Strings. Japanese Traditional Songs. Score and part with CD. Yamaha Music Media #GTW01091438. Published by Yamaha Music Media

Cello with Piano Reduction. By John Williams. John Williams Signature - String. Published by Hal Leonard.

Cello and Piano. By Sheila Nelson. (Cello). Boosey and Hawkes Chamber Music. Size 9x12.25 inches. 25 pages. Published by Boosey and Hawkes.

Cello and Piano. Composed by Jacques Offenbach (1819- 1880). Boosey & Hawkes Chamber Music. Classical. Softcover. Boosey & Hawkes #M202535080. Published by Boosey & Hawkes

(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 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 The Piano Guys. For Cello, Piano/Keyboard. Personality. Softcover. 82 pages. Published by Hal Leonard

Cello with Piano Accompaniment. Composed by Benj Pasek and Justin Paul. Instrumental Solo. Broadway, Pop, Movies. Softcover. Published by Hal Leonard

By Martino Bohuslav. Czech title: Sonata . 3 pro violoncello a klavir (rev. Vyd., ed. A. BYezina). Published by Praha.

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:.

(Fantasia for Cello and Piano). Composed by Edward Mollenhauer. Edited by Christoph Sassmannshaus. For cello solo and piano. Stapled. Barenreiter's Concert Pieces. Transcribed for Violoncello and Piano. Level 2. Piano reduction, part(s). 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.+.

With online audio of piano accompaniments. Composed by Various. Christmas. Softcover Audio Online. Published by Hal Leonard

(with marked and unmarked string parts). By Johannes Brahms (1833-1897). Edited by Egon Voss and Johannes Behr. For Cello, Piano. Henle Music Folios. Softcover. 62 pages. G. Henle #HN1135. Published by G. Henle

Composed by Peter Ilyich Tchaikovsky (1840-1893), arranged by John York, edited by David Brown, Raphael Wallfisch. Set of performance parts for cello and piano. Urtext. With bowings, fingerings, introductory text and performance notes. Op. 33 (original version). 42 pages. Published by C.F. Peters. )

Cello and Piano. Composed by Bela Bartok (1881-1945). Arranged by Hywel Davies. Boosey and Hawkes Chamber Music. Softcover. 28 pages. Boosey and Hawkes #M060132049. Published by Boosey and Hawkes

Cello and Piano. Composed by Aaron Copland (1900-1990). Boosey and Hawkes Chamber Music. Softcover Audio Online. 56 pages. Published by Boosey and Hawkes

21 Pieces for Cello Players Cello and Piano. Composed by Katherine and Hugh Colledge. Edited by Sheila Nelson. Boosey and Hawkes Chamber Music. Classical. Softcover Audio Online. 44 pages. Boosey and Hawkes #M060135453. Published by Boosey and Hawkes

26 Pieces for Cello Players Cello and Piano. Composed by Katherine and Hugh Colledge. Boosey and Hawkes Chamber Music. Classical. Softcover Audio Online. 32 pages. Boosey and Hawkes #M060135484. Published by Boosey and Hawkes

Piano with Cello. By The Piano Guys. Personality. Classical Crossover, Pop. Softcover. 216 pages. Published by Hal Leonard

By The Piano Guys. By Various. Arranged by Various. Exclusive Book/CD Pack for Sheet Music Plus. Book and CD bundle. Published by Hal Leonard

Cello; Piano Accompaniment (Cello Part And Piano Score)

SKU: HL.48025039

Book 2. Composed by Ailbhe McDonagh. Boosey & Hawkes Chamber Music. Classical, Instruction. Softcover Audio Online. 68 pages. Boosey & Hawkes #M060138003. Published by Boosey & Hawkes (HL.48025039).

ISBN 9781784546359. UPC: 196288021032. 0.199 inches.

It's a Cello Thing - Book 2 *fourteen distinctive pieces - perfect for developing cellists of all ages *inventive progressive repertoire players of grade 4-8 standard *informative tips on style and technique for every piece *audio demonstrations by the composer...it's a cello thing.

Score and Parts Chamber Ensemble; Piano Accompaniment (Score & Parts)

SKU: HL.48024755

For Voice, Cello and Piano Score and Parts. Composed by Harrison Birtwistle. Boosey & Hawkes Chamber Music. Classical. Softcover. 92 pages. Boosey & Hawkes #M060118791. Published by Boosey & Hawkes (HL.48024755).

ISBN 9780851628707. UPC: 888680962043. 9.0x12.0x0.4 inches.

Voice, Cello, and Piano. Score and Parts.

Hommage to Beethoven - Piano Sonata no 23, op, 57 Cello and Piano. Composed by Karl Jenkins. Boosey and Hawkes Chamber Music. Classical. Softcover. 18 pages. Boosey and Hawkes #M060135026. Published by Boosey and Hawkes

Violin, Cello and Piano

SKU: HL.48187987

Composed by Darius Milhaud. Leduc. Classical. Softcover. Heugel & Cie #HE31919. Published by Heugel & Cie (HL.48187987).

UPC: 888680839079. 9.0x12.0x0.261 inches.

Darius Milhaud: Trio a Cordes No.2, Op.428 (Trio - Piano).

(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