In this unique and unusual piece Ernest Bloch reflects the style of French dramatist novelist essayist art historian and mystic Romaine Rolland to whom Psaume 22 is dedicated. Originally written in 1914 for Baritone solo and Grand Orchestra this edition presents the composer’s reduction for Voice and Piano. The virtuoso Piano accompaniment is demanding for pianist and soloist alike but when mastered the piece yields a sound that is out of this world. The text of the psalm is provided in French (in d’Edmond Fleg’s translation) and English (as translated by Waldo Frank). Duration is approximately 8 minutes.Ernest Bloch was a20th-century Swiss-born American composer who during his lifetime taught at institutions such as the Cleveland Institute of Music the San Francisco Conservatory of Music and the University of California Berkeley.

A fabulous work of chamber music by Swiss composer Ernest Bloch completed in 1924. At its heart Bloch's Jewish music is emotional expressionist and despite a slow sombre mood is coloured by an exotic ambience which reflects his increasingly Jewish voice. For Cello with Piano accompaniment Prayer has an atmosphere of intense sadness and inward feeling and the three pieces here are far less linked with virtuosity than with the power of expression and faith.

A collection of pieces by Ernest Bloch set here for Cello Solo with a Piano reduction accompaniment. Edited and arranged by Hans Kindler.

Score-Psalm 22 is famous as the source of Christ's most touching words from the cross: 'Lord Lord why have You Forsaken Me?' and it is one of three psalms that Ernest Bloch set for solo voice and orchestra during the first great blooming of his mature 'Jewish Style' in 1900-1906. It is one of the most intense of all settings of religious texts a work of blazing passion moving from despair to exultant triumph in just eight minutes. This is the Score of this work intended for study purposes.

Score-The Hebraic Rhapsody for cello and orchestra 'Schelomo' is the best-known work of Ernst Bloch's 'Jewish Cycle.' Bloch explains:

Born into a family that had lived in Florence since the expulsion of the Jews from Spain in 1492 Mario Castelnuovo-Tedesco (1895-1968) entertained only a distant relationship with the music he heard at synagogue: a Renaissance church held more appeal for the Florentine artist than the Oriental décor of his forefathers’ place of worship. It was only when he discovered Schelemo a rhapsody for cello and orchestra written in 1916 by Ernest Bloch that he began to understand what “Jewish music” could be. It would take until the death of his maternal grandfather and the discovery of a collection of prayers set to music among his papers for the youngCastelnuovo-Tedesco to begin to explore Jewish music. In 1928 two years after publishing the Dances of King David he wrote this Vocalise-Étude for medium voice and piano at the request of vocal teacher Amédée-Landély Hettich who wanted to include it in the Répertoire moderne de Vocalises-Études published by Leduc. The piece became so popular that it led to several adaptations and the composer asked his close friend Gioacchino Maglioni (1891-1966) to transcribe it for violin and piano. Divided into three sections the work opens with a poignant lamento that grieves the tragic fate of the Jewish people. Countering what he felt to be a tendency of Jewish music to transform into a “Wailing Wall” Castelnuovo-Tedesco follows the lamento with a folk dance whose brisk “lively and stubborn” movement has great panache. The third section returns to the initial poignant theme before briefly reiterating the dance motif allowing the piece to conclude on a hopeful note.

Born into a family that had lived in Florence since the expulsion of the Jews from Spain in 1492 Mario Castelnuovo-Tedesco (1895-1968) entertained only a distant relationship with the music he heard at synagogue. It was only when he discovered Schelemo a rhapsody for cello and orchestra written in 1916 by Ernest Bloch that he began to understand what “Jewish music” could be. In the mid-1920s the young composer found a collection of prayers set to music among his maternal grandfather’s papers. Something clicked and from then on Jewish tradition would become a source of inspiration for Castelnuovo-Tedesco. In 1928 two years after publishing theDances of King David he wrote this Vocalise-Étude for medium voice and piano at the request of vocal teacher Amédée-Landély Hettich who wanted to include it in the Répertoire moderne de Vocalises-Études published by Leduc. The piece became so popular that several instrumental adaptations were soon created published under the title Chant hébraïque (for violin and piano: AL17 713; for cello and piano: AL 17196). Divided into three sections this wordless melody opens with a “sad and impassioned” chant that appears to grieve the tragic fate of the Jewish people. A folk dance follows in which a “lively and stubborn” movement has great panache. The third section returns to the initial poignant theme before briefly reiterating the dance motif allowing the piece to conclude on a hopeful note. The composer himself would adopt this proactive stance refusing to yield to resignation when fleeing Mussolini’s anti-Semitic laws he decided to emigrate in 1939 to the United States a land of refuge to which he would remain faithful until his death some thirty years later.

Study Score No. 63-Bloch was 73 years old when the String Quartet No. 3 was premiered in 1953 by the Griller Quartet. It is far more 'pared-down' than his earlier works and avoids the influence of Jewish music which he was well-known for in works such as 'Schelomo' and the 'Suite Hebraique for viola'. The first movement is forceful; trills and stark rhythms predominate whereas the second is more tranquil. Next there is is a strange kind of off-kilter scherzo followed by a finale based on a 12-tone theme. This is the Schirmer edition of the Score.

Score and Parts-This is one of the most dramatic of chamber pieces. Its opening movement is propulsive its questing first subject beginning with declamatory five-note motive which rises and falls spikily then repeating a rhythmic tag. Itcontrasts with an incantatory second subject which carries with it a chirping bird-like figure. The second movement is a lyrical transformation of the same ideas with a faster central section while the finale is an even moredriven version of the first movement's materials. The only real relaxation and calm in the music is the remarkable coda which brings the entire work to an unexpectedly peaceful conclusion. Even more remarkable is thevocabulary - Bloch liberally uses quarter-tone intervals mainly for colour rather than as part of any harmonic system but they do add an eerie quality to many sections of the score. This is one of the exceptional masterpiecesof the Piano Quintet literature. This set contains all the parts - the piano score also contains all the string parts for rehearsal purposes.

Score and Parts-Bloch was 73 years old when the String Quartet No. 3 was premiered in 1953 by the Griller Quartet. It is far more 'pared-down' than his earlier works and avoids the influence of Jewish music which he was well-known for in workssuch as 'Schelomo' and the 'Suite Hebraique for viola'. The first movement is forceful; trills and stark rhythms predominate whereas the second is more tranquil. Next there is is a strange kind of off-kilter scherzo followed by a finale based on a 12-tone theme. This is the Schirmer edition and contains the Score and Parts.