Folk dances Instrument : cello and orchestra Type : piano reduction with solo part Nombre de Pages : 32

Work for Cello and Orchestra commissioned by the Chicago Symphony Orchestra and premiered by Yo-Yo Ma in 1990.

Stephen Albert's Concerto For Cello And Orchestra. Piano reduction. First performed and recorded by Yo Yo Ma and the Baltimore Symphony Orchestra.

Concerto For Cello And Orchestra was composed by Erik Højsgaard in 1975 (rev.1976-78).

Edition : piano reduction with solo part Instrumentation : cello and orchestra Duration : 30'Number of Pages : 58 Series : Rahter Original Edition

Neufassung Edition : piano reduction with solo part Instrumentation : cello and orchestra Date of Composition: 1934/51 Duration : 18' Date of Publications : 29/10/1987 Number of Pages : 32

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Piano Reduction including solo part. Par DENISOV EDISON. The catalogue of Edison Denisov's works includes 16 concertos. It was a genre to which he returned time and again throughout his life, from the Concerto for Cello and Orchestra of 1972 to the Double Concerto for Flute, Clarinet and Orchestra of 1996. In Denisov's music the role of the soloist, or rather the protagonist, is extraordinarily important, not so much for its virtuosity as for its confessional character. The solo part is a monologue distinguished by poetic diction and a very personal message from the composer. The dramaturgical conception of the Concerto for Saxophone and Orchestra, a reworking of the Viola Concerto of 1986, draws on traditional sonata form, thereby reaffirming the ubiquitous classicism in Denisov's thought. In this late work, we find all the typical features of his style: sinuous melodic lines layered into dense contrapuntal textures, and an interplay of orchestral colours, with pure sonorities contrasting with complex mixtures of sounds. It is a perfect dramaturgy that governs the evolution of the music to the very end. The first movement assumes the role of a sonata-allegro, with the standard formal sections of exposition, development, recapitulation and coda. The second movement is an Adagio for strings. The third takes the form of a little contrasting intermezzo that introduces both new thematic material and a new range of colours. Here tunefulness gives way to pointillism enriched with sonic effects. The only movement with a virtuosic solo part, its nervousness and inner tension set it worlds apart from the second and fourth movements that surround it. The fourth movement assumes the traditional form of a final set of variations. It is the dramaturgical and semantic heart of the concerto. The theme of the variations is Franz Schubert's Impromptu in B-flat major, op. 142, which in this case is 'born' from the celesta as the product of a dodecaphonic string cluster. This finale represents Denisov's homage to his great mentor, Schubert's music being for him a symbol of eternal and universal beauty. 'The attentive listener', Denisov stressed, 'will recognise that the Impromptu theme is already suggested very slowly in the course of the three preceding movements, not only thematically, but also psychologically. That's what makes the appearance of the Schubert theme sound so natural.' The variations relate to the variation genre less in their form than in their spiritual and conceptual metamorphoses. It is, one might say, 'music round about Schubert'. (Ekaterina Kouprovskaia-Denisova)/ Répertoire / Saxophone Alto et Piano

Piano reduction and Cello solo part for Concerto For Cello And Orchestra Op.56 by Herman D. Koppel. Composed in 1952 and dedicated to Erling Bløndal Bengtsson.

Two pieces 'Laetare anima mea' and Devotion for Violin (or Cello) and Orchestra.