental Fingering Posters, we thought it would be helpful to create a smaller version that could be tucked comfortably into any method book as a reference guide. Unbeknownst to us after days of research, we were left with countless questions, much confusion, and a slew of poorly crafted images from contradicting publications. That being said, we realized that there weren't truly any trustworthy resources in print and decided to address the void. We consulted experts in every category asking questions until both we and they and we were satisfied. Finally, a guide to fingering for beginners that even the experienced players will find beneficial. Santorella's Basic Fingering Charts are essential for anyone that picks up an instrument. Initially intended for beginners but after understanding the importance of false fingerings or more appropriately called, alternate fingerings their necessity is vital for playing certain musical passages on a particular instrument. In addition, after observing the difficulties that students had in identifying key signatures, we decided to include the Circle of Fifths diagram and every major scale in two octaves in every key including their enharmonic counterparts. After all was said in done, we now know, we now have the best educational products available for fingering in the industry. Our Basic Fingering Charts are perfect for private students, classroom study, or simply for a quick and easy reference guide while practicing at home. These graphic reference guides for assorted brass, reeds, woodwinds, and orchestral strings are specifically available for Clarinet, Bass Clarinet, Trumpet, Flute, Piccolo, Recorder, Baritone Horn, Trombone, Bass Trombone, Alto Sax, Soprano Sax, Tenor Sax, Baritone Sax, French Horn, Euphonium, Tuba, Oboe, Bassoon, Violin, Viola, Cello, and Bass. Every chart displays the entire range of each instrument by clearly depicting the fingering for each note including all their enharmonic substitutions. Each chart includes a diagram identifying the levers, valves, keys, slides, frets and more of each and every instrument. Learn where, when, and why to place your fingers. Now is the time to truly start playing with assured confidence.
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