SKU: PR.114413830
UPC: 680160587315. 8.5 x 11 inches.
Maggio was moved during a riverside memorial service to write his new cello solo, using the hymn At the River as his basis. Subtitled Reflections on a Memorial Service at the Riverside, We Gathered At the River is a powerful tribute and a moving memorial in its own right.
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
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: BT.EMBZ14779
The arranger of this work (a well-known Hungarian composer living in Romania) writes: This piece has always excited my imagination, from several points of view. First of all, its name. The German title, the obstinate one, may refer to its ostinato character. This is close to Liszt's programme concept, but the French word 'obstiné' is closer in meaning to stubborn. There is just a shade of difference, but to me it is important, because the latter suggests the description of a type of behaviour, the emotional state of a dancer's inner frame of mind abstracted into movements, expressed in dance movements, and this is a fascinating interpretation. The demonstration ofstubborn resistance and defiance to the point of exhaustion was not a frequently occurring phenomenon with Liszt. Secondly, at the beginning of the seventies Zoltán Kocsis played the piece in Transylvania. At that time, I asked the composer, Is the character of the continuous staccato in the left hand sharp, short, or an accompanying background like a constant shadow? Is it a weighty Brahmsian staccato, an ominous knocking? - and so on. Then there are the Bartókian false relations that keep recurring in the work, the B-E flat-G, etc. That foreshadows Debussy, creating harmonic thrills that, when I hear the work, keep my continuing interest alive for it. Finally, my immediate reason for arranging the work was of a family nature: in connection with Liszt's jubilee year, my daughter, who is a cellist, wanted a 'more energetic' piece to play at a bicentenary concert an addition to the existing slow, lyrical, or sombre works written by Liszt for the cello. The arranger of this work, the well-known Romania-based Hungarian composer Cs ky Boldizsár writes: This piece has always excited my imagination, from several points of view. First of all, its name. The German title, the obstinateone, may refer to its ostinato character, this is close to Liszt's programme concept, but the French word 'obstiné' is closer in meaning to stubborn. There is just a shade of difference, but to me it is important, because the lattersuggests the description of a type of behaviour, the emotional state of a dancer's inner frame of mind abstracted into movements, expressed in dance movements, and this is a fascinating interpretation. The demonstration of stubbornresistance , defiance to the point of exhaustion, was not a frequently occurring phenomenon with Liszt. Secondly, at the beginning of the seventies Zoltán Kocsis played the piece here in Transylvania (Romania).Der Bearbeiter des Werkes, der renommierte ungarische Komponist aus Rumänien, schreibt: Dieses Stück reizte immer schon meine Phantasie, sogar in vielerlei Hinsicht. Als erstes sein Name. Der deutsche Titel ‚Hartnäckiger' kann auf den ihm innewohnenden ostinativen Charakter hinweisen, was der Liszt'schen Programm-Konzeption näher kommt, das französische ,obstiné' steht jedoch eher dem Wort ‚dickköpfig' nah. Das sind nur geringfügige Unterschiede, mir ist das dennoch wichtig, weil aus Letzterem die Darstellung eines Verhaltens, der in Tanzgesten ausgedrückte, zur Bewegung abstrahierte innere emotionale Zustand eines Tänzers durchscheint, und das ist eine überaus beeindruckendeErklärung. Die Demonstration des bis zur Erschöpfung reichenden Trotzes, der störrischen Kraft erscheint bei Liszt selten. Der zweite Aspekt: Zu Beginn der 70er Jahre spielte bei uns Zoltán Kocsis das Stück. Schon damals (und seitdem) frage ich den Komponisten:.
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.
About Henle Urtext
What I can expect from Henle Urtext editions:
SKU: HL.49047317
ISBN 9798350121902. UPC: 196288201052.
This cello sonata by the renowned jazz pianist and professor of jazz piano unites in a certain way “the best of two worlds”: melodies, sophisticated harmonies and rousing rhythms, which are also convincing in a pure jazz context, are fused here with a formal language and movement techniques that are oriented towards classical models. The voices of both instruments are interwoven on an equal footing and take the listener on an exciting musical journey from the very first moment, which finds its virtuoso climax in the lively rondo via a classical sonata main movement and a quiet middle movement.
SKU: HL.49047260
ISBN 9798350109115.
Classical Highlights presents the best-known and most popular performance pieces of the classical repertoire in arrangements for violoncello. Anyone looking for a popular classic for lessons or recitals will make a find. Suitable repertoire for musical accompaniment at weddings and funerals can be found here as well. To make practising easier, backing tracks can be downloaded as MP3 files. The piano accompaniment is available in PDF format.
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.50602301
UPC: 840126900217. 8.5x11.0x0.097 inches.
A work for cello and piano, L'innominata means 'the unnamed' or 'the nameless'. This work was commissioned by the Purbeck International Chamber Music Festival. It was first performed on 31st August 2018 by Natalie Clein (cello) and Vadym Kholodenko (piano), at the Priory Church of Lady St. Mary, Wareham, Dorset. The world premiere can be watched here: https://www.youtube.com/watch?v=9fFNlpJZmbE.
SKU: HL.14032602
UPC: 884088814113. 8.25x12.0 inches.
Released in 2005, the album Once Around the Sun is the outcome of Joby Talbot's residency with Classic FM. During his year in residence, Talbot composed a new piece of music each month, scored for up to five instruments. The resulting twelve compositions were then premiered on Classic FM and were recorded on CD. May - Cumulonimbus was the fifth piece to be composed and is scored here for cello with piano accompaniment.
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.
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