Cello and Piano SKU: HL.50602301 For Cello and Piano Reduction. Co...(+)
Cello and Piano
SKU:
HL.50602301
For
Cello and Piano
Reduction. Composed
by Brian Elias.
Instrumental. Softcover.
Chester Music #CH87769.
Published by Chester
Music (HL.50602301).
UPC: 840126900217.
8.5x11.0x0.097
inches.
A work for
cello and piano,
L'innominata means 'the
unnamed' or 'the
nameless'. This work was
commissioned by the
Purbeck International
Chamber Music Festival.
It was first performed on
31st August 2018 by
Natalie Clein (cello) and
Vadym Kholodenko (piano),
at the Priory Church of
Lady St. Mary, Wareham,
Dorset. The world
premiere can be watched
here:
https://www.youtube.com/w
atch?v=9fFNlpJZmbE.
Cello and Piano (Cello) SKU: HL.14010923 Composed by Manuel de Falla. Mus...(+)
Cello and Piano (Cello)
SKU: HL.14010923
Composed by Manuel de
Falla. Music Sales
America. Classical. Book
[Softcover]. Composed
2002. 10 pages. Chester
Music #CH55894. Published
by Chester Music
(HL.14010923).
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).
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.
Composed by Jean-Baptiste Breval. Edited by Christoph Sassmannshaus. Stapled...(+)
Composed by Jean-Baptiste
Breval. Edited by
Christoph
Sassmannshaus. Stapled.
Barenreiter's
Concert
Pieces. Piano reduction,
part(s). 7/12 pages.
Duration 8:00.
Baerenreiter
Verlag #BA 10698.
Published
by Baerenreiter Verlag
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.
Cello and Piano SKU: BT.PWM8613 Transcription for Cello and Piano....(+)
Cello and Piano
SKU:
BT.PWM8613
Transcription for
Cello and Piano. By
Kazimierz
Wiłkomirski. By Karol
Szymanowski. Classical.
Book Only. Composed 1987.
44 pages. Polskie
Wydawnictwo Muzyczne
#PWM8613. Published by
Polskie Wydawnictwo
Muzyczne (BT.PWM8613).
Sonata in D
minor is Szymanowski's
earliest violin work and
was written in 1904. In
its conventional
character one clearly
feels the dependence on
the violin sonatas of
Franck ahd Brahms and the
composer's desire to
master the traditional,
three-movement cyclic
form. Sonata for violin
and piano (arranged for
cello by Kazimierz Wi
komirski), a juvenile
work, in spite of the
fact that its style is
still not crystallised,
betrays the composer's
growing interest in tone
colour and foreshadows
the bold and rich melodic
line characteristic of
Szymanowski's later
works.
Chamber Music Cello, Piano SKU: PR.114418630 Composed by Stacy Garrop. Se...(+)
Chamber Music Cello,
Piano
SKU:
PR.114418630
Composed
by Stacy Garrop. Set of
Score and Parts. With
Standard notation. 24+8
pages. Duration 13
minutes. Theodore Presser
Company #114-41863.
Published by Theodore
Presser Company
(PR.114418630).
ISBN
9781491114063. UPC:
680160642724. 9 x 12
inches.
The film
noir genre of 1940s
cinema typically includes
a strong but flawed male
lead (often a detective),
a beautiful woman who
coerces the male into
committing murder or is a
killer herself (a
“femme
fataleâ€), and a
twisting plot line that
involves one or more
homicides. These movies
typically are shot in
black and white, with
emphasis on shadows and
light, alcohol and
cigarettes, trench coats
and fedoras. Most of the
story lines do not have
happy endings. Inspired
by this genre, NOIR
VIGNETTES consists of
four movements, each
depicting an aspect of
film noir: Murder at
Midnight, Loaded Gun,
Femme Fatale, and Last
Cigarette. In the
mid-1940s, film critics
in France noticed a trend
emerging in movies from
the United States, which
they coined film noir
(which translates to
“black
filmâ€). These
movies were dark, moody,
and pessimistic,
reflecting the agitation
and anxiety present in
society following World
War II. Several
characteristics are
commonly found in many of
these movies, including a
strong but flawed male
lead (often a detective),
a beautiful woman who
either coerces the male
lead into committing
murder for her or is a
killer herself (a
“femme
fataleâ€), and a
twisting, turning plot
line that involves one or
more homicides.
Additionally, there are
several visual elements
that these movies share:
many are shot in black
and white, with great
emphasis on the use of
shadows and light;
alcohol and cigarettes
are heavily consumed by
men and women alike; and
men typically wear trench
coats and fedoras. Most
of the story lines do not
have happy endings.
Examples of film noir
include Orson
Welles’ The Lady
from Shanghai, Billy
Wilder’s Double
Indemnity, and John
Huston’s The
Maltese Falcon.NOIR
VIGNETTES consists of
four movements, each
depicting a different
aspect of film noir:
Murder at Midnight,
Loaded Gun, Femme Fatale,
and Last Cigarette.This
piece was commissioned by
the University of
Illinois Research Board
on behalf of double
bassist Michael Cameron;
and it also published for
Double Bass and Piano
(114-41811). The cello
version is transcribed by
the composer.-- Stacy
Garrop.
By William J. Kirkpatrick. Arranged by Joseph Hoffman. For Cello and Piano. Chri...(+)
By William J.
Kirkpatrick. Arranged by
Joseph Hoffman. For Cello
and Piano. Christmas.
Level: Medium Easy.
Duration 2:45. Published
by Jackman Music
Corporation.
(Arranged for Cello and Piano With a CD of Piano Accompaniments). Composed by Le...(+)
(Arranged for Cello and
Piano With a CD of Piano
Accompaniments). Composed
by Leonard Bernstein
(1918-1990). Arranged by
Joel Boyd and Joshua
Parman. For Cello, Piano
Accompaniment (Cello).
Instrumental. Softcover
with CD. 88 pages. Boosey
and Hawkes #M051106509.
Published by Boosey and
Hawkes
For Cello and Piano. Composed by Francois Couperin (1668- 1733). Leduc. Baroq...(+)
For Cello and Piano.
Composed
by Francois Couperin
(1668-
1733). Leduc. Baroque.
Softcover. 12 pages.
Alphonse
Leduc #AL16920. Published
by
Alphonse Leduc
Malinconia Op. 20 Violoncelle, Piano [Conducteur] Breitkopf & Härtel
Cello and piano SKU: BR.EB-9391 Urtext based on the Complete Edition J...(+)
Cello and piano
SKU:
BR.EB-9391
Urtext
based on the Complete
Edition Jean Sibelius
Works (JSW). Composed
by Jean Sibelius. Edited
by Anna Pulkkis. Solo
instruments; stapled.
Edition Breitkopf.
Late-romantic; Early
modern. Score. 28 pages.
Duration 12'. Breitkopf
and Haertel #EB 9391.
Published by Breitkopf
and Haertel (BR.EB-9391).
ISBN 9790004188651. 9
x 12 inches.
Jean
Sibelius composed far
less music for the cello
than for the violin.
Malinconia (op. 20) -
published in 1911 but
composed in 1900 under
the title Fantasia -
remained his only
opus-numbered work
exclusively for cello and
piano. The Fantasia for
cello and piano, an early
stage of Malinconia , was
premiered at a soiree in
the Solemnity Hall of the
University of Helsinki on
12 March 1900 and was
given positive press
reviews: The work, which
mainly drew attention
with its logical and
clear structure, begins
with a powerful and
substantial cello solo,
to which the piano
responds with a
glimmering series of
arpeggiated chords. At
the end where the
instruments unite in a
harmonious, deeply
emotional song, the
harmonic impression they
create is very bright and
lovely. The autograph
manuscript of Fantasia
shows that Sibelius
omitted a larger passage
of music between the
present bars 24 and 25
and that he made further
revisions to the work,
either before the
publishing process or in
the proofs he read in
April 1911 for
Breitkopf.
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.
Cello; Chamber Ensemble; Clarinet; Flute; Piano Accompaniment; Violin (Score) (+)
Cello; Chamber Ensemble;
Clarinet; Flute; Piano
Accompaniment; Violin
(Score)
SKU:
HL.50600993
For
Flute, Clarinet, Violin,
Cello and Piano.
Composed by Guoping Jia.
Score. Classical.
Softcover. 16 pages.
Sikorski #SIK8795.
Published by Sikorski
(HL.50600993).
8.0x11.75x0.078
inches.
The
ensemble work
“Scattered
Shades,†composed
in 2014, of the Chinese
composer Guoping Jia for
the instrumentation
flute, clarinet, violin,
violoncello and piano was
premiered on 21 May 2014
in Beijing at the
'Beijing Modern Music
Festival,' performed by
the ensemble 'Les Temps
Modernes.' Although this
work received its
essential inspiration
from ancient Chinese
pen-and-ink painting, it
also simultaneously
documents the overcoming
of a creative crisis.
During an artistically
difficult period, Jia
assigned himself the task
in 1997 to compose a
study that was to
supersede the
compositional techniques
used so far with the
means of rational
construction.
“Scattered
Shades†has
recourse to this study,
retracing its structure
in a more profound way
with a different
ensemble.
Adagietto Violoncelle, Piano - Intermédiaire Schott
Cello - intermediate SKU: HL.49018923 Cello and Piano. Composed by...(+)
Cello - intermediate
SKU: HL.49018923
Cello and Piano.
Composed by Eduard Puetz.
Edited by Julius Berger.
This edition: Saddle
stitching. Sheet music.
Edition Schott.
Classical. Softcover.
Composed 1990. 12 pages.
Duration 4' 30''. Schott
Music #CB233. Published
by Schott Music
(HL.49018923).
ISBN
9790001176545.
9.0x12.0x0.078
inches.
Eduard Putz
(1911-2000) studied with
Heinrich Lemacher and
Hermann Schroeder at the
Cologne Musikhochschule
and later worked as a
music teacher at the
grammar school in
Rheinbach near Bonn as
well as a composition
teacher at the Rhenish
Music School in Cologne.
Overcoming the boundaries
between serious and
entertaining music was
what mattered to him
which is why he wrote
many works which tried to
combine jazz and new
music. His 'Adagietto'
for violoncello and piano
(1990) was discovered
within the composer's
estate and published for
the first time. Prof.
Julius Berger arranged
the piece for practical
playing, adding
appropriate fingerings. A
short performance piece
with interesting
harmonies and arpeggios
in the piano part and
expressive cantilenas in
the cello part.
Super Solos Violoncelle, Piano [Partition + CD] - Intermédiaire Anglo Music
Cello and Piano - late intermediate SKU: BT.AMP-353-400 10 Selected So...(+)
Cello and Piano - late
intermediate
SKU:
BT.AMP-353-400
10
Selected Solos with Piano
Accompaniment.
Composed by Philip
Sparke. Super Solos.
Tuition. Book with CD.
Composed 2013. 56 pages.
Anglo Music Press #AMP
353-400. Published by
Anglo Music Press
(BT.AMP-353-400).
ISBN
9789043138710. 9x12
inches.
English-German-French-Dut
ch.
Philip
Sparke’s Super
Solos is the third
volume of a progressive
series of solo books that
takes the young wind
player from beginner to
accomplished musician.
Following on from the
first two books in the
series (Starter
Solos and Skilful
Solos) this
collection generally
contains longer pieces
suitable for the
developing young
musicians. Specifically
tailored for each
instrument, Super
Solos extends
technical and musical
demands, takes the player
into new keys with larger
instrumental ranges and
adds new notes in a
gradual and logical
manner.The books provide
invaluable additional
material to complement
any teaching method.
Including play-along
CD.
Na Starter
Solos en Skilful
Solos sluit Philip
Spark deze reeks met het
nieuw verschenen boek
Super Solos. De
solos in deze boeken zijn
qua mogelijkheden en
moeilijkheidsgraad
perfect toegesneden op
het betreffende
instrument.Bovendien vult
het de vorige uitgaven in
deze reeks gestructureerd
aan, waardoor het de
instrumentalist een
zinvol en motiverend
vervolg biedt. Elk boek
bevat een cd met
begeleiding. Het voordeel
hiervan is dat jonge
muzikanten de
belangrijkeaspecten van
het samenspel al vanaf
het begin kunnen ervaren.
Zo ontwikkelen ze
essentiële
vaardigheden, zoals het
luisteren tijdens het
spelen en het handhaven
van een strak
tempo.
Nach
STARTER SOLOS und SKILFUL
SOLOS vollendete Philip
Sparke seine Reihe
Solobücher mit SUPER
SOLOS. Die Soli in jedem
Buch sind genau auf die
Bedürfnisse und
Anforderungen des
jeweiligen Instruments
zugeschnitten, im
Schwierigkeitsgrad
angepasstund schaffen
somit einen Rahmen, in
dem sich
Instrumentalschüler
neue Elemente in
sinnvoller Reihenfolge
aneignen können. Dank
der im Buch und auf CD
enthaltenen
Klavierbegleitung lernen
sie außerdem wichtige
Aspekte des
Ensemblespiels. SUPER
SOLOS für
fortgeschrittene
Schüler hält
mitreißende Stücke
parat, mit denen neue
technische und
musikalische
Schwierigkeiten
gemeistert und ein
größerer Tonumfang
sowie neue Tonarten
gelernt werden
können.
Inhalt:
Little Overture -
Berceuse - March of the
Toy Soldiers - Air and
Variations - Chicago
Blues - Moto Perpetuo -
Song of Farewell -
Promenade - September
Song - Scherzo
Finale
Dopo Starter
Solos e Skilful
Solos, Philip Sparke
completa la serie di
libri per strumenti
solisti con Super
Solos. I brani
proposti rispondono alle
richieste e alle
caratteristiche dei vari
strumenti. Grazie al CD
incluso,
conlaccompagnamento del
pianoforte, si apprendono
i vari aspetti del
suonare in ensemble.
No. 2 Love's Sorrow
Cello and Piano.
Composed by Fritz
Kreisler. Edited by Mats
Lidströ and m.
Arranged by Mats
Lidstroem and Sergei
Wassiljewitsch
Rachmaninoff. This
edition: Saddle
stitching. Sheet music.
String Solo. Classical.
Softcover. 24 pages.
Duration 300 seconds.
Schott Music #CB291.
Published by Schott Music
(HL.49045737).
ISBN
9790001166287. UPC:
888680735227.
9.0x12.0x0.081
inches.
This
treatment of the
three-part collection,
published in 1905, is
based on Fritz Kreisler's
original version and the
later pianist
transcriptions by Sergei
Rachmaninoff. The
harmonies, the chromatic
developments, and the
counterpoint of the
pianoforte transcriptions
are preserved; the
original and
transcription are
combined into a virtuoso
and effective solo piece.
The three-triennial act
typical of Vienna
requires a certain,
hardly noticeable freedom
of tempo formation
without metronomical
compulsion.
Piece, Op. 39 Violoncelle, Piano [Conducteur et Parties séparées] Faber Music Limited
By Ernest Chausson (1855-1899). For Cello and Piano. Masterworks; Part(s); Score...(+)
By Ernest Chausson
(1855-1899). For Cello
and Piano. Masterworks;
Part(s); Score; Solo;
String - Cello and Piano.
Faber Edition.
Impressionistic;
Masterwork; Romantic. 12
pages. Published by Faber
Music
Sonatine Violoncelle, Piano EMB (Editio Musica Budapest)
Cello and Piano SKU: BT.EMBZ6528 Composed by Pal Jardanyi. Book Only. Com...(+)
Cello and Piano
SKU:
BT.EMBZ6528
Composed
by Pal Jardanyi. Book
Only. Composed 1972. 16
pages. Editio Musica
Budapest #EMBZ6528.
Published by Editio
Musica Budapest
(BT.EMBZ6528).
An ABRSM
syllabus title - Grade
7.Pál Járdányi
(1920-1966) was one of
Zoltán Kodály's
most faithful pupils and
followers. At the end of
his short career in 1965,
he wrote his Sonata for
Cello and Piano. The two
movement format follows
the format of a rhapsody.
The Larghetto is
dominated by pentatonic
melodies characteristic
of Hungarian folksongs.
In contrast, the Allegro
assai takes the tone of a
bagpipe song, offering
rhythmic and virtuosic
parts for each
instrument.
Cello; Piano Accompaniment SKU: HL.133113 Cello and Piano. Compose...(+)
Cello; Piano
Accompaniment
SKU:
HL.133113
Cello
and Piano. Composed
by Alexander
Wierzbillowicz, Ignacy
Feliks Dobrzynski,
Ludomir Michal Rogowski,
Various, and Zygmunt
Noskowski. Edited by
Kazimierz Michalik and
Maciej Paderewski. PWM.
Classical. Softcover.
Polskie Wydawnictwo
Muzyczne #11329010.
Published by Polskie
Wydawnictwo Muzyczne
(HL.133113).
Cello; Piano Accompaniment SKU: HL.50512037 Cello and Piano. Compo...(+)
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.+.
Sonata in two Movements Violoncelle, Piano [Conducteur et Parties séparées] - Avancé Furore Verlag
By Ruth Schonthal. For cello and piano. Work premeried: Neues Kurhaus, Bad Wildu...(+)
By Ruth Schonthal. For
cello and piano. Work
premeried: Neues Kurhaus,
Bad Wildungen (D),
Corinna Eikmeier: Cello,
Brunhilde Eikmeier,
Piano. Commissioned by
the Delta Omicron
International Music
Fraternity. Level:
advanced. Score and
parts. Composed 1989.
Duration 13'. Published
by Furore-Verlag (German
import).
Flute, Cello and Piano SKU: HL.14029849 Composed by Judith Weir. Music Sa...(+)
Flute, Cello and Piano
SKU: HL.14029849
Composed by Judith Weir.
Music Sales America.
Classical. Book
[Softcover]. Music Sales
#NOV120616. Published by
Music Sales
(HL.14029849).
8.5x11.75x0.409
inches.
Commissione
d by the Lontano
Ensemble, and first
performed by them on 21st
January 1981. In this
piece, one instrument per
movement is given musical
prominence over the other
two. Duration: c. 15
minutes.