Les 21 miniatures pour violoncelle et piano de Mikis Theodorakis, basées sur un...(+)
Les 21 miniatures pour violoncelle et piano de Mikis Theodorakis, basées sur un de ses fameux cycles de chansons, sont une déclaration d'amour à sa patrie à l'?est de l'Egée?, c'est-à-dire aux îles Chios, Lesbos et Ikaria. Ces pièces pleines de charme app / Violoncelle Et Piano / niveau : Avancé / Partition
Original Version - Edition for Cello and Piano. Par SCHUMANN ROBERT. Schumann’...(+)
Original Version - Edition for Cello and Piano. Par SCHUMANN ROBERT. Schumann’s Cello Concerto Rediscovered
In her first Urtext edition for Edition Peters, internationally renowned cellist Josephine Knight reveals Robert Schumann’s original version of his Cello Concerto in A minor Op. 129 – a piece he actually called a ‘Concertstück’ – removing generations of inauthentic editorial interventions. This is the only available modern scholarly edition of the work as Schumann originally conceived it, and restores the text from October 1850, based on the composer’s manuscript held in the Biblioteka Jagiellonska in Kraków. This Full Score matches the separately available edition for Cello and Piano (EP 73488). Matching orchestral material is also available from the publisher.
Only modern Urtext edition based on Schumann’s original 1850 manuscript Many new corrections and clarifications, especially to the cello part Scholarly preface detailing history of the work and this edition by editor Josephine Knight, Piatti Professor of Cello at the Royal Academy of Music London Cello Part contains Josephine Knight's fingering and bowing suggestions Critical Commentary Cello and piano edition available separately from Edition Peters: orchestral parts available for rental Recording of the Concertstück featuring Josephine Knight available from Dutton
Robert Schumann’s tragic last years have mired many of his greatest works in unnecessary doubt. The story of the suppression of his Violin Concerto by well-meaning friends is relatively well-known. Few, however, know that the version of the Cello Concerto that is routinely heard today is so far from Schumann’s original conception of the work – not only in details of phrasing and articulation, but also featuring a different ending with a bold final flourish from the cello. Composed in a burst of inspiration in two weeks in October 1850 shortly after he and Clara had moved to Düsseldorf, Schumann (who in 1850 was still in good health) never heard the piece performed. In an effort to promote a performance of the work, he gave the score to the cellist Robert Emil Bockmühl. Bockmühl made revisions that Schumann resisted, and the hoped-for performance never happened. Schumann’s health failed and he died aged just 46 in 1856. The Concerto, in an already substantially revised form, was premiered in 1860 but it was not given significant recognition until it was championed by Pablo Casals in the 20th century by which time (and since) the text for the work had accreted additions and alterations from generations of soloists.
Now Josephine Knight, Piatti Professor of Cello at the Royal Academy of Music, London has returned to the original 1850 manuscript of the work, which is in the Biblioteka Jagiellonska in Kraków, to reveal Schumann’s original thoughts for the first time in a modern Urtext edition. The edition reflects Schumann’s original conception of the work as a Concertstück and restores Schumann’s musical text, free of posthumous interventions.
‘My ultimate wish,’ says the editor, ‘is to give performers both access to, and confidence that they are playing from, an edition which is a true representation of the piece in its original form, no matter how much more difficult this might be. I found that incorporating the changes enabled the piece to take on a completely different character – one that is lighter and happier, even “cheerful”, as Schumann himself described the work.'/ Répertoire / Violoncelle et Piano
extrait de la musique de scène pour « Le Voyageur sans bagages »-A prev...(+)
extrait de la musique de scène pour « Le Voyageur sans bagages »-A previously unreleased piece by Francis Poulenc published with permission from the Bibliothèque Historique de la Ville de Paris and Benoît Seringe secretary of the Association des amis de Francis Poulenc [Association of the Friends of Francis Poulenc]. Le Voyageur sans bagage [The Traveller Without Luggage] which had been premiered in 1937 with music by Darius Milhaud was reprised on 1 April 1944 at the Théâtre de la Michodière; Francis Poulenc was asked to compose new stage music. The entire unpublished score lay undiscovered until Bérengère del’Épine a librarian at the Bibliothèque Historique de la Ville de Paris announced the existence of a manuscript in the Association de la Régie Théâtrale collection. Poulenc finalised the score between 19 and 21 March 1944. It contains nine songs all written for a small instrumental ensemble including Oboe Clarinet Cello and Piano. However at the end of the manuscript the composer echoes the second song – Lent [Slow] – and creates another version for Cello and Piano; curiously the original version of the song has not been erased in the manuscript. Poulenc seems to suggest that we consider the piece for Cello and Piano that we have published here as a different piece of music. It was premiered on Wednesday 23 January 2013 by Marc Coppey accompanied by Jean-François Heisser in the organ auditorium of the Conservatoire National Supérieur de Musique et Danse de Paris (CNSMDP) during the symposium for the fiftieth anniversary of Poulenc’s death. Given in a dramatic context some elements allow us to get an idea of the character of the piece which Benoît Seringe Poulenc’s beneficiary judiciously chose to name Souvenirs. The main character of Anouilh’s play Gaston is suffering from amnesia at the end of World
Leos Janacek wrote only two works for cello and piano of which only Pohadka (Fa...(+)
Leos Janacek wrote only two works for cello and piano of which only Pohadka (Fairy Tale) became established in the concert repertoire. Although he completed the work the composer did not want to have it published. The history of the work’s composition is long and complicated. Janacek began writing the work before 1910 however the Pohadka (Fairy Tale) only received its final form after a series of corrections in 1923. The second composition the Presto is incomplete. Only a sketch exists which Janacek did not develop further. The original tempo marking of Allegro was changed by Janacek himself to Presto. The work has beendiscussed under this title in recent Janacek literature. In the supplement of this edition an early version of A Tale is included. The source to this version is a copy owned by Antonin Vana one of the first interpreters of the composition. The early version of A Tale offers a valuable and interesting alternative to today’s known version with its marked differences such as the considerably changed ending of the first movement and the original form of four movements. Urtext from the Janacek Complete Edition All available sources have been taken into consideration A detailed new foreword by Jiri Zahradka (Czech English German) “Again Bärenreiter sets the industry standard for scholarship clarity of type layout and paper qualitiy.”(Strings July 2009)
for Pianoforte and Violoncello-Famous in his day the Austrian composer and pian...(+)
for Pianoforte and Violoncello-Famous in his day the Austrian composer and pianist Johann Nepomuk Hummel (1778 1837) studied with Mozart and befriended Beethoven. Among his many works is a relatively late sonata for Violoncello and Piano composed in 1824 and published in 1826 a delightful early Romantic piece in three movements supported by a capricious Piano part. The expressive Cello cantilena in the Romance will capture the heart of every cellist.Our edition edited by Mark Kroll is the first scholarly-critical publication of this sonata. It is based on the first edition of 1826 and the autograph manuscript which served as a master copy for the engraving. A comparison of the sourcesbrought to light a number of details overlooked in the first edition especially with regard to dynamics.A must for all cellists and lovers of chamber musicNotes on performance practice in the Foreword (Ger/Eng)Detailed Critical Commentary (Eng)
Cello and Piano with Online Accompaniments.This collection features intermediate...(+)
Cello and Piano with Online Accompaniments.This collection features intermediate-level arrangements for cello and piano accompaniment in a range flattering to the cello. The music has been edited with added dynamics, articulations and phrasing, making it appropriate for lessons or performances. The accompaniments have been recorded on an acoustic grand piano. Includes separate pull-out solo part. Songs include: Agony · Anyone Can Whistle · The Ballad of Sweeney Todd · Children Will Listen · Green Finch and Linnet Bird · Johanna · Night Waltz · Not While I'm Around · Pretty Women · Send in the Clowns · Sunday · With So Little to Be Sure Of. The price of this book includes a unique code that provides access to audio tracks online, for download or streaming. The tracks include PLAYBACK , a multi-functional audio player that allows you to slow down audio without changing pitch, set loop points, change keys, and pan left or right - available exclusively from Hal Leonard.
The present volume contains a selection of very easy recital pieces for Violonce...(+)
The present volume contains a selection of very easy recital pieces for Violoncello and Piano which can be played in the first position after 1-2 years of Cello lessons. The selected pieces are original works from the Renaissance period to the present day: from the Baroque minuet the classical sonatina or the Romantic character piece to contemporary music and tango blues or pop. The pieces are suitable for individual group and chamber music lessons for practising on one's own and especially for the first auditions concerts or competitions. The accompanying CD contains a full version of each piece as well as the piano accompaniment for playing along. The recordingsare intended for orientation and for making it easier to learn to play the pieces – for what is already going around in one's head will also be 'in the fingers' much faster. The CD also contains separately the piano part of each piece for playing along. A musical journey through 500 years of Cello music!