Par PLAYS JEAN-BERNARD / GRAS CHRISTOPHE. / Niveau : 1er Cycle / Répertoire / Violoncelle et Piano

Par PLAYS JEAN-BERNARD / GRAS CHRISTOPHE. / Niveau : 1er Cycle / Répertoire / Violoncelle et Piano

Par PICOT CHRISTOPHE. 4'30 / Niveau : Fin 2ème Cycle / Répertoire / Violoncelle et Piano

15 Original Pieces. Par NORTON CHRISTOPHER. Un autre volume dans la série de Concert Collection de Christopher Norton. Superbe musique pour violoncelle solo et piano pour intermédiaires aux joueurs de niveau avancé, du créateur de ' Microjazz ': quinze pièces divertissants et inventives basé sur Amer bien connu / Musique traditionnelle / Répertoire / Violoncelle et Piano

The bass-clef version of two pleasant and pastoral movements by Christopher Le Fleming for the Cello with a full Piano accompaniment. A treble-clef edition is available with either the Oboe Violin or Flute as the soloist itemcode number CH56275.

Violoncelle et Piano. Par PLAYS JEAN-BERNARD / GRAS CHRISTOPHE. Grâce au compositeur Jean-Claude Soldano, les éditions du même nom ont pu voir le jour dans les années 2000 et ainsi publier des oeuvres de petits compositeurs essentiellement français. C'est le cas du recueil dénommé Tendresse (violoncelle et piano) de Plays J.B. / Gras Christophe qui a été composé pour Violoncelle / Niveau : 1er Cycle, 2ème Année / Répertoire / Violoncelle et Piano

After Colonna was expertly composed in 2001 by Sadie Harrison. First performed at Hampstead Town hall in March 2001 by Miriam Lowbury and David Carhart. AfterColonna later featured on Harrison’s 2002 album No Title Required.Australian born freelance composer and performe Sadie Harrison’s unique fusion of elements fromindigenous Lithuanian music and poetry with her own modernist often abrasive style have led her to be compared with Bartok but with her own warmth and grandeur. Since 2012 Harrison has been working alongside a long list of well accomplished musicians; Paul Carey Peter Sheppard Skaerved Sergej Okrushko Alex South Duncan Honeybourne are among many who have had the privilege to work with Harrison sofar. Performances of Harrison's works have been given across the world by Lontano London Chamber Symphony Music Projects/ London Ixion Okeanos Bournemouth Sinfonietta Kokoro and the St. Christopherus ChamberOrchestra and many others.

In memory of Christopher Rowland. Originally a concerto for Cello and chamber orchestra now for Cello with a Piano reduction of the orchestral part.The concerto is in four movements which are played without a break: Meditation Intermezzo Toccata-Scherzo and Song. The work lasts for some 18 minutes and was scored for two oboes two horns timpani (doubling tubular bells) and strings(found here in a Cello/Piano form). It is organised in one large arch-shaped structure with two fast inner movements flanked by two outer slow ones. The solo cello opens the work reflectively and introduces core melodic material which is continuously developed throughout theconcerto. Gradually the strings enter then wind and timpani and build a pyramid twelve-note chord at the peak of which there is a dramatic climax. The music then subsides (solo cello again) but links to the two faster middle movements. The second movement Intermezzo has an ABA structure and in its middle section quotes the opening of Shostakovich's Third String Quartet (written in the same year as Christopher Rowland was born!). Indeed the ghost of Shostakovich looms large throughout the concerto in more ways than one. The Toccata-Scherzo is energetic and rhythmically-charged again using an ABA structure. Here the writing for solo cello is quite virtuosic but not I hope in a shallow sense. The music builds inexorably towards a powerful climax underpinned by the opening twelve-note chord's re-appearance together with a violent outburst from the timpani at which point a tonal resolution (on G) arrives through a pianissimo held chord on strings which leads directly to the final movement - Song. And so the music arrives at its emotional heart through a simple melody (present in other forms throughout the work) announced by solo cello at the very top of its register against a quiet backdrop of horns and strings. A solo oboe enters with cello in canonic reply and all the time the music builds in texture and

Delius wrote the incidental music for Basil Dean’s 1923 production of James Elroy Flecker’s Hassan. This sequence incorporating Eric Fenby's 1931 version of Serenade from that production was arranged in 1991 for Cello and Piano by Christopher Palmer who the piece is published in memorial to.