| Mosaïque En Français Quatuor à cordes: 2 violons,
alto, violoncelle Billaudot
This string quartet is in five movements, of which the second and fifth are by f...(+)
This string quartet is in five movements, of which the second and fifth are by far the most elaborate. The remaining three movements are rather short, like brief vignettes.The second movement draws its inspiration from Schubert, albeit indirectly- the middle instruments in the quartet (violin 2, viola) play an accompaniment with a motif of two slurred notes, almost always in sixths.In spirit and style, the fifth movement is akin to Masques for violin and cello: a rather introspective piece, a simple compositional approach using few notes, obsessively repeated melodies, the absence of tonality, no modulation in the proper sense of the word, repetitive structures and hypnotic sequences.The movements may be played individually.Commissioned by the Spanish Center for the dissemination of Contemporary Music, 2009.Premiered on April, 27. 2009, at the Museo Nacional Centro de Arte Reina Sofia, Madrid (Spain), by the Capuçon Quartet. No direct sales to individuals: consult your music shop.2015 recommended retail prices excluding VAT.Works on hire: contact our Hire Department directly. / Quatuor A Cordes
34.10 EUR - vendu par LMI-partitions Délais: Sur commande | |
| Peter Maxwell Davies:
Naxos Quartet No.4 -
Children's Games: String
Quartet: Quatuor à cordes: 2 violons,
alto, violoncelle [Partition] - Avancé Chester
The Full Score for Peter Maxwell Davies’ fourth in a series of ten string...(+)
The Full Score for Peter Maxwell Davies’ fourth in a series of ten string quartets commissioned by the Naxos Recording company first performed by the Maggini Quartet on 20th August 2004 at the Chapel of the Royal Palace Oslo Norway as part of the Olso Chamber Music Festival. Composer Note: The fourth Naxos quartet was written in January and February of 2004 with the intention of producing something lighter and much less fierce than itspredecessor an unpremeditated and spontaneous reaction to the illegal invasion of Iraq.I returned to the well-known Brueghel picture of children's games (1560 now in Vienna) which had been the inspiration for my sixthStrathclyde Concerto for flute and orchestra. These illustrations liberated my musical imagination but I feel it would limit the listener's perception to be too specific about which game relates to exactly which section of thework. Suffice it to say that there is vigorous play - leap-frog bind the devil with a cord truss wrestling - alongside quieter pastimes - masks guess whom I shall choose courting odds and evens. The single movementjuxtaposes these activities as abruptly and intimately as they occur in Brueghel. Rather as the eye is taken into different perspectives and proportions of scale within the picture taking liberties which would never be presentin for instance Brunelleschi architectural drawings so here with a constant sequence of transformation processes I have distorted the neat precise implications of modal progression expressed in the unison opening phrase(from F to B through A sharp/B flat) so that the ear is led en route into the sound equivalents of strange passageways and closed rooms: sicut exposition ludus. As work on the quartet progressed I became aware that Iwas reading into and behind the games adult motives and implications concerning aggression and war with their consequences. It was impossible to escape into innocent childhood fantasy. The nature of the F to B
19.99 GBP - vendu par Musicroom GB | |
| Gershwin George -
Summertime - String
Quartet Quatuor à cordes: 2 violons,
alto, violoncelle Schott
from Porgy and BessInstrument : string quartet (double bass ad lib.)Type : score...(+)
from Porgy and BessInstrument : string quartet (double bass ad lib.)Type : score and partsNombre de Pages : 16There is hardly any other lullaby in the field of classical music - apart from Brahms' 'Guten Abend, gute Nacht' - that has gained such popularity as George Gershwin's (1898-1937) 'Summertime'. It is a song from his opera Porgy and Bessâ'' which was premiered in New York on 10 October 1935 with only moderate success at first. Every important jazz musician insisted on presenting his own version of this rather evocative and catchy song with which Clara rocks her child to sleep at the beginning of the opera. The present version now offers the opportunity to play this famous 'Summertime' with a string quartet (and double-bass ad lib.) or string orchestra - let's swing!
23.20 EUR - vendu par Woodbrass Délais: Sur commande | |
| kammersymphonie Op, 9
(SCHOENBERG ARNOLD) Orchestre de chambre [Conducteur d'étude / Miniature] Universal Edition
Par SCHOENBERG ARNOLD. Here the fourths, springing from an entirely different ex...(+)
Par SCHOENBERG ARNOLD. Here the fourths, springing from an entirely different expressive urge, shape themselves into a defi nite horn theme, spread themselves out architectonically over the whole piece, and place their stamp on everything that happens. Thus it turns out that they do not appear here merely as melody or as a purely impressionistic chord effect; their character permeates the total harmonic structure, and they are chords like all others.' (Arnold Schoenberg, Theory of Harmony, 1911)
The Chamber Symphony Op.9 heralded a breakthrough in Schoenberg's compositional style. While the work did not go hand in hand with the complete destruction of the old tonal system it does show an extension in chordal and melodic constructions. It's focus on the interval of the fourth rather than the third is stated right at the start with the horn fanfare and this leads into the use of the whole tone scale soon after. These two elements open up a new sound space which he would explore further in the works to follow. Certainly not a work to be missing from any library where contemporary music is one of the main focuses./ Répertoire / Ensemble de Musique de Chambre
74.30 EUR - vendu par LMI-partitions Délais: Sur commande | |
| Rush (HINDSON MATTHEW) Guitare, Quatuor à cordes [Partition] Faber Music Limited
Par HINDSON MATTHEW. Matthew Hindson's Rush for guitar and string quartet take...(+)
Par HINDSON MATTHEW. Matthew Hindson's Rush for guitar and string quartet takes its influence from the music of Felix Mendelssohn. The fast and technically challenging passages found in the final movement of the Mendelssohn String Octet influenced Hindson's decision to compose a work for the Goldner String Quartet that is highly virtuosic in nature. Hindson remarks, 'it is much more the spirit of Mendelssohn's string writing that was influential, particularly the last movements of his string quartets and the String Octet, rather than any sort of harmony or melodic invention.'
This nine minute piece also features the playful, up-beat and repetitive rhythms found in popular music. The fast and mostly accelerating tempo of Rush reinforces both the title of the piece and the influence of 'techno' music. Rush also features a series of catchy and vibrant melodies, making the work accessible to a wide audience. Although the piece is scored for guitar and string quartet, it is regarded by Hindson as a guitar quintet, where the guitarist and the string quartet are treated not as soloists performing with accompaniment, but as integral and equally important entities in the work as a whole. The guitarist and the instruments comprising the quartet each have the opportunity to assume the playful motifs and feature as virtuosic soloists. / Ensemble Music, Instrumental Music / Répertoire / Guitare et Quatuor à Cordes
16.30 EUR - vendu par LMI-partitions Délais: Sur commande | |
| Chamber Music For
Violoncellos 17 4 Violoncelles [Conducteur et Parties séparées] - Intermédiaire/avancé EMB (Editio Musica Budapest)
Artiste: Arpad Pejtsik. The latest volume in this popular series expands the rep...(+)
Artiste: Arpad Pejtsik. The latest volume in this popular series expands the repertoire of intermediate violoncello pupils with some unusual transcriptions. This time the editor, Árpád Pejtsik, has arranged Ave Maria settings (one song and three choral works) for four cellos. The first is a classical music hit, Schubert's Ave Maria. Next is the transcription of a little-known piece from Liszt's vast output, an item from his 1879 choral work Rosario, followed by an arrangement of the first of Verdi's Quattro pezzi sacri, famous for being based on an ''enigmatic scale'' (scala enigmatica). The volume concludes with another evergreen, the Ave Maria from Rachmaninoff's All-Night Vigil. Rather than testing the players' virtuosity, these slow-moving, contemplative pieces serve more to improve intonation skills as well as a sense of form and proportion. The editor has added suggested fingerings and bowings in order to help with the music's appropriate interpretation. / Niveau : Intermédiaire à Avancé / Classique / Recueil / 4 Violoncelles
19.70 EUR - vendu par LMI-partitions Délais: Sur commande | |
| Wind Dances (JALBERT
PIERRE) Flûte Traversière
(Piccolo), Hautbois, Clarinette, [Conducteur et Parties séparées] - Avancé Schott
for piano and woodwind quintet. Par JALBERT PIERRE. Wind Dances is in seven shor...(+)
for piano and woodwind quintet. Par JALBERT PIERRE. Wind Dances is in seven short contrasting movements, each containing dance-like rhythms, both slow and fast. Having two sons who both play the clarinet, I've heard many a woodwind quintet, so I've been wanting to write for the medium for quite a while. In this instance, I also added my own instrument, the piano.
The work opens with a fast movement containing driving rhythms in the winds, which are then answered by the piano. The second movement features colorful effects in the winds and piano (slap tongue, air sounds, muted tones) leading to a long extended lyrical line, gradually orchestrated to involve all the winds. The third movement is a dynamic scherzo, with a separate middle section similar to a traditional Trio section. The slowly unfolding fourth movement is the longest of the piece and anchors the middle of the work. The fifth movement is a kind of echo of the third movement, though this time the dynamic scherzo is high and light, rather than low and dark. The sixth movement is related to the second movement, and is basically a solo cadenza for the clarinet, with a few accompanimental gestures in the piano. The seventh and final movement reprises material from the first movement, this time with new and driving dance-like gestures added.
- Pierre Jalbert / Niveau : Avancé / Répertoire / Flûte Traversière (Piccolo), Hautbois, Clarinette,
226.30 EUR - vendu par LMI-partitions Délais: Sur commande | |
| David Blake: Scenes Cello
Solo: Cello: Instrumental
Work Violoncelle [Partition] Novello & Co Ltd.
Written for Moray Welsh whilst still an undergraduate at York University. This p...(+)
Written for Moray Welsh whilst still an undergraduate at York University. This piece was completed in mid-September. Inspired by Hermann Hesse's Steppenwolf. A solo 'cello seemed an appropriate medium for music which might explore the character of Harry Haller with his desire for bourgeois comfort and his strong misanthropic and suicidal tendencies. The opening theme attempts to express this - melancholy nostalgic a bit Biedermeyer (cf. Brahms Intermezzi). The basic theme of the book at its simplest is that every human personality consists of hundred of different personalities - within every man there lurks a wolf. Accordingly the tendency of my piece is for allits musical material to become distorted either by thematic transformation or by changes of timbre. There are three movements played without a break. The first is a character portrait of the Steppenwolf. The second is concerned in the most general sort of way with the dance elements in the novel - Harry's being taught to dance and appreciate low 'popular' music - a tango is recapitulated in a waltz and 'Yearning' a popular song of the time (1927) is hinted at. The third movement concerns the Masked Ball and the Magic Theatre. Mozart is one of Hesse's great loves and he is repeatedly mentioned in the book. Inevitably some Mozart quotes have been worked in the most significant being a reference to The Magic Flute 'fire and water' flute theme in the middle of the second movement. Long before I finished the piece I was disenchanted with the work of Hesse. Much of Steppenwolf I now find rather embarrassing and the claims currently made for Hesse's greatness seem to me exaggerated. Since my piece is in no important sense programmatically specific this change of heart doesn't really matter.© David Blake
15.99 GBP - vendu par Musicroom GB | |
| Sonnets (NORMAN ANDREW) Violoncelle, Piano Schott
Par NORMAN ANDREW. Sonnets is a collection of miniatures for cello and piano. To...(+)
Par NORMAN ANDREW. Sonnets is a collection of miniatures for cello and piano. To me, these micro-pieces are sonnets not in the rigorously formalized Elizabethan or Petrarchan senses of the word. Rather, they grow from the term's older, freer roots in the Italian word sonetto, meaning 'little song' or 'little sound.' Each of my five little songs takes as its title and point of inspiration a fragment from a Shakespeare sonnet. - Andrew Norman/ Répertoire / Violoncelle et Piano
48.40 EUR - vendu par LMI-partitions Délais: Sur commande | |
| Klar/Obskur (SCHWEITZER
BENJAMIN) Hautbois, Basson et Piano [Conducteur] Schott
Par SCHWEITZER BENJAMIN. The chiaroscuro-technique developed by painters of the ...(+)
Par SCHWEITZER BENJAMIN. The chiaroscuro-technique developed by painters of the Italian renaissance served to intensify contrasts and effects of optical depth. In Klar/Obskur, I tried to transfer the general idea of this technique on the rather unusual instrumentation of two double-reed woodwinds and piano. On the one hand, a clear, well articulated playing is characteristic for these instruments, on the other hand, they have an often underestimated potential of „twilight“: air-sounds and fragile, shady colours have a especially attractive when being produced by double-reed instruments (which are often, and superficially regarded as being less capable of differentiated sounds than flute or clarinet). The piano, too, has a broad bandwidth of possibilities between percussive and delicate playing to complement the woodwinds which, in return, can absorb and continue the fading piano sounds.
The beginning introduces the two contrasting elements that form the basic material for the piece: a clear, sharp chord, followed by fragile, dim sounds. The changes between these elements as well as their combination and amalgamation produce an enormous spectrum of colours and gesture. After this „motto-like“ opening follow four quite clearly separated short sections, each of them being characterised by a well-defined texture: a partly almost imperceptible air-sound passage, a short sequence of microintervallic notes, a burst of virtuosity and a recourse to the fragile sounds of the beginning.
The second, longer main part consists of three sections merging subtly into each other: a short unisono-passage, marked elastic [federnd], is being dissolved into its basic elements; from these remainders, a confrontation of low, ‚arcane‘ bassoon and piano sounds and a strongly ornamented melodic line of the oboe emerges, leading to a short but powerful climax. The piece is concluded by an extended, relaxed epilogue, containing a short piano solo and a duet of oboe and bassoon and, finally, a quotation of the „elastic“ character of the middle section.
Benjamin Schweitzer / Date parution : 2007-11-20/ Répertoire / Hautbois, Basson et Piano
38.80 EUR - vendu par LMI-partitions Délais: Sur commande | |
| String Quartet No.5
'The Time That Has
Passend' (BARGIELSKI
ZBIGNIEW) Quatuor à cordes: 2 violons,
alto, violoncelle [Conducteur et Parties séparées] PWM (Polskie Wydawnictwo Muzyczne)
Par BARGIELSKI ZBIGNIEW . After the first performance of my Fourth Quartet, in S...(+)
Par BARGIELSKI ZBIGNIEW . After the first performance of my Fourth Quartet, in Salzburg in 1997, the artists of the excellent
Hugo Wolf Quartett approached me with the appealing proposition that I write a new quartet. Rather
problematic, however, proved to be the musicians’ delicate suggestion that I invest the work with
elements of a more pungent expression and elements of folklore – ideally Polish. That suggestion
meant that I did not immediately come to a decision, since folklore had not been (with the exception
of a few works for accordion) the object of my interest. However, in defiance of my aesthetic outlook
at that time, I decided to take up this interesting invitation and tackle what was for me a difficult
problem. Ultimately, I found a way out of this rather ambiguous situation by employing a sort of
dodge: I gave the new work a title. In a way, ‘The time that has passed’ substantiates the current to
which I referred while writing this composition. The title and the subtitles of the work’s movements,
which sound quite exotic in our day and age (there are as many as nine movements), justify the curious
marriage between the somewhat nostalgic past and a present that has not yet been particularly
well ‘assimilated’. I hope that these feuilles d’album will discharge their ‘toning’ function well. - Zbigniew Bargielski/ Répertoire / Quatuor à Cordes
54.50 EUR - vendu par LMI-partitions Délais: Sur commande | |
| Latin Dances Quatuor à cordes: 2 violons,
alto, violoncelle Schott
Demanding salon music for string quartet (with double-bass ad libitum) is provid...(+)
Demanding salon music for string quartet (with double-bass ad libitum) is provided by Wolfgang Birtel in his 'Latin Dances' with four titles which can be played individually or as a little suite. The first dance is the chorinho 'Não me toques' by Zequinha de Abreu (1880-1935) who not only wrote 'Tico Tico' but also other rousing pieces of music. Ernesto Nazareth (1863-1934) is considered to be the 'inventor' of the Brazilian tango and waltz: He titled the waltz, which follows as second title, 'Ingenious'. These rather unknown titles are followed by two absolute worldwide hits: 'Bolada de Aficionado' by A.G. Villoldo and then the everlasting beguine 'Bésame Mucho' by the Mexican composer Consuelo Velázques (1916-2005). Whether individually or as a 'four-pack' - the fingers will be twitching and the toes will be tingling for this music carries away musicians and audience alike. / Quatuor A Cordes
32.10 EUR - vendu par LMI-partitions Délais: Sur commande | |
| Sonata (LARCHER THOMAS) Violoncelle Schott
for solo cello. Par LARCHER THOMAS. I do not compose my pieces for a certain voi...(+)
for solo cello. Par LARCHER THOMAS. I do not compose my pieces for a certain voice range or orchestration, but for musicians, for people.
It is almost impossible for me to produce a piece without having a particular person in mind or to hear him/her inwardly.
No matter how standardized the interpretation of classical music is, and no matter how many coordinates have been fixed and defined, I do not want to have them seen (and therewith the notation) as determining and limiting signs, but rather as guideposts towards the creation of vital, organic music. In differentiated music, two participants are necessary in order for a piece to evolve-- the composer and the musician.
Just as there is no one way for a composer to express himself or to notate music, etc., neither is there one way for a musician to read the notation, to interpret, or to live. We find ourselves, for this reason, in a network of meanings, gestures, and signs which have to be fathomed and expanded together.
The tone, the breath, the gestures, the dedication, and the potentialities of a musician were also ultimately decisive for the form of this piece. It is music which pushes the expressive and technical possibilities of the instrument to its very limits. It is music in which the musician has to transport the contexts and expression over and above the notation.
It was not necessary for me to find a new form for this piece; it is a work which can and should be performed in a ‘normal’ concert situation. I deliberately wanted to integrate the perhaps new and unusual content into a familiar form (thus the title ‘Sonata’) And I also wanted to embed the aforementioned extreme situations (in which the technical extremes are synonyms for tension, isolation, loss or tenderness) in an organic process in order for the listener to be able to empathize with and comprehend what is expressed in the piece.
I would like to thank Natalie Clein, to whom the Sonata is dedicated, for inspiring this piece and for the path that led to the realization of the music.
Thomas Larcher/ Répertoire / Violoncelle
19.40 EUR - vendu par LMI-partitions Délais: Sur commande | |
| Sepulchral City (JOST
CHRISTIAN) Clarinette, Violoncelle, Piano (trio) [Conducteur et Parties séparées] Schott
Music for Clarinet in Bb, Cello and Piano. Par JOST CHRISTIAN. In this trio, as ...(+)
Music for Clarinet in Bb, Cello and Piano. Par JOST CHRISTIAN. In this trio, as in most of his compositions, Jost has pictures and associations with true incidents, films and novels in his mind. What inspired him to write this piece was Joseph Conrad's novel 'Heart of Darkness' in which the protagonist Marlow says about the city of Brussels: 'In a few hours I arrived in a city that always make me think of a whited sepulchre.'
In 'Sepulchral City', a work commissioned to mark the tenth anniversary of the Jerusalem Chamber Music Festival, however, the title refers to Jerusalem, the city of white tombs. The topic of Jost's trio is a travel into the soul and living spirit of a city, with no physical movement being needed to find the heart of impenetrable darkness: It lies within the city walls.
In this respect, 'Sepulchral City' equals a compositionally unfolded funeral bell. Even the animated middle section rather has insisting than progressive power. At the end, the only thing to do is to inhale and exhale./ Répertoire / Clarinette en Bb, Violoncelle et Piano
30.30 EUR - vendu par LMI-partitions Délais: Sur commande | |
| Donald Miller: Music From
Around The World For Solo
and Ensemble: Cello: Violoncelle [Partition] - Facile Mel Bay
Cello-Bass-Many selections in this volume are unique and until now have been ina...(+)
Cello-Bass-Many selections in this volume are unique and until now have been inaccessible to the string ensemble repertoire. These pieces are intended for multiple strings for performance in the classroom as well as performance in concerts.Several players may be used on each part. Whenever possible every effort was made to keep the viola and violoncello/double bass parts melodic rather than simply filling in the various harmonic chord progressions. The piecesmaybe performed as a solo for each instrument (Violin 1 Violin 2 Viola or Cello) with piano accompaniment or as duets or trios as well as full orchestra. If performed with full orchestra the piano accompaniment is notnecessary. The string ensemble series meets all standards for ASTA with NSOA (American String Teachers Association/National School Orchestra Association) and Suzuki Association of the Americas Inc. Free piano accompaniment ANDensemble score downloads are available for use with this title.
9.99 GBP - vendu par Musicroom GB Délais: En Stock | |
| Cello Position Handbook,
Volume 1 (FEASTER HALLEY) Violoncelle [Partition + Accès audio] Mel Bay
Par FEASTER HALLEY. New cello students nearly always start in first position aid...(+)
Par FEASTER HALLEY. New cello students nearly always start in first position aided by finger tapes or guides for accurate finger placement. As they advance, they are expected to learn to shift out of first position, but the focus is on the movement of the shift rather than on note locations or pitch accuracy.In this book, author and versatile cellist Halley Feaster introduces a step-by-step approach to understanding each position, leading to thorough comprehension of the cello fingerboard and a more confident and well-rounded player.Together with its engaging video component, Cello Position Handbook shows advanced beginners and intermediate students what notes are available in each of 12 positions. Short exercises and excerpts are provided for practice in each location, ultimately enabling fluid performance without excessive shifting.On completion of this volume, students will be familiar with what notes are available in each position and be able to move comfortably between them while expanding their repertoires. Includes access to online video. / Date parution : 2022-06-08/ Etude / Violoncelle
25.79 EUR - vendu par LMI-partitions Délais: En Stock | |
| Peter Maxwell Davies:
Strathclyde Concerto No.
2: Cello: Instrumental
Work Violoncelle, Piano [Partition] Chester
This work for cello and orchestra was commissioned by the Strathclyde Regional C...(+)
This work for cello and orchestra was commissioned by the Strathclyde Regional Council and the Scottish Chamber Orchestra. It is the second of ten concerti to be written for principal players of the Scottish Chamber Orchestra. Thefirst performance was given in February 1989 by William Conway and the Scottish Chamber Orchestra conducted by the composer.If Davies's Cello Concerto has already evoked comparisons with Elgar's that is perhaps an indicationnot only of its wealth of solo melody (there is hardly a page where the cello is not singing or if not that then dancing) and of its predominantly slow tempos but also of its musical stature. This second Strathclyde concertois a virtuoso piece for the entire ensemble which is used almost throughout as a clutch of soloists rather than as a tutti block. The general tone is one of passionate but interior dialogue especially in the opening Moderato andthe slow movement; and though the finale is more extrovert the work ends back in quietness and rumination.This book contains the solo cello part and a piano reduction of the orchestral score.
17.99 GBP - vendu par Musicroom GB | |
| Sheila M. Nelson:
Tetratunes: Cello:
Instrumental Album Boosey and Hawkes
A collection of very short tunes written by Sheila Nelson. Initially notated wit...(+)
A collection of very short tunes written by Sheila Nelson. Initially notated with numbers (fingering) rather than notes and then later written in staves.
8.50 GBP - vendu par Musicroom GB | |
| Romance Violoncelle, Piano [Partition] Schott
Wolfgang Köhler is professor of piano at the Department of Jazz and Popular Mus...(+)
Wolfgang Köhler is professor of piano at the Department of Jazz and Popular Music of the Berlin Academy of Music. His Romance for violoncello (or viola) and piano is a 'love song without words' with rather agitated middle and final sections. / Violoncelle Et Piano
21.19 EUR - vendu par LMI-partitions Délais: Sur commande | |
| Song Without Words For
Violoncello And
Pianoforte Op. 109
(MENDELSSOHN-BARTHOLDY
FELIX) Violoncelle, Piano Barenreiter
Op. 109. Par MENDELSSOHN-BARTHOLDY FELIX. This standard work of the cello litera...(+)
Op. 109. Par MENDELSSOHN-BARTHOLDY FELIX. This standard work of the cello literature has been extracted from volume II of the Complete Works for Violoncello and Pianoforte (BA 9096 and BA 9097) which was published in 2016. Mendelssohn scholar R. Larry Todd edited the scholarly-critical edition of ?Song without Words?.
This work is not based on the surviving autograph manuscript, which could not have been the basis for the posthumous first edition, but rather on the only plausible source: the German first edition itself. This was published in 1868 as op. 109 and is unquestionably based on an untraceable complete final manuscript, perhaps once previously owned by the dedicatee, French cellist Lisa Barbier Cristiani.
The publication is free from editorial amendments and modern performance instructions and provides an excellent basis for musical interpretation./ Répertoire / Violoncelle et Piano
11.10 EUR - vendu par LMI-partitions Délais: En Stock | |
| Wolfgang Birtel:
Golliwogg's Cakewalk:
Cello: Instrumental Work Violoncelle Schott
from Children's Corner-The famous Golliwogg's Cakewalk is the final part of Debu...(+)
from Children's Corner-The famous Golliwogg's Cakewalk is the final part of Debussy's Children's Corner series consisting of 6 miniatures for Piano which he wrote for his daughter in 1906-1908.The Ragtime style refers to the dance which came into fashion around the turn of the century. In the middle part the composer parodies the beginning of the opera Tristan and Isolde by Richard Wagner several times to which Debussy had a rather ambiguous relationship.The present arrangement allows to play the popular set in a version for melody instruments with accompaniment.
5.99 GBP - vendu par Musicroom GB | |
| Golliwogg's Cakewalk
(BIRTEL WOLFGANG) Trio avec Piano [Conducteur et Parties séparées] Schott
from Children's Corner. Par BIRTEL WOLFGANG. The famous Golliwogg’s Cakewalk i...(+)
from Children's Corner. Par BIRTEL WOLFGANG. The famous Golliwogg’s Cakewalk is the final piece from Debussy's cycle Children’s Corner which consists of 6 miniatures for piano, written for his daughter in the years 1906-1908.
The style corresponds to that of ragtime, a dance which was in vogue around the turn of the century. In the middle section, he parodies several times the beginning of the opera Tristan and Isolde by Richard Wagner with whom Debussy had a rather ambiguous relationship.
The present arrangement now allows musicians to play the popular movement in a version for piano trio./ Répertoire / Trio avec Piano
20.60 EUR - vendu par LMI-partitions Délais: Sur commande | |
| Encore (EOTVOS PETER) Quatuor à cordes: 2 violons,
alto, violoncelle [Conducteur et Parties séparées] Schott
There's a taxi waiting for Chekhov, but he'd rather go on foot.. Par EOTVOS PETE...(+)
There's a taxi waiting for Chekhov, but he'd rather go on foot.. Par EOTVOS PETER. Right at the beginning, this funny encore piece has the string quartet imitate the squawking horn of a car from 1901. The following polyrhythmic and somewhat slow chorale may suggest that Chekhov actually did not make his decision easy for himself…
'Encore' is dedicated to Peter Eötvös' Hungarian fellow composer and master of aphorism, György Kurtág, on the occasion of his 80th birthday./ Répertoire / Quatuor à Cordes
17.00 EUR - vendu par LMI-partitions Délais: Sur commande | |
| Oktett In F (SCHUBERT
FRANZ) Clarinette, Basson, Cor, 2 Violons,
Viole, Violonc [Partition] Barenreiter
Par SCHUBERT FRANZ. Octet in F major Op. post. 166 D 803 for Clarinet (in B-flat...(+)
Par SCHUBERT FRANZ. Octet in F major Op. post. 166 D 803 for Clarinet (in B-flat), Bassoon, Horn, Violin (2), Viola, Violincello, Double Bass “I have done little new by way of lieder. In compensation I have tried my hand at several instrumental things, for I have composed two quartets for Violins, Viola and Violincello [A minor, D 804; D minor, D 810] and an octet [F major, D 803] and will write yet another quartet [not carried out]. Indeed, in this way I hope to prepare the way to the full-scale symphony. The latest news in Vienna is that Beethoven will give a concert [on 7 May 1824] . . . I too am inclined to give a similar concert next Year, God willing. ” Thus Schubert, writing on 31 March 1824 to his friend Leopold Kupelwieser in Rome, in a lengthy letter whose first section is decidedly low-spirited. In order to prepare the way to the full-scale symphony – by which he doubtless meant the genre as a whole rather than any specific work – he wrote string quartets and a large-scale piece of chamber music for strings and winds, taking Beethoven as his guide. Urtext of the New Schubert Edition Parts (BA5617) and study score format 22. 5 x 16. 5cm (TP302) available for sale/ Répertoire / Clarinette, Basson, Cor, 2 Violons, Viole, Violonc
22.10 EUR - vendu par LMI-partitions Délais: Sur commande | |
| Anthony Powers: String
Quartet No. 2: String
Quartet: Score Quatuor à cordes: 2 violons,
alto, violoncelle Oxford University Press
This four-movement work represents the composer's desire 'to write a piece of re...(+)
This four-movement work represents the composer's desire 'to write a piece of real chamber music intimate and conversational in tone drawing the listener into its worlds'. The result he writes 'is a rather inward-looking reflective work not without a capricious aspect but only occasionally raising its voice.'.
20.50 GBP - vendu par Musicroom GB | |
| Anthony Powers: String
Quartet No. 2: String
Quartet: Parts Quatuor à cordes: 2 violons,
alto, violoncelle Oxford University Press
This four-movement work represents the composer's desire 'to write a piece of re...(+)
This four-movement work represents the composer's desire 'to write a piece of real chamber music intimate and conversational in tone drawing the listener into its worlds'. The result he writes 'is a rather inward-looking reflective work not without a capricious aspect but only occasionally raising its voice.'
30.25 GBP - vendu par Musicroom GB | |
| Polichinelle (KREISLER
FRITZ) Trio à Cordes [Conducteur et Parties séparées] Schott
Serenade. Par KREISLER FRITZ. Apart from the collection of Classical Manuscripts...(+)
Serenade. Par KREISLER FRITZ. Apart from the collection of Classical Manuscripts composed by the violin virtuoso Fritz Kreisler (1875-1962) which he had passed off as transcriptions of settings of old masters, the violinist published original works early on as well. Kreisler himself liked to play them as encore pieces, thus sweetening many a concert with this 'musical confectionery'. Famous tunes are, for example, Liebesfreud, Liebesleid and Schön Rosmarin, his old Viennese dance tunes, in which Kreisler evoked the coffee-house atmosphere of his home town with beautiful melodies and mellifluous harmonies.
Another wonderful example is his Marche miniature viennoise, with its humorous theme and a rather march-like middle section - and everywhere, Kreisler takes the audience by surprise with a little Viennese snide humour.
Kreisler's original compositions are lovely miniatures, lively and catchy, even with a touch of melancholy - yet full of charm and elegance. Arranged for string trio, they are enjoyable to play and worth listening to and a valuable addition to the repertoire - ideal for sociable music-making or as pieces to end a 'serious' concert./ Répertoire / Trio à Cordes
23.60 EUR - vendu par LMI-partitions Délais: Sur commande | |
| Marche miniature
viennoise (KREISLER
FRITZ) Trio à Cordes: violon, alto,
violoncelle Schott
Par KREISLER FRITZ. Apart from the collection of Classical Manuscripts composed ...(+)
Par KREISLER FRITZ. Apart from the collection of Classical Manuscripts composed by the violin virtuoso Fritz Kreisler (1875-1962) which he had passed off as transcriptions of settings of old masters, the violinist published original works early on as well. Kreisler himself liked to play them as encore pieces, thus sweetening many a concert with this 'musical confectionery'. Famous tunes are, for example, Liebesfreud, Liebesleid and Schön Rosmarin, his old Viennese dance tunes, in which Kreisler evoked the coffee-house atmosphere of his home town with beautiful melodies and mellifluous harmonies.
Another wonderful example is his Marche miniature viennoise, with its humorous theme and a rather march-like middle section - and everywhere, Kreisler takes the audience by surprise with a little Viennese snide humour.
Kreisler's original compositions are lovely miniatures, lively and catchy, even with a touch of melancholy - yet full of charm and elegance. Arranged for string trio, they are enjoyable to play and worth listening to and a valuable addition to the repertoire - ideal for sociable music-making or as pieces to end a 'serious' concert./ Répertoire / Trio à Cordes
23.60 EUR - vendu par LMI-partitions Délais: Sur commande | |
| Parabola concertante
(SHCHEDRIN RODION) Violoncelle, Piano Schott
piano reduction with solo part. Par SHCHEDRIN RODION. Shchedrin’s œuvre spans...(+)
piano reduction with solo part. Par SHCHEDRIN RODION. Shchedrin’s œuvre spans nearly every musical genre, and it is hardly surprising that an output of such versatility contains some rather remarkable instrumental combinations, for example “Music from afar” for 2 bass recorders, or “Balalaika” for a solo violin playing pizzicato throughout.
This predilection for the unusual leads the composer in “Parabola concertante” with its basically subdued and contemplative mood to add a charcteristic counterpoint by contrasting the accompanying string orchestra with timpani. The piece was composed for master virtuoso Mstislav Rostropovitch, who played the solo part in the first performance at the International Cello Festival in Kronberg./ Répertoire / Violoncelle et Piano
44.20 EUR - vendu par LMI-partitions Délais: Sur commande | |
1 |
|