Violoncello & Piano

SKU: SU.27000390

For Violoncello & Piano. Composed by Roger Stubblefield. Strings, Cello. Accompanied by piano. Score & Parts. Subito Music Corporation #27000390. Published by Subito Music Corporation (SU.27000390).

This publication consists of 2 works. Three Attitudes for Solo Violoncello, and Attitude Adjustment for Violoncello & PianoVioloncello & Piano Composed: 2019 Published by: Distributed Composer.

For Violoncello and Piano With Marked and Unmarked String Parts. Composed by Gabriel Fauré. Edited by David Geringas and Jean- Christophe Monnier. Henle Music Folios. Softcover. G. Henle #HN1038. Published by G. Henle

Cello and Piano

SKU: BT.EMBZ14779

Composed by Franz Liszt. Book Only. Composed 2011. 16 pages. Editio Musica Budapest #EMBZ14779. Published by Editio Musica Budapest (BT.EMBZ14779).

The arranger of this work (a well-known Hungarian composer living in Romania) writes: This piece has always excited my imagination, from several points of view. First of all, its name. The German title, the obstinate one, may refer to its ostinato character. This is close to Liszt's programme concept, but the French word 'obstiné' is closer in meaning to stubborn. There is just a shade of difference, but to me it is important, because the latter suggests the description of a type of behaviour, the emotional state of a dancer's inner frame of mind abstracted into movements, expressed in dance movements, and this is a fascinating interpretation. The demonstration ofstubborn resistance and defiance to the point of exhaustion was not a frequently occurring phenomenon with Liszt. Secondly, at the beginning of the seventies Zoltán Kocsis played the piece in Transylvania. At that time, I asked the composer, Is the character of the continuous staccato in the left hand sharp, short, or an accompanying background like a constant shadow? Is it a weighty Brahmsian staccato, an ominous knocking? - and so on. Then there are the Bartókian false relations that keep recurring in the work, the B-E flat-G, etc. That foreshadows Debussy, creating harmonic thrills that, when I hear the work, keep my continuing interest alive for it. Finally, my immediate reason for arranging the work was of a family nature: in connection with Liszt's jubilee year, my daughter, who is a cellist, wanted a 'more energetic' piece to play at a bicentenary concert an addition to the existing slow, lyrical, or sombre works written by Liszt for the cello.

The arranger of this work, the well-known Romania-based Hungarian composer Cs ky Boldizsár writes: This piece has always excited my imagination, from several points of view. First of all, its name. The German title, the obstinateone, may refer to its ostinato character, this is close to Liszt's programme concept, but the French word 'obstiné' is closer in meaning to stubborn. There is just a shade of difference, but to me it is important, because the lattersuggests the description of a type of behaviour, the emotional state of a dancer's inner frame of mind abstracted into movements, expressed in dance movements, and this is a fascinating interpretation. The demonstration of stubbornresistance , defiance to the point of exhaustion, was not a frequently occurring phenomenon with Liszt. Secondly, at the beginning of the seventies Zoltán Kocsis played the piece here in Transylvania (Romania).

Der Bearbeiter des Werkes, der renommierte ungarische Komponist aus Rumänien, schreibt: Dieses Stück reizte immer schon meine Phantasie, sogar in vielerlei Hinsicht. Als erstes sein Name. Der deutsche Titel ‚Hartnäckiger' kann auf den ihm innewohnenden ostinativen Charakter hinweisen, was der Liszt'schen Programm-Konzeption näher kommt, das französische ,obstiné' steht jedoch eher dem Wort ‚dickköpfig' nah. Das sind nur geringfügige Unterschiede, mir ist das dennoch wichtig, weil aus Letzterem die Darstellung eines Verhaltens, der in Tanzgesten ausgedrückte, zur Bewegung abstrahierte innere emotionale Zustand eines Tänzers durchscheint, und das ist eine überaus beeindruckendeErklärun g. Die Demonstration des bis zur Erschöpfung reichenden Trotzes, der störrischen Kraft erscheint bei Liszt selten. Der zweite Aspekt: Zu Beginn der 70er Jahre spielte bei uns Zoltán Kocsis das Stück. Schon damals (und seitdem) frage ich den Komponisten:.

(Solo Piano with Optional Cello). By The Piano Guys. For Cello, Piano/Keyboard. Personality. Softcover. 90 pages. Published by Hal Leonard

Fingerprints for Cello and Piano. (Grade 1-4). For Cello and Piano. Book; Method/Instruction; String - Cello Studies or Collection. Faber Edition. Published by Faber Music

(Cello Part And Piano Score)

SKU: HL.48186482

Composed by Reynaldo Hahn. Leduc. 24 pages. Alphonse Leduc #AL30749. Published by Alphonse Leduc (HL.48186482).

Reynaldo Hahn: Works for cello and piano [AL 30 749] For quite some time, posterity remembered Reynaldo Hahn (1874-1947) for just a handful of songs and the operetta Ciboulette, overlooking the incredible diversity of a catalogue as eclectic as it is appealing. Yet his chamber music contains many little-known treasures: thus, cellist Steven Isserlis, in his preface, hastens to hail the first modern edition of these two scores, which he regularly plays in recital, so much does their beauty enchant the audience. Published in 1911, the Two Improvisations on Irish Airs for cello and piano turn out to be the transcription of his first and third Preludes for piano four hands (1894). These folk themes come from the collection Songs of Old Ireland, published 12 years earlier by Charles Villiers Stanford: gracefully and tenderly, The Little Red Lark unfurls a melancholic tune of which the regular foundation respects the breadth of phrase typical of folk songs; in The Willow-Tree, the lover begs his beloved in vain to take him in her arms one last time before he lies down, lifeless, in the shade of the tree. Beyond this sensitive exploration of the Irish soul, Hahn offers us a journey into the past: the Variations chantantes sur un air ancien develop a theme borrowed from Cavalli?s opera Xerse. In this aria (1660 version: Act IV, sc. 6), Ambassador Periarco dreams of moving away from court intrigues to be able to taste the pleasures ?to which the gods have destined him?. Reynaldo Hahn?s variations succeed in maintaining the sweet simplicity of this theme, as noble as it is refined. Let us wager that this publication will delight cellists and pianists alike: it contains some nuggets. Deux improvisations sur des airs irlandais (The Little Red Lark, The Willow-Tree) Variations chantantes sur un air ancien.

By Ferruccio Busoni (1866-1924). For Cello and Piano. Masterworks; Part(s); Score; Solo; String - Cello and Piano. Faber Edition. 20th Century; Masterwork. Published by Faber Music

Piano Trio

SKU: HL.48186475

Composed by Gaussin Allain. Leduc. 80 pages. Alphonse Leduc #AL30735. Published by Alphonse Leduc (HL.48186475).

UPC: 888680828189. 9.5x12 inches.

“Alla in Gaussin: Les céphéides, trio for violin, cello and piano - AL 30 735 For more than forty years, Allain Gaussin, fascinated by astrophysics, has found a major source of inspiration in observing the cosmos, as attest a number of works going from Vent solaire (1974) to Philae (2015), by way of L'Harmonie des sphères (2006). Ten years later, the 'Messiaen du Pays de la Meije' Festival hosted the first performance of the piano trio Les Céphéides. The musical journey enables the listener to enter a space 'just as impalpable and fragile' as that in which moves each Cepheid variable ' this star whose brightness varies over regular periods according to two elements: the diameter of the heavenly body and the temperature reading of its surface.

For Cello and Piano Reduction. Composed by Richard Strauss (1864-1949). Edited by Peter Jost. Henle Music Folios. Softcover. G. Henle #HN1468. Published by G. Henle

Cello and piano (VC/PF) - difficult

SKU: HL.49007557

Composed by Wilhelm Killmayer. This edition: Saddle stitching. Sheet music. Edition Schott. Classical. Composed 1989. 41 pages. Duration 20'. Schott Music #ED 7829. Published by Schott Music (HL.49007557).

ISBN 9790001081214. UPC: 196288050568. 9.0x12.0x0.125 inches.

'Humour plays a role, and my pieces are also an attempt to entertain people.' Words not often associated with contemporary music, but Wilhelm Killmayer wants to place fun and seriousness side by side. Different tonal spheres are found in the 'Impromptu' and the jaunty 'Scherzo lento' which uses tap tones for example. The 'Chorale' that follows allows the music to drift seamlessly into atonality. In the fourth romance 'Im Schumannschen Ton' ('The Schumann Sound'), a diatonic melody is complicated so much that the ending distorts to the beginning, 'just like man combines many different qualities'.In the concluding 'Capriccio', shifting time signatures and dynamic fluctuations are combined in a virtuoso manner. A humourous piece which demands the purest concentration from the players.

By Antonin Dvorak (1841-1904). Edited by Jonathan Del Mar. For cello and orchestra. This edition: Urtext. Solo part and piano reduction. Opus 104. Published by Baerenreiter Verlag

Cello; Piano Accompaniment

SKU: HL.50512037

Cello and Piano. Composed by Franz Liszt. Edited by Csiky Boldizsar. Arranged by Csí, ky Boldizsá, and r. Romantic. EMB. Classical. Softcover. 14 pages. Editio Musica Budapest #Z14779. Published by Editio Musica Budapest (HL.50512037).

ISBN 9790080147795. UPC: 884088668723. 9.0x12.0x0.079 inches. Ferenc Liszt; Boldizsar Csiky.

The arranger of this work (a well-known Hungarian composer living in Romania) writes: +This piece has always excited my imagination, from several points of view. First of all, its name. The German title, the obstinate one, may refer to its ostinato character. This is close to Liszt's programme concept, but the French word 'obstine' is closer in meaning to stubborn. There is just a shade of difference, but to me it is important, because the latter suggests the description of a type of behaviour, the emotional state of a dancer's inner frame of mind abstracted into movements, expressed in dance movements, and this is a fascinating interpretation. The demonstration of stubborn resistance and defiance to the point of exhaustion was not a frequently occurring phenomenon with Liszt. Secondly, at the beginning of the seventies Zoltan Kocsis played the piece in Transylvania. At that time, I asked the composer, +Is the character of the continuous staccato in the left hand sharp, short, or an accompanying background like a constant shadow? Is it a weighty Brahmsian staccato, an ominous knocking? - and so on. Then there are the Bartokian false relations that keep recurring in the work, the B-E flat-G, etc. That foreshadows Debussy, creating harmonic thrills that, when I hear the work, keep my continuing interest alive for it. Finally, my immediate reason for arranging the work was of a family nature: in connection with Liszt's jubilee year, my daughter, who is a cellist, wanted a 'more energetic' piece to play at a bicentenary concert an addition to the existing slow, lyrical, or sombre works written by Liszt for the cello.+.

By Jean-Marc Allerme. For cello and piano. Pop / Jazz. Score and CD. 46 15 pages. Published by Editions Henry Lemoine

(25 Concert Pieces from 5 Centuries for Cello and Piano). Edited by Katharina Deserno. Schott. Softcover with CD. 88 pages. Schott Music #ED20881. Published by Schott Music

By Norman Tailor. Arranged by Joe Bellini. For Violoncello and Piano. Swiss import. Original Composition. Grade 2 . Score and parts

By Gustav Holst (1874-1934). Edited by Julian Lloyd Webber. For Cello and Piano. Masterworks; Part(s); Score; Solo; String - Cello and Piano. Faber Edition. 20th Century; Masterwork; Romantic. Published by Faber Music

(Violoncello and Piano). Composed by Justin Dello Joio. For Cello, Piano Accompaniment (Score and Parts). E.B. Marks. Softcover. Published by Edward B. Marks Music

By Wilbur Held (1914-). For Organ or Piano, Cello/Bass Instrument. Organ with Instruments. General. Medium