By Johann Sebastian Bach (1685-1750). Edited by Peggy Spencer and Sue Engle. For...(+)
By Johann Sebastian Bach
(1685-1750). Edited by
Peggy Spencer and Sue
Engle. For Cello. Duets.
Bill's Music Shelf.
Baroque.
Beginning-Intermediate.
Book. 52 pages. Published
by Mel Bay Publications,
Inc
Composed by J Remy.
String music. Study
score. Clifton Edition
#C360. Published by
Clifton Edition
(ST.C360).
ISBN
9790570813605.
Gavo
tte en Rondeau from
Violin Partita No.3 (BWV
1006).
Paper,
daylight and candles were
often in short supply
during Bachâ??s very
busy lifetime but simply
to view the autograph
score in his hand of the
Sonatas and Partitas for
solo violin is to be
bound into a spell by the
beauty, skill and
extempore furiosity of
the script. The cycle has
been described as a
miracle of implied
harmony and rich harmonic
textures, â??its
freshness and maturity,
its depth, its beauty,
its response to all
moodsâ? informing a
work of humanity and
genius unparalleled in
all the literature for
solo violin.
The
present arrangement of
the Gavotte en Rondeau
from Partita No. 3
(BWV1006) is based on
Rachmaninoffâ??s
intricate harmonisation
for piano. â??Ruht
Wohlâ?? from the St.
John Passion (BWV 245).
In the final Chorus from
the St. John Passion,
Bach imbues the popular
dance-forms of the
Sarabande and Minuet with
a spiritual theme of
atonement and
reconciliation. The three
ritornelli stand like
pillars in a palindromic
structure whose unbroken
melodic line and flowing
counterpoint represent a
â??timeless
continuanceâ??. The
original scoring is light
and transparent, and
transfers appropriately
to a choir of cellos
without the loss of any
counterpoint. Prelude Op.
25 No 3 by Rachmaninoff.
Throughout his career as
a composer and virtuoso
pianist, this Prelude was
one of Rachmaninoffâ??s
favourite pieces and he
dedicated it to his
teacher Alexander Siloti.
A powerful structure is
built up from a small
rhythmic motif,
reminiscent of
Tchaikovskyâ??s
representations of fate
or Shostakovichâ??s of
looming state power. This
is contrasted with a
lyrical middle section
and a final phrase marked
leggiero in which the
music flies off into the
air like a bird.
Cello (Cello) SKU: HL.48183212 Composed by Franç and ois Couperin. ...(+)
Cello (Cello)
SKU:
HL.48183212
Composed
by Franç and ois
Couperin. Leduc. Baroque.
Alphonse Leduc #AL25226.
Published by Alphonse
Leduc (HL.48183212).
Couperin's
Concert Pieces for Cello
and String Quartet
accompaniment is an
exciting addition to the
string repertoire for its
slightly unusual
instrumentation. Francois
Couperin (1668-1733) is
often nicknamed 'Couperin
the Great' to distinguish
him from other members of
the musical family.
Concert Piecesis made up
of five movements; 1)
Prelude, 2) Sicilienne,
3) The Trumpet, 4) The
Complaint, and 5) Devil's
Air. Couperin's moods are
expressed through choices
of keys, adventurous
harmonies and discords.
With a significant amount
of variation and
inspiration, Concert
Pieces is essential to
the repertoire of
aspiring, advanced String
Quartets and solo
cellists..
By Jay Ungar and Molly Mason. For Cello, Piano, Violin, Fiddle, Classical Guitar...(+)
By Jay Ungar and Molly
Mason. For Cello, Piano,
Violin, Fiddle, Classical
Guitar. Wire bound.
Multiple Levels. Book. 82
pages. Published by Mel
Bay Publications, Inc
Chamber Music Cello SKU: CF.BF134 17 Medium-Level Arrangements for Any...(+)
Chamber Music Cello
SKU: CF.BF134
17 Medium-Level
Arrangements for Any
Combination of String
Instruments. Composed
by Alexander Borodin,
Cecile Chaminade,
Chevalier de
Saint-Georges, Edvard
Grieg, Fanny Cecile
Mendelssohn, Franz Joseph
Haydn, Gabriel Faure,
George Frideric Handel,
Isabella Leonarda, Johann
Sebastian Bach, Ludwig
van Beethoven, Luigi
Boccherini, and etc.
Arranged by Todd Parrish.
Collection - Part. 42
pages. Carl Fischer Music
#BF134. Published by Carl
Fischer Music (CF.BF134).
ISBN 9781491158692.
UPC:
680160917334.
The
17 masterworks contained
in this collection have
been carefully arranged
for any combination of
string trio. The
selections span nearly
200 years and feature
works from the baroque,
classical, and romantic
periods of music. The
arrangements are drawn
from a variety of
sources, including piano
solos, chamber works, and
symphonies. Each work was
selected for its quality,
musical interest, and
appropriateness in a
chamber setting. All
pieces in this collection
have stood the test of
time and are worthy of
both study and
performance. Arranged
specifically for a
chamber setting, the
trios may be performed at
recitals, contests,
weddings, and social
events. The various moods
created through these
works will work for any
setting. The 17
masterworks contained in
this collection have been
carefully arranged for
any combination of string
trio. The most standard
instrumentation for
voicing is violin, viola,
and cello. However, three
of the same instruments
work well as do other
groupings, given that the
higher-pitched instrument
plays the higher part.The
selections have been
arranged in chronological
order. They span nearly
200 years and feature
works from the baroque,
classical, and romantic
periods of music. The
arrangements are drawn
from a variety of
sources, including piano
solos, chamber works, and
symphonies. Each work was
selected for its quality,
musical interest, and
appropriateness in a
chamber setting.All
pieces in this collection
have stood the test of
time and are worthy of
both study and
performance. Arranged
specifically for a
chamber setting, the
trios may be performed at
recitals, contests,
weddings, and social
events. The various moods
created through these
works will work for any
setting. Some repeats are
marked in the music, but
any selection may be
repeated for the
appropriate amount of
music needed. Bowings
have been added as
suggestions, while
fingerings have been left
to the individual
performers to decide.
Chamber Music String Quartet SKU: PR.114410380 Composed by Lowell Lieberm...(+)
Chamber Music String
Quartet
SKU:
PR.114410380
Composed
by Lowell Liebermann.
Saddle, Tape Junction.
Set of Score and Parts.
With Standard notation.
Composed 1998. Opus 60.
48 + 92 pages. Duration
30 minutes. Theodore
Presser Company
#114-41038. Published by
Theodore Presser Company
(PR.114410380).
UPC:
680160015160. 9.5 x 13
inches.
My second
String Quartet was
written twenty years
after the first, Opus 4
from 1978. The First
Quartet is an obsessively
contrapuntal work in one
movement, which was no
doubt influenced by my
studies with David
Diamond. I had always
intended to return to the
medium once I left the
astringency of my earlier
style, but it was only
when the National
Federation of Music Clubs
commissioned a major
chamber work, with
unspecified
instrumentation, to
celebrate their 100th
Anniversary that I was
enabled to do so. The
Second Quartet is in four
movements: Moderato,
Allegro isterico, an
Andante theme with 11
variations, and the
closing Allegro, which
then returns to the tempo
of the first movement. An
audience member at the
premiere told me that she
heard echoes of recent
tragic events such as the
Oklahoma bombing in this
work. While I had no such
programmatic intent while
writing the quartet, it
was not an entirely
incorrect assessment of
the work's intended
emotional impact. The
quartet is pervaded by a
sense of seriousness,
even mournfulness. The
second movement's scherzo
is an aggressively
animated piece of musical
machinery. The third
movement's Variations
unfold into a greater
variety of moods than the
others - but the moments
of lyricism are countered
by aggressive or ironic
outbursts. The final
movement's attempt at
triumph quickly subsides
into a return of the
first movement, before
being transformed onto a
sense of resignation and
acceptance as the
chromaticism of the
opening theme is
transformed into a pure
and diatonic C-Major. The
work received its world
premiere by the Shanghai
Quartet at the 100th
Anniversary Congress of
the National Federation
of Music Clubs at the
Congress Hotel in Chicago
on August 19th
1998. My second String
Quartet was written
twenty years after the
first, Opus 4 from
1978. The First
Quartet is an obsessively
contrapuntal work in one
movement, which was no
doubt influenced by my
studies with David
Diamond. I had always
intended to return to the
medium once I left the
astringency of my earlier
style, but it was only
when the National
Federation of Music Clubs
commissioned a major
chamber work, with
unspecified
instrumentation, to
celebrate their 100th
Anniversary that I was
enabled to do so.The
Second Quartet is in four
movements:Â Moderato,
Allegro isterico, an
Andante theme with 11
variations, and the
closing Allegro, which
then returns to the tempo
of the first movement.An
audience member at the
premiere told me that she
heard echoes of recent
tragic events such as the
Oklahoma bombing in this
work. While I had no
such programmatic intent
while writing the
quartet, it was not an
entirely incorrect
assessment of the
work’s intended
emotional impact. The
quartet is pervaded by a
sense of seriousness,
even mournfulness.Â
The second
movement’s scherzo
is an aggressively
animated piece of musical
machinery. The third
movement’s
Variations unfold into a
greater variety of moods
than the others –
but the moments of
lyricism are countered by
aggressive or ironic
outbursts. The final
movement’s attempt
at triumph quickly
subsides into a return of
the first movement,
before being transformed
onto a sense of
resignation and
acceptance as the
chromaticism of the
opening theme is
transformed into a pure
and diatonic C-Major.The
work received its world
premiere by the Shanghai
Quartet at the 100th
Anniversary Congress of
the National Federation
of Music Clubs at the
Congress Hotel in Chicago
on August 19th 1998.
Cello & piano SKU: HH.HH286-FSP Composed by Anton Eberl. Edited by Christ...(+)
Cello & piano
SKU:
HH.HH286-FSP
Composed
by Anton Eberl. Edited by
Christopher Hogwood.
Cello & Piano. This is a
very interesting sonata
as it bridges the gap
between the
cello/continuo sonatas
and the ones by
Beethoven. Eberl's part
for violin is also
included. Full score and
parts. Edition HH Music
Publishers #HH286-FSP.
Published by Edition HH
Music Publishers
(HH.HH286-FSP).
ISBN
9790708092254.
A
true Grand Duo for cello
and piano to provide a
much needed connection
between the first sonatas
for this combination --
by Beethoven -- and the
later 19th century
repertoire. Eberl's
heroic style provides a
masterly alternative to
the over familiar works,
with the balance of power
between the two players
scrupulously maintained
throughout, and ingenious
formal innovations. The
Rhapsodie finale in
particular, with sections
in varying metres and
moods, resolves in an
elegant Pastorale, an
entirely new format for
this combination. The
composer thoughtfully
provided an adaptation of
the cello part for violin
containing many
differences which will be
of interest to players of
both instruments; both
string parts are included
in this publication.
Performance Score violin and cello SKU: HL.49044694 10 Duets for Violi...(+)
Performance Score violin
and cello
SKU:
HL.49044694
10
Duets for Violin and
Cello Performance
Score. Composed by
Barbara Heller. Edited by
Katharina Deserno. This
edition: Saddle
stitching. Sheet music.
String. Softcover.
Composed 2013. 48 pages.
Schott Music #ED21839.
Published by Schott Music
(HL.49044694).
ISBN
9790001197687. UPC:
841886026209.
9.0x12.0x0.183
inches.
An exciting
communicative musical
journey: These Dialogues
have the violin and cello
adopting different
personalities,
temperaments and moods to
'speak' to one another.
The titles of the pieces
and descriptive headings,
such as Chatting,
Giggling or Contest,
suggest how the pieces
may be played.In order to
make these ten chamber
pieces accessible to
students at various
different levels, all the
duets appear again
without markings in the
second section of the
book, providing an
opportunity to experiment
with different bowings
and fingerings.
Chamber Music String Quartet SKU: PR.114405050 Composed by John Downey. S...(+)
Chamber Music String
Quartet
SKU:
PR.114405050
Composed
by John Downey. Set of
Score and Parts. With
Standard notation. 53
pages. Duration 25
minutes. Theodore Presser
Company #114-40505.
Published by Theodore
Presser Company
(PR.114405050).
UPC:
680160008377. 11 x 14
inches.
Although
structurally it
subdivides into five
movements, the entire
quartet emerges as one
vast continuum. There are
no formal breaks between
movements. However,
certain musical signposts
can be discerned,
associated with each of
the movements'
terminations and new
beginnings. The opening
movement, The Nostalgia
of Clanging Bell
Sonorities, begins
floating on recurrent Bbs
whose soft rhythmic flow
slowly puts into motion
strong undercurrents
suggestive of the latent
power of water... After
several suggestions of
tolling bells, the
movement gradually fades
into hushed tones of
veiled and very distant
sonorities. It uses a
unique efffect, for the
first time in a musical
context, conveyed through
the use of extra heavy
practice mutes. The
second movement, The
Spill of Water ,
disengages itself from
the first through its
distinct contrast in
tempo. Water moves fast,
and when it splashes, it
tends to run wildly. In
this case, it happens to
be bubbly water that
gushes forth bodly...
smashing across rocky
shorlines. So, too, the
music attempts to conjure
such moods. At the end of
this movement, a cello
cadenza emerges,
introducing an
introspective type of
melodicism. The third
movement, The Poignancy
of Memory, contains many
silences as it tries to
convey memory through
fragmented remembrances
much like often occur in
our dream state.
Progressing through
several slowly building
images, it gradually
works itself into
juxtaposition of musical
images. Towards the
movement's end, high
harmonics are sounding in
all four instruments
while left hand pizzicato
notes in the cello pluch
the last remembrances of
this central core. Almost
imperceptibly, the viola
assumes leadership as it
dissolves into: The
fourth movement, The
Fluidity of Motion, which
has mostly the viola, but
also the cello,
articulating lyrical
statements against the
sheets of sound conjured
up by the two violins
playing a flood of
swirling figures, evokes
a kind of static motion
in spae. Here, the
virtually imperceptible
manner in which this
hushed whisper continues
incessantly, can suggest
the potential fluidity
with which movement may
inch forward... Later
into the fourth movement
, two fairly extended
solos by the second and
then the first violins,
lead to a kind of
spontaneous dialogue
among the four
instrumentalists.
Eventually, this musical
conversation gets caught
up in: The fifth
movement's The Rush of
Time, which opens with a
hushed flurry of speed,
precipitates the Finale.
It generates, at first
slowly, but then very
swiftly, whole shifts of
rhythmic fields that
initially seem to
conflict with one
another. Ultimately, this
use of 'psycho-rhythmics
contributes to an on-rush
of motion and time.
Rhythmic changes are, at
times, abruptly
precipitated with but
little or no preparation
creating a kind of
inevitability in forward
thrust, while the
movement rushes forward
with a feeling of gradual
and continuous
acceleration. It gathers
density as more and more
notes are piled
progressively upon
successive beats. The
attempt is to spark
tension and ignite
excitement by means of
frenetic confrontations
of dissimilitudes.
Ultimately - with the
help of time - these
polarities centrifically
spin out their own
destinies with their
accompanying fall-out and
own inevitable
resolutions.
Chamber Music String Quartet SKU: PR.11440505S Composed by John Downey. F...(+)
Chamber Music String
Quartet
SKU:
PR.11440505S
Composed
by John Downey. Full
score. With Standard
notation. 53 pages.
Duration 25 minutes.
Theodore Presser Company
#114-40505S. Published by
Theodore Presser Company
(PR.11440505S).
UPC:
680160008391. 11 x 14
inches.
Although
structurally it
subdivides into five
movements, the entire
quartet emerges as one
vast continuum. There are
no formal breaks between
movements. However,
certain musical signposts
can be discerned,
associated with each of
the movements'
terminations and new
beginnings. The opening
movement, The Nostalgia
of Clanging Bell
Sonorities, begins
floating on recurrent Bbs
whose soft rhythmic flow
slowly puts into motion
strong undercurrents
suggestive of the latent
power of water... After
several suggestions of
tolling bells, the
movement gradually fades
into hushed tones of
veiled and very distant
sonorities. It uses a
unique effect, for the
first time in a musical
context, conveyed through
the use of extra heavy
practice mutes. The
second movement, The
Spill of Water,
disengages itself from
the first through its
distinct contrast in
tempo. Water moves fast,
and when it splashes, it
tends to run wildly. In
this case, it happens to
be bubbly water that
gushes forth bodly...
smashing across rocky
shorelines. So, too, the
music attempts to conjure
such moods. At the end of
this movement, a cello
cadenza emerges,
introducing an
introspective type of
melodicism. The third
movement, The Poignancy
of Memory, contains many
silences as it tries to
convey memory through
fragmented remembrances
much like often occur in
our dream state.
Progressing through
several slowly building
images, it gradually
works itself into
juxtaposition of musical
images. Towards the
movement's end, high
harmonics are sounding in
all four instruments
while left hand pizzicato
notes in the cello pluck
the last remembrances of
this central core. Almost
imperceptibly, the viola
assumes leadership as it
dissolves into: The
fourth movement, The
Fluidity of Motion, which
has mostly the viola, but
also the cello,
articulating lyrical
statements against sheets
of sound conjured up by
the two violins playing a
flood of swirling
figures, evokes a kind of
static motion in space.
Here , the virtually
imperceptible manner in
which this hushed whisper
continues incessantly,
can suggest the potential
fluidity with which
movement may inch
forward... Later into the
fourth movement, two
fairly extended solos by
the second and then the
first violins, lead to a
kind of spontaneous
dialogue amont the four
instrumentalists.
Eventually, this musical
conversation gets caught
up in: The fifth
movement's The Rush of
Time, which opens with a
hushed flurry of speed,
precipitates the Finale.
It generates, at first
slowly, but then very
swiftly, whole shifts of
rhythmic fields that
initially seem to
conflict with one
another. Ultimately, this
use of psycho-rhythmics
contributes to an on-rush
seem of motion and time.
Rhythmic changes are, at
times, abruptly
precipitated with but
little or no preparation
creating a kind of
inevitability in forward
thrust, while the
movement rushes forward
with a feeling of gradual
and continuous
acceleration. It gathers
density as more and more
notes are piled
progressively upon
successive beats. The
attempt is to spark
tension and ignite
excitement by means of
frenetic confrontations
of dissimilitudes.
Ultimately - with the
help of time - these
polarities centrifically
spin out their own
destinies with their
accompanying fall-out and
own inevitable
resolutions.