Winter Rondo Violoncelle, Piano Theodore Presser Co.
Chamber Music Cello, Piano SKU: PR.114415500 For Cello and Piano. ...(+)
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 Clau...(+)
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
David Popper: Im Walde Violoncelle, Piano [Partie séparée] - Intermédiaire/avancé Barenreiter
(for Violoncello and Piano) Composed by David Popper, edited by Martin Rummel. S...(+)
(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; Si...(+)
(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.
Cello and Piano. Composed by Evgeny Kissin. Edited by Steven Isserlis. Sheet ...(+)
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...(+)
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.
Souvenirs Violoncelle, Piano - Intermédiaire Salabert
Cello and Piano - intermediate SKU: BT.SLB-00595900 Extrait de la musi...(+)
Cello and Piano -
intermediate
SKU:
BT.SLB-00595900
Extrait de la musique
de scène pour « Le
Voyageur sans bagages
». Composed by
Francis Poulenc.
Classical. Book and
Part(s). Composed 2016. 5
pages. Editions Salabert
#SLB 00595900. Published
by Editions Salabert
(BT.SLB-00595900).
Urtext. Composed by Pauline Viardot-Garcia (1821-1910). Edited by Miriam-Alexa...(+)
Urtext. Composed by
Pauline
Viardot-Garcia
(1821-1910).
Edited by
Miriam-Alexandra
Wigners. Breitkopf and
Haertel #EB 8887.
Published
by Breitkopf and Haertel
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,â€
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 b...(+)
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 b...(+)
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. Edit...(+)
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).
Violin, cello and piano SKU: HL.49044398 For violin, violoncello and p...(+)
Violin, cello and piano
SKU: HL.49044398
For violin,
violoncello and
piano. Composed by
Toshio Hosokawa. Sheet
music. Ensemble.
Softcover. Composed 2013.
Duration 11'. Schott
Music #SJ10048. Published
by Schott Music
(HL.49044398).
This piece is
concerned with the world
of shaman, which I have
been very interested in
lately. A shaman is a
person who creates a path
connecting this world and
the underworld. In this
trio, the violin
represents female, and
the cello male. The
instruments sing a duo as
an extension of the
voices of two shamans.
The piano is the cosmos
and the nature. Violin
and piano have a 'Yin and
Yang' relationship, the
creation principal of the
Taoism cosmos: polar
opposites which
compliment one another
without cancelling each
other out, creating
perfect harmony. Toshio
Hosokawa.
(Cello and Piano). Composed by Edward Gregson. For Cello, Piano Accompaniment. M...(+)
(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.
Plus Ultra Violoncelle, Piano Editorial de Musica Boileau
Cello and piano SKU: BO.B.3724 Composed by J. Cassado/M. Mestre. Publishe...(+)
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.
From Jewish Life Violoncelle, Piano Guitare classique Carl Fischer
Chamber Music Cello, Piano SKU: CF.BF141 Composed by Ernest Bloch. Edited...(+)
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,
“Prayerâ€, 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,
“Supplicationâ€
(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
Songâ€, 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 ...(+)
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.
Starter Solos Violoncelle, Piano [Partition + CD] - Facile Anglo Music
Cello and Piano - easy SKU: BT.AMP-347-400 20 Progressive Pieces with ...(+)
Cello and Piano - easy
SKU:
BT.AMP-347-400
20
Progressive Pieces with
Piano Accompaniment.
Composed by Philip
Sparke. Starter Solos.
Tuition. Book with CD.
Composed 2013. 32 pages.
Anglo Music Press #AMP
347-400. Published by
Anglo Music Press
(BT.AMP-347-400).
ISBN
9789043138659. 9x12
inches.
English-German-French-Dut
ch.
Philip
Sparke’s
Starter Solos is
the first volume of a
progressive series of
books that takes the
young wind player from
beginner to accomplished
musician. Specifically
tailored for each
instrument, this
collection of 20 solos
starts with pieces based
on only a handful of
notes and carefully
introduces new musical
elements, such as
articulation, dynamics
and key signatures, in a
structured progression to
speed the learning
process. The books
provide invaluable
additional material to
complement any teaching
method.Starter
Solos comes with a
play-along CD. The
advantages of playing
either with piano or CD
accompaniment are that
the beginning player can
nowexperience the
important aspects of
ensemble playing from
their earliest lessons,
thus developing the
essential skills of
listening while they play
and maintaining strict
tempo, which is not
always a factor when
playing alone.
Philip
Sparke’s
Starter Solos is
het eerste deel van een
serie boeken met muziek
voor jonge blazers. Deze
bundel van twintig
solo’s begint met
stukken die op een
handvol noten zijn
gebaseerd. Nieuwe
muzikale elementen
(articulatie,
dynamiek,enz.) worden op
een doordachte,
gestructureerde manier
toegevoegd. Dit
studiemateriaal vult elke
leermethode aan en is
steeds toegesneden op het
betreffende
instrument.Uitgave met
cd: De voordelen van het
spelen met begeleiding -
hetzij op de piano,hetzij
op de cd - zijn dat de
beginnende speler de
belangrijke aspecten van
het ensemblespel kan
ervaren vanaf de eerste
lessen en essentiële
vaardigheden kan
aanleren: het luisteren
tijdens het spelen en het
handhaven van een strak
tempo. Bij hetalleen
spelen komen deze
factoren minder aan de
orde.
Das frühe
Lernstadium ist, neben
einem guten Lehrer im
Unterricht, für jedes
Instrument zweifellos das
Wichtigste. Von großer
Bedeutung ist aber auch
motivierendes
Lehrmaterial. Für
diese zwei Solobücher
beriet sich Philip Sparke
mit vielen Lehrern, wie
man am besten neue Noten
einführt und zugleich
einen Rahmen schafft, in
den sich neue
musikalische Elemente in
sinnvoller Reihenfolge
einfügen lassen.
Unterstützt von
diesenSoli und Etüden
in drei verschiedenen
Schwierigkeitsstufen
können
Instrumentalschüler
schnell zu richtigen
Musikern heranreifen.
Jedes Buch ist genau auf
die Bedürfnisse und
Anforderungen des
einzelnen Instrumentes
zugeschnitten.
STARTER SOLOS und
SKILFUL SOLOS können
dank der im Buch und auf
der CD enthaltenen
Begleitungen auch gut
alleine oder mit einem
Pianisten einstudiert und
aufgeführt werden. Der
Vorteil dabei ist, dass
Anfänger so nicht nur
die wichtigsten Aspekte
desEnsemblespiels
erfahren sondern auch von
Anfang an die
Fähigkeit entwickeln,
zu hören während
sie spielen und das Tempo
zu halten.
Inhalt:
Follow me •Best
Foot Forward •Folk
Song •My Homeland
•Missing You
•Russian Winter
•On a Carousel
•Rush Hou •A
Dynamic Start
•Short but Sweet
•Ballad
•London Bridge
•Summer Breezes
•Modal Melody
•Toon Tune
•In a Balloon
•Yankee Doodle
•SadSong
•Count Me In
•Ragtime
March
Accanto
ad un buon insegnante, il
materiale da studio
valido è senza dubbio
la cosa più importante
al fine di un buon
apprendimento. E’
quindi importante mettere
a disposizione
dell’allievo
materiale motivante.
Nello scrivere questi
soli, PhilipSparke si
è consultato a più
riprese con insegnanti ed
allievi per mettere a
punto brani che
consentono anche ai
più inesperti di
suonare in modo
soddisfacente. Gli
accompagnamenti al piano
sono inclusi nel CD.
(Cello and Piano). Composed by Felix Bartholdy Mendelssohn (1809-1847). Edited b...(+)
(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. C...(+)
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; St...(+)
(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 S...(+)
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. Met...(+)
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. Bo...(+)
(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; 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 Hailsto...(+)
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.