Chamber Music Cello, Piano

SKU: PR.114415500

For Cello and Piano. Composed by Eric Ewazen. Christmas and Holiday. Contemporary. Set of Score and Parts. With Standard notation. Composed 2007. 16+8 pages. Theodore Presser Company #114-41550. Published by Theodore Presser Company (PR.114415500).

UPC: 680160607280. 8.5 x 11 inches.

Another commissioned work has Ewazen borrowing from his own The Eternal Dance of Life for a special new gift for cello and piano. The composer says it best: As a former cellist in my youth, have always loved the instrument, and have enjoyed writing for it. The work contains swirling arpeggiated gestures, a lilting compound meter and a real sense of expressivity, allowing the cello to sing with soaring lines and genuine lyricism. For advanced performers.

Cello and Piano with Online Accompaniments. Composed by Alain Boublil and Claude- Michel Schonberg. For Classical Players. Broadway, Movies, Musicals. Softcover Audio Online. 56 pages. Published by Hal Leonard

Piano Solo with optional Cello. By The Piano Guys. Personality. Softcover. 112 pages. Published by Hal Leonard

(for Violoncello and Piano) Composed by David Popper, edited by Martin Rummel. Score; Single Part for cello and piano. First modern edition of the complete suite; Two cello parts, one with Popper's fingering and bowing and one modified for the modern cello; With helpful performance tips by the editor. Published by Baerenreiter-Ausgaben (German import). ISBN M006531936.

(fur Cello und Klavier) Composed by Antoni Cofalik, Romuald Twardoski. Score; Single Part for cello and piano. Easy cello pieces with piano accompaniment; teaches technical skills in a spirit of fun; Imaginative melodies; Colorful illustrations. Published by Baerenreiter-Ausgaben (German import). ISBN M006531639.

Arranged by Doreen Smith. Fentone Play Along Books. Softcover with CD. 36 pages. Published by Fentone Music.

Cello and Piano. Composed by Evgeny Kissin. Edited by Steven Isserlis. Sheet Music. Paperbound. Henle Music Folios. With marked and unmarked string parts. Classical. Score and Parts. 20 pages. G. Henle #HN1050. Published by G. Henle

Composed by Camille Saint-Saens (1835-1921), edited by Marty Winkler. Cello solo single for cello solo and piano accompaniment. With standard notation, solo part and piano accompaniment. 56 pages. Published by Edwin F. Kalmus.

Urtext. Composed by Pauline Viardot-Garcia (1821-1910). Edited by Miriam-Alexandra Wigners. Breitkopf and Haertel #EB 8887. Published by Breitkopf and Haertel

Choral Cello, Piano, alto 1, alto 2, soprano 1, soprano 2

SKU: CF.CM9625

Composed by Jimmy Baas. Sws. Performance Score. 16 pages. Duration 3 minutes, 49 seconds. Carl Fischer Music #CM9625. Published by Carl Fischer Music (CF.CM9625).

ISBN 9781491156988. UPC: 680160915545. 6.875 x 10.5 inches. Key: Bb major. English, English. William Butler Yeats.

The Everlasting Voices is the perfect blend of textural variety and harmonic interest for the advanced treble ensemble. Employing a powerful text, Baas' vocal layering coupled with piano and optional cello make this compelling piece a programming must!.
O sweet everlasting Voices, be still; Go to the guards of the heavenly fold And bid them wander obeying your will, Flame under flame, till Time be no more; Have you not heard that our hearts are old, That you call in birds, in wind on the hill, In shaken boughs, in tide on the shore? O sweet everlasting Voices, be still. This SSAA choral work by Jimmy Baas was comissioned by the Lumberton HS Varsity Treble Choir. The opening and closing lines of the poem, O sweet everlasting voices, be still provide the perfect bookends for two larger sections of the poem. These two sections are equally divided into verses. The opening line is used once again as a transition between the verses. The previously mentioned lines, O sweet everlasting voices, are overlapped as different layers of voices enter and sustain. A fifth and sixth voice, the cello and piano accompaniment take part in these layers as well. The words be still are very much a part of the mood each time as the everlasting voices become quiet and still. The two verses feature different voices within the SSAA choir. Verse 1, the sopranos, and verse 2 the altos. There are many moments in this piece to explore the full range and color of the SSAA choir. The piano and cello play an important part throughout, making this piece an excellent choice for any festival women's chorus.
O sweet everlasting Voices, be still;Go to the guards of the heavenly foldAnd bid them wander obeying your will,Flame under flame, till Time be no more;Have you not heard that our hearts are old,That you call in birds, in wind on the hill,In shaken boughs, in tide on the shore?O sweet everlasting Voices, be still.This SSAA choral work by Jimmy Baas wascomissioned by the Lumberton HS Varsity Treble Choir.The opening and closing lines of the poem, “O sweeteverlasting voices, be still” provide the perfect bookendsfor two larger sections of the poem. These two sectionsare equally divided into verses. The opening line is usedonce again as a transition between the verses.The previously mentioned lines, “O sweet everlastingvoices,” are overlapped as different layers of voices enterand sustain. A fifth and sixth voice, the cello and pianoaccompaniment take part in these layers as well.The words “be still” are very much a part of the moodeach time as the everlasting voices become quietand still.The two verses feature different voices within the SSAAchoir. Verse 1, the sopranos, and verse 2 the altos. Thereare many moments in this piece to explore the full range andcolor of the SSAA choir. The piano and cello play an importantpart throughout, making this piece an excellent choice for anyfestival women’s chorus.

12 Recital Pieces in First Position for Cello and Piano or Two Celli. Edited by Christoph Sassmannshaus / Melissa Lusk. Stapled. Baerenreiter's Sassmannshaus. Performance score, parts. 16/23/21 pages pages. Published by Baerenreiter Verlag

18 Recital Pieces in First Position for Cello and Piano or Two Celli. Edited by Christoph Sassmannshaus / Melissa Lusk. Stapled. Baerenreiter's Sassmannshaus. Performance score, parts. 22/24/17 pages pages. Published by Baerenreiter Verlag

Schott Student Edition Repertoire. Composed by Jean Baptiste Breval. Edited by Beverley Ellis. This edition: Saddle stitching. Sheet music. Schott Student Edition. Repertoire. Softcover. Op. 40/1. 36 pages. Schott Music #SE1006. Published by Schott Music (HL.49045503).

(Cello and Piano). Composed by Edward Gregson. For Cello, Piano Accompaniment. Music Sales America. 52 pages. Novello and Co Ltd. #NOV958089. Published by Novello and Co Ltd.

Cello and piano

SKU: BO.B.3724

Composed by J. Cassado/M. Mestre. Published by Editorial de Musica Boileau (BO.B.3724).

Cassado could be considered are the first great Catalan symphonist of the 19th Century and one of the first pre-coursers of Nationalism in our country. His is a Nationalism that is solidly based on central European traditions, mainly Germanic in its.

Plus Ultra is a special case in which the desire to exhibit his deepest Nationalist sentiments took a second place to a more global style into which he incorporated harmonies and melodic turns that recall Rachmaninoff more than Albeniz. Plus Ultra can be considered as a musical thought which, in spite of references or paraphrases of some typical aspects of Spanish music of the era, is an authentic lied in which the cello sings out, using maximum of its expressive possibilities, with a piano accompaniment of the first order.

In this work Cassado makes more extensive use of pianissimo, which is more typical of the French school, than in any other of his works. Through the use of gestures which are almost Impressionist, as well as refined and tasteful harmonies, the composer divides the musical discourse between the two instruments creating a fantastic work which his son Gaspar performed in concerts.

Chamber Music Cello, Piano

SKU: CF.BF141

Composed by Ernest Bloch. Edited by Julian Schwarz. 12+8 pages. Carl Fischer Music #BF141. Published by Carl Fischer Music (CF.BF141).

ISBN 9781491159989. UPC: 680160918584.

The three pieces From Jewish Life were composed by Swiss-American composer Ernest Bloch in 1924, the same year he took U.S. citizenship. Though clearly inspired and influenced by Jewish experience, they are purely concert pieces, and do not provide any specific liturgical significance.

The first movement, Prayer, is a deeply heartfelt plea to the almighty. As Neil W Levin writes, The initial four-note motive in the minor mode, together with its elaboration in the ensuing phrases, sounds as if it might have served as the skeletal model for Max Janowski's (1912-1991) now well-known setting of the High Holyday prayer Avinu Malkenu. This prayer has special meaning in my own spiritual life, as I have been singing it since my childhood. Both Prayer and Janowski's Avinu Malkenu are cantorial in nature, to be sung with heartfelt pathos.

The second movement, Supplication (the act of begging humbly), has more angst, almost a sense of urgency as a result of the rhythmic motor in the piano. The third movement, Jewish Song, evokes a quintessentially Eastern-European melancholy. Its falling motives with bent intonation might represent the pain of the Jewish experience.

The works were dedicated to Dutch-American cellist Hans Kindler, a highly influential musician of his time, and founder of the National Symphony Orchestra in Washington, D.C. Mr. Kindler was the soloist for the world premiere of Bloch's most celebrated work, Schelomo in 1917.

Though the popularity of Bloch's oeuvre has been dominated by works of Jewish connection, we should not forget that Bloch had many other stylistic periods, including Franco-Belgian, modal, serial, and even American folk. In 1927, he was awarded Musical America's composition prize in a unanimous vote, despite being regarded as an outsider by American music writers at the time. His winning work America (1928) was performed by every major orchestra and conductor in the following seasons. May we be proud of his contributions to American music.
The three pieces From Jewish Life were composed by Swiss-American composer Ernest Bloch in 1924, the same year he took U.S. citizenship. Though clearly inspired and influenced by Jewish experience, they are purely concert pieces, and do not provide any specific liturgical significance. The first movement, Prayer, is a deeply heartfelt plea to the almighty. As Neil W Levin writes, The initial four-note motive in the minor mode, together with its elaboration in the ensuing phrases, sounds as if it might have served as the skeletal model for Max Janowski's (1912-1991) now well-known setting of the High Holyday prayer Avinu Malkenu. This prayer has special meaning in my own spiritual life, as I have been singing it since my childhood. Both Prayer and Janowski's Avinu Malkenu are cantorial in nature, to be sung with heartfelt pathos. The second movement, Supplication (the act of begging humbly), has more angst, almost a sense of urgency as a result of the rhythmic motor in the piano. The third movement, Jewish Song, evokes a quintessentially Eastern-European melancholy. Its falling motives with bent intonation might represent the pain of the Jewish experience. The works were dedicated to Dutch-American cellist Hans Kindler, a highly influential musician of his time, and founder of the National Symphony Orchestra in Washington, D.C. Mr. Kindler was the soloist for the world premiere of Bloch's most celebrated work, Schelomo in 1917. Though the popularity of Bloch's oeuvre has been dominated by works of Jewish connection, we should not forget that Bloch had many other stylistic periods, including Franco-Belgian, modal, serial, and even American folk. In 1927, he was awarded Musical America's composition prize in a unanimous vote, despite being regarded as an outsider by American music writers at the time. His winning work America (1928) was performed by every major orchestra and conductor in the following seasons. May we be proud of his contributions to American music.
The three pieces From Jewish Life were composed by Swiss-American composer Ernest Bloch in 1924, the same year he took U.S. citizenship. Though clearly inspired and influenced by Jewish experience, they are purely concert pieces, and do not provide any specific liturgical significance.The first movement, “Prayer”, is a deeply heartfelt plea to the almighty. As Neil W Levin writes, “The initial four-note motive in the minor mode, together with its elaboration in the ensuing phrases, sounds as if it might have served as the skeletal model for Max Janowski’s (1912–1991) now well-known setting of the High Holyday prayer Avinu Malkenu.” This prayer has special meaning in my own spiritual life, as I have been singing it since my childhood. Both “Prayer” and Janowski’s Avinu Malkenu are cantorial in nature, to be sung with heartfelt pathos.The second movement, “Supplication� � (the act of begging humbly), has more angst, almost a sense of urgency as a result of the rhythmic motor in the piano. The third movement, “Jewish Song”, evokes a quintessentially Eastern-European melancholy. Its falling motives with bent intonation might represent the pain of the Jewish experience.The works were dedicated to Dutch-American cellist Hans Kindler, a highly influential musician of his time, and founder of the National Symphony Orchestra in Washington, D.C. Mr. Kindler was the soloist for the world premiere of Bloch’s most celebrated work, Schelomo in 1917.Though the popularity of Bloch’s oeuvre has been dominated by works of Jewish connection, we should not forget that Bloch had many other stylistic periods, including Franco-Belgian, modal, serial, and even American folk. In 1927, he was awarded Musical America’s composition prize in a unanimous vote, despite being regarded as an outsider by American music writers at the time. His winning work America (1928) was performed by every major orchestra and conductor in the following seasons. May we be proud of his contributions to American music.

Cello, piano

SKU: FG.55011-673-3

Composed by Kalevi Aho. Fennica Gehrman #55011-673-3. Published by Fennica Gehrman (FG.55011-673-3).

ISBN 9790550116733.

A large-scale work in four movements lasting over half an hour, Kalevi Aho's Sonata for violoncello and piano (2019) in four movements is furios, virtuosic and poweful, with a lyrical second movement. The third movement is a cello cadenza, provided in two versions: with and without throat singing.

(Cello and Piano). Composed by Felix Bartholdy Mendelssohn (1809-1847). Edited by Ernst-G�¼nter Heinemann. For Cello, Piano Accompaniment. Henle Music Folios. Softcover. G. Henle #HN1294. Published by G. Henle

Cello and Piano or 3 Cellos, Level 3 Schott Student Edition Repertoire. Composed by Bernhard Romberg. Edited by Beverley Ellis. Arranged by Friedrich Janssen. This edition: Saddle stitching. Sheet music. Schott Student Edition. Repertoire. Softcover. Op. 38/1. 32 pages. Schott Music #SE1007. Published by Schott Music (HL.49045501).

(Monstrous Pieces for Beginners). By Pam Wedgwood. For Cello and Piano. Book; String - Cello Studies or Collection. Faber Edition. 16 pages. Published by Faber Music

For Cello and Piano Schott Student Edition Repertoire. Composed by Hugo Schlemueller. Edited by Martin Mueller-Runte. This edition: Saddle stitching. Sheet music. Schott Student Edition. Repertoire. Softcover. Op. 12. 32 pages. Schott Music #SE1005. Published by Schott Music (HL.49045443).

Cello and Piano - Grade 2

SKU: AP.36-52730061

Composed by Ted Hunter. Method/Instruction; Reference Textbooks; Solo Small Ensembles. Ludwig Masters. Sacred. Book. Latham Music Enterprises #36-52730061. Published by Latham Music Enterprises (AP.36-52730061).

ISBN 9781628760101. UPC: 746241200297. English.

1st-4th positions; cello plays melody with simple accompaniments. Includes optional descant for violin in addition to descant part for cello. Hymns included: Jesus Loves Me; I Sing the Mighty Power of God; Take My Life, and Let it Be; Come Thou Long-Expected Jesus; Joyful, Joyful, We Adore Thee; Amazing Grace; For the Beauty of the Earth; Holy, Holy, Holy; Be Thou My Vision; Fairest Lord Jesus.

These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months.

(Hits from the Greatest Shows of All Time). By Pat Legg. For Cello and Piano. Book; String - Cello Studies or Collection. Faber Edition. 24 pages. Published by Faber Music

Cello; Piano Accompaniment (Cello Part And Piano Score)

SKU: HL.49047192

Cello and Piano. Composed by Giuseppe Sammartini and Martin Berteau. Edited by Beverley Ellis. String Solo. Classical. Softcover. Schott Music #CB298. Published by Schott Music (HL.49047192).

ISBN 9781705198889.

The Sonata in G major Op. 1/3 is commonly attributed to Giuseppe Sammartini; however, it now known to be the work of Martin Berteau.This edition presents the fourth movement, an 'Amoroso Rondeau' with double-stopped harmonics, which was missing in previous editions.

Chamber Music Cello, Piano

SKU: PR.114418870

Composed by Adolphus Hailstork. Set of Score and Parts. With Standard notation. 20+12 pages. Duration 14 minutes. Theodore Presser Company #114-41887. Published by Theodore Presser Company (PR.114418870).

UPC: 680160667918.

Hails tork had originally written his Elegy in 1980, in memory of a friend's passing. Decades later, he was asked by cellist Tim Holly to finish the work, and the Caprice was added in 2016. Despite 35 years of intervening life and changes in musical language, Hailstork has matched the tonality of the earlier movement. His transcription for viola and piano was performed in October at New Music Norfolk (Hampton Roads) by Rebecca Sinclair Kim and Susan Ha.