Par COHEN MARY / SPEARING ROBERT. Masterful duo Mary Cohen and Robert Spearing team up once again in this wonderful collection of original pieces for established beginner string quartet. Quartetstart Level 2 is full of stimulating and enjoyable repertoire which has been carefully devised for string players of around ABRSM Grade 2?3. Building on the skills and ideas first introduced in Quartetstart Level 1, this truly original collection explores a wide range of musical styles as well as many interesting string effects (including simple harmonics, collegno, pizzicato and tremolo). Containing invaluable rehearsal tips throughout, these imaginative pieces will give string players the opportunity to discover the joys of ensemble playing right from the early stages of learning. A violin 3 alternative to the viola part is provided. / Ensemble Music, Methods and Tutors / Recueil / Violon, Violoncelle et Alto

Par BUNTING CHRISTOPHER. Warming up and keeping one?s basic technique in peak condition, (or working to get to peak condition) is fundamentally important, yet many cellists do not have routine exercises to follow. This book, the second of a two volume set, which complements book 1, provides the exercises that every cellist needs, for both the left and right hands: bow off the string; right arm choreography; shifting; winter skating; various portamenti; fives; string crossing; octaves; resilience exercises; double-stopping ritual; pizzicato; a few spiccati; bow control ? accents. Christopher Bunting (1924-2005), the cellist and composer, gave concerts, broadcasts and masterclasses throughout Europe, Australasia and the United States. The Daily Telegraph described him as ?a master?. Die Welt remarked on his ?highly developed musical comprehension, prodigious technique and outstanding artistry?, and the Swedish press called him ?one of the greatest instrumentalists of today?. He thought deeply about the psychological and physical influences that lie behind technique./ Etude / Violoncelle

for String Orchestra. Par NISHIMURA YUKIKO. Flowing in the Wind inspires imagination and memories about a carefree time or place. The legato bow strokes and intricate harmonies, surround the listener with a beauty and sense of well-being. Yukiko Nishimura weaves harmonies in the orchestra within C Major, while placing rests for the musicians as the wind blows throughout the music.Flowing in the Wind expresses a season full of hope and joy through simpler rhythms, minimal time changes, mostly first position (except cello), and some divisi at a Level 3. Students will love the sounds and colors they create as an orchestra, while they practice and perform Flowing in the Wind, a beautiful addition to your library. / Date parution : 2022-11-29/ Répertoire / Orchestre de Cordes

Par BACH JOHANN SEBASTIAN. The suites are the very core of cello literature, with their timeless beauty accompanying cellists from their student years throughout the height of their professional careers. Considering the works’ significance, the great number of editions in existence is not surprising. However, the composer’s autograph has not been preserved and is considered lost. This circumstance creates an exceptional challenge many editors faced over the years. The four autograph sources still in existence and the first print from 1824 show numerous small deviations, especially in terms of articulation markings and phrasing. This facsimile edition is the first to juxtapose all four autograph sources as well as the first print (along with Bach’s own arrangement of Suite No. V for lute). For the first time, readers can compare a specific section in all sources at one glance. This allows for a straightforward and immediate consideration of all sources./ Répertoire / Violoncelle

For Flute, Clarinet In Bb, Harp, and String Quartet. Par LASH HANNAH. Form and Postlude is a piece in one continuous movement but with a distinct postlude which ends the work. I play throughout with the idea of pacing on many levels: the largest level is the idea of proportion of sections to one another, then harmonic rhythm (in the broad sense), then harmonic rhythm on a more local level, and of course then on the surface of the music there is instrumental texture and how fast the notes go by. Along with this sense of play in terms of the pacing and motion is the idea of color. I love this ensemble, and its palette of color has been part of my DNA, as it were, for many years, because Ravel’s wonderful work Introduction et Allegro is such a cornerstone in the harpist’s repertoire. While composing, I found myself feeling that I was entering into this colorful world that is possible with this combination of instruments, almost as if it were possible to step into a painter’s palette in a real and visceral way, physically interacting with all the different colors. The title Form and Postlude nods to Ravel’s Introduction et Allegro, although my piece lives in its own very distinct space apart from Ravel. – Hannah Lash/ Répertoire / Flûte Traversière, Clarinette, Harpe et Quatuor à

The composer states:'The term 'oblique strategies? was coined jointly by British musician Brian Eno and German-born British visual artist Peter Schmidt to describe a series of printed cards they developed throughout the 1970's. The cards had their origins in sets of uncannily similar working principles that both artists had established independently, and featured aphorisms intended as a means of triggering inspiration or providing useful stimulus during the creative process, particularly when encountering difficulties of fatigue or time constraint.As Eno and Schmidt wrote in their introduction to the first edition in 1975: 'They can be used as a pack (a set of possibilities being continuously reviewed in the mind) or by drawing a single card from the shuffled pack when a dilemma occurs in a working situation. In this case, the card is trusted even if its appropriateness is quite unclear. They are not final, as new ideas will present themselves, and others will become self-evident?.I chose eleven of Eno and Schmidt's strategies, ordering them in a way that revealed to me a logic and potential inter-relatedness within a hitherto disparate set of single ideas I had assembled for solo cello, each of them in turn a reflection upon the commission's initial purpose of creating a test piece for the 2014 Emanuel Feuermann cello competition.It's my hope then that the resultant composition may provide not only an interesting test of the competitors' talents but also offer the interpreter an opportunity to reflect upon the delights and pitfalls of creativity as he or she comes to terms with the various musical and technical challenges to be found within these ten minutes of music for solo cello.? / Violoncelle

The Belwin String Builder is a string class method in which the violin, viola, cello, and bass play together throughout. Each book, however, is a complete unit and may be used separately for class or individual instruction. The material in this book is realistically graded so that only a minimum of explanatory material is required. Each melody is interesting and will provide the basis for a fine left hand technic and bow arm. Available in three levels for violin, viola, cello, bass, piano accompaniment, and teacher's manual.

Par BUNTING CHRISTOPHER. Warming up and keeping one?s basic technique in peak condition (or working to get to peak condition) is fundamentally important, yet many cellists do not have routine exercises to follow. This book, the first of a two volume set, which complements book 2, provides the exercises that every cellist needs, for both the left and right hands: daily bowing practice; left hand work-out; velocity exercise; bowing patterns; spiccato work-out; cortot; Zwolle; Shifting; a study. Christopher Bunting (1924-2005), the cellist and composer, gave concerts, broadcasts and masterclasses throughout Europe, Australasia and the United States. The Daily Telegraph described him as ?a master?. Die Welt remarked on his ?highly developed musical comprehension, prodigious technique and outstanding artistry?, and the Swedish press called him ?one of the greatest instrumentalists of today?. He thought deeply about the psychological and physical influences that lie behind technique./ Etude / Violoncelle

for String Orchestra Score and Parts. Par HAENDEL GEORG FRIEDRICH. In the key of G Major, the work begins with a Moderato where dotted rhythms are abundant. A brief Adagio intervenes and we continue with a slightly fugal, crisply rhythmic Allegro, with 16th note passage work for the upper strings. After another brief Adagio, Handel finishes with a lyric Minuet. All sections are active throughout. This Overture is a wonderful introduction to the Baroque period and the bowing and ornamental styles that go with it./ Répertoire / Orchestre à Cordes

Par BACH JOHANN SEBASTIAN. With his cello technique Pablo Casals set standards new at the time, and with his interpretation and warm, singing tone he helped even little, improbable compositions achieve great effectiveness. By means of his interpretative art he rescued Bach's Cello Suites from oblivion, and he occupied himself with them throughout his life, fascinating his public with his renditions of these suites over and over in new ways./ Répertoire / Violoncelle

Due to a differing timbre, the viola receives its own voice in Carter's String Trio, which features the instrument prominently throughout the work. / Violon, Alto Et Violoncelle

Score and Parts. Par GLORIEUX FRANCOIS. François Glorieux was born in Belgium in 1932, and acclaimed throughout Europe, the USA, Latin America, Canada, Japan, China, the Middle East and Africa. He is one of the most widely accomplished and versatile musicians traveling the international circuit today: pianist composer conductor, commentator, entertainer, honorary professor of chamber music at the Royal Music Conservatory of Ghent and guest professor at Yale University (USA). His particular art was the rare one of improvisation presented in five languages. Glorieux practices all musical styles and has been highly considered by great artists such as André Cluytens, Arthur Rubinstein, Yves Nat, Hiroyuki Iwaki, Enrique Jorda, Raphael Frühbeck de Burgos, but also Michael Jackson, Stan Kenton, Stéphane Grappelli, Paul McCartney, Toots Thielemans, Jacky Collins, Annie Girardot, Dionne Warwick, A.C. Jobim, and so on. / Date parution : 2022-11-29/ Répertoire / Orchestre de Cordes

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

Par DYSON GEORGE. The Cello Sonata by Sir George Dyson (1883?1964) is the most substantial of the composer?s earliest surviving works and is a welcome addition to the repertoire of romantic British cello music. Within Dyson?s small yet distinguished output, it merits recognition both as a significant instrumental score in its own right, and as a precursor of a corpus of scores expertly written for solo or ensemble strings. Evident throughout this work is Dyson?s appealing and characteristic strain of melody and harmony, both recognisably English and distinctly personal. / Date parution : 2021-11-03/ Répertoire / Violoncelle et Piano