Edward Elgar's Cello Concerto in E minor Op. 85 his last notable work is a cornerstone of the solo Cello repertoire. In contrast with Elgar's earlier Violin Concerto which is lyrical and passionate the Cello Concerto written in the aftermath of the First World War is for the most part contemplative and elegiac. The four-movement concerto scored for solo Cello 2 Flutes 2 Oboes 2 Clarinets in A 2 Bassoons 4 Horns in F 2 Trumpets in C 3 Trombones Tuba Timpani and Strings did not achieve wide popularity until the 1960s however is now regarded to 'rank not only among his finest works but among the greatest ofits kind' (Michael Kennedy).Sir Edward William Elgar was an English composer many of whose works have entered the British and international classical concert repertoire. Although Elgar is often regarded as ‘typically English’ most of his musical influences were not from England but from continental Europe.

Building on the success of the Cello Time series Cello Time Starters provides the best possible foundation for the budding string player. Carefully paced to suit young learners the book supports players through the important early stages step by step-from how to hold your instrument and bow through basic notation to pieces using the 1st 2nd and 3rd fingers. Packed with quizzes games and songs as well as colour illustrations to demonstrate each stage Cello Time Starters also includes a CD of performances and backing tracks to encourage and enhance progress throughout.The Starters books provide a thoroughpedagogical approach that supports the early years of learning up until the end of Joggers and the Starters and Joggers books work well when used in conjunction.

Music Minus One Cello Deluxe 2-CD Set-Franz Josef haydn's beautiful Concerto in C major for Violoncello and orchestra is a treat as well as an absolute requirement for any serious cellist. Strangely though it lay dormant and unknown in a Prague library until it was dicovered in 1961 and brought to light after nearly two hundred years! Since its reintroduction it has become one of the most popular of all violoncello concerti and deservedly so. This concerto was most likely written in the mid-1760s while Haydn was Kapellmeister to Prince Esterhazy. Its splendid memorable themes perfectly showcase the solo instrument against a beautifully and sensitively orchestrated backdrop all of which come together toillustrate Papa Haydn's mastery of form melody and orchestration. Its lovely classical charm beautifully captured here by virtuoso roman Wiszniowski and the Plovdiv Philharmonic will enchant you from beginning to end. Then play it yourself with maestro Todorov and the Plovdiv Philharmonic as your accompanists! This MMO learning and performance edition of one of the great classical cello masterpieces is not to be missed!

This item contains all the scales arpeggios and studies required for Trinity College London’s Cello Exams for Initial to Grade 8 valid from 2016. Newly commissioned studies are also included for Grades 1–5 which may be used as an alternative to scales and arpeggios. Selected pieces for Trinity College London Violin Exams for 2016-2019 expertly graded and edited by leading music educators. This item contains only the Violin part. **Please note: Orders for this title will not ship until 27/07/2015.**

Op. 131c-The rediscovery of the original manuscripts of Max Reger's works for violin viola and cello op. 131a-d represents a minor sensation. These late works for solo strings dating from 1914 and 1915 the last of which was only published posthumously were only known from the first printed editions until now and a scholarly-critical edition based on all the sources has long been desirable. The new edition from the Max-Reger-Institut now fills this gap.

The image and concept of this piece is easiest to describe by using the visual images of the Dutch artist M. C. Escher. He made many woodcuts where the whole surface of the picture has a figurative function often just in black and white. For example a row of white ducks 'transversing' the painting which are described by black ducks transversing in the opposite direction. In this way the two figures describe each other so to speak.In this piece melody has been approached in a similar way: a melody is used which can be framed in rhythmically different groupings - in groups of fours or fives etc- thus creating new hierarchical melodies which grow more and moreobvious to the ear. The initial melody then becomes background to the new melody until disappearing and a new rhythmical pattern is imposed on the second melody and so forth. Later the different 'rhythm melodies' are woven together creating a new perceptual image one that is at the same time actually a 'holographic' reproduction of the initial melody. The latter situation is similar to the way Bach makes hidden 3- or 4-part counterpoints in his Cello suites by intersecting the parts successively into beautifully interwoven patterns.The very static sections of the piece are chiefly inspired by the powerful singing of the buddhist-monks of Tibet who are able to relax their vocal chords to such an extent that they create an overpowering deep note not normally thought to be produced by a human voice. Figure and Ground Study I was first performed by Mats Olofson at the Numus Festival 1995.

Trois Esquisses Symphoniques-Claude Debussy's La Mer is an impressionistic work through and through. The three symphonic sketches that make up the work were composed between 1903-1905 however Debussy refined this work up until at least 1913. These corrections are found in a score which the composer gave to his wife as a present for her private library in 1913.The new scholarly-critical edition draws on several important sources previously unavailable to musicologists resulting in an array of new readings and corrections. In addition there are many changes especially in terms of articulation and dynamics.This new edition includes the famous ?fanfare? inMovement III clearly marked in small print and brackets. This fanfare was excised in the 1910 reissue of the work but was reinstated by a number of great conductors who knew Debussy i.e. Monteux Münch Mitropoulos and Ansermet. They felt that the excision was a misunderstanding and that the fanfare was necessary for the structure of the movement. And so the Bärenreiter edition presents the revival of a performing tradition which is committed to the fanfare.New Urtext edition with numerous corrections in comparison to other editions.Important sources which were previously inaccessible have been taken into account.Score and orchestral parts in large format (25.5 x 32.5cm).Score and orchestral parts with an impeccable generous layout.Includes an informative introduction (Eng/Fr/Ger) facsimiles source descriptions and a Critical Commentary (Eng).