Par . This collection features 23 Disney hits arranged for duets among two cellos or cello and violin. / Date parution : 2022-06-14/ Recueil / 2 Violoncelles

Par . collection for cello and piano, with audio tracks online Solo Time for Cello is a two-volume series of concert pieces for the intermediate to advanced cellist. / Date parution : 2022-07-23/ Recueil / Violoncelle et Piano

Cesar Franck's Sonata for Piano and Violin is one of the most treasured works in the violin repertoire, a masterpiece of cyclic form with a gracefulness and expressive force almost paradigmatic for the age of musical Romanticism. This work was composed in 1886 and was dedicated to the Belgian violinist and composer Eugène Ysaÿe.Franck's friend, the cellist Jules Desart, was so impressed when he heard the Violin Sonata performed at the Société nationale de musique in Paris that he adapted the work for his instrument. This arrangement was first published in 1887 by inserting the cello part into the piano score of the original edition. For this purpose the piano score had received a new cover and the publisher had expanded the title of the composition to 'Sonate pour piano et violon ou violoncelle?. This version by the cellist Jules Delsart for piano and violoncello is the only arrangement of the work authorized by the composer and its first edition represents the main source for Bärenreiter's new scholarly-critical publication.Bärenreiter's new edition also includes a separate movement, 'Mélancolie?, first published after Franck's death in 1911, again for the same instrumentation, piano and violin or violoncello. This short piece is based on a solfège exercise and was written at the height of the composer's creative powers, at about the same time as his famous violin sonata.The edition is rounded off by an informative text on the genesis and reception history of the two compositions (Ger/Fr/Eng), a complete list of sources, editorial notes and a Critical Commentary (Eng).- Pioneering new Urtext edition- Informative text on the genesis and reception history of the two compositions (Ger/Fr/Eng)- Detailed Critical Commentary (Eng) / Violoncelle Et Piano

Par VIVALDI ANTONIO. Throughout his life, Antonio Vivaldi wrote almost thirty instrumental works that use the cello as a solo instrument. Vivaldi knew how to tailor his music to the cello and in doing so, helped to establish this still young instrument in the music of that time. The Concerto RV 531 is the only double concerto in Vivaldi?s ?uvre for two solo violoncellos. The two solo parts take centre stage with virtuosic passages but lie on the instrument so well that they can be comfortably mastered by advanced students. The edition is based on the careful evaluation of Vivaldi?s autograph score which is the main source and several inconsistencies found in previous editions have been clarified. At the same time the edition allows for a flexible realisation of this concerto: it can be performed by a full tutti orchestra or by one performer per part. The cello part in the basso continuo group can be played by orchestral cellists or by the soloists./ Répertoire / 2 Violoncelles et Piano

Easy Instrumental Duets. 23 classic rock songs: Bang a Gong (Get It On) · Can't Fight This Feeling · Carry on Wayward Son · Cold As Ice · Come on Eileen · Come Together · Crocodile Rock · Down on the Corner · Every Little Thing She Does Is Magic · Free Fallin' · Hurts So Good · The Joker · Livin' on a Prayer · Maggie May · Mr. Roboto · Money for Nothing · One More Night · Peace of Mind · Reeling in the Years · Smoke on the Water · Summer of '69 · Uptown Girl · You're the Inspiration. Please note: this book can be played with the violin title in the series. / Niveau : Facile / Pop and rock / Date parution : 2020-04-11/ Recueil / 2 Violoncelles

Richard Reed Parry's Quartet For Heart And Breath is an innovative and original piece based on the performers' own bodily rhythms. This sheet music is for String Quartet (Violin/Violin/Viola/Cello).Richard Reed Parry is familiar to millions as the lead singer of rock band Arcade Fire, yet his foray into classical music is equally worthy of attention. Quartet For Heart And Breath is an experiment into using the performers' heartbeats and breathing to dictate the tempo. The performers are instructed to wear stethoscopes in order to listen to their heartbeats closely, while one complete breath corresponds to one bar and two heartbeats equal two crotchets.The result is a quiet and subtle piece, as each instrument has to play softly so as to be able to keep in time. The piece also has a naturally occurring dynamism in that the players' heart rates constantly change as the performance goes on, with each instrument falling in and out of sync sometimes culminating in a beautiful moment of all heartbeats matching each other. Interestingly, this unique aspect means that no performance will ever be the same, meaning to hear or play this composition will be a truly once in a lifetime experience.Quartet For Heart And Breath is a superbly one-of-a-kind composition by Richard Reed Parry. Commissioned by the Kronos Quartet, this piece makes for a wonderfully distinctive performance, with fascinating implications for the connection between the music and the body. / Quatuor A Cordes

Par PAUER JIRI. The 'Twelve Duets for two Violoncellos” by renowned Czech composer Jirí Pauer (1919-2007) captivate with their harmonic and timbral combinations and their dramatic expression. These moderately difficult pieces are ideal for recitals and can be performed by two students or a student and teacher. They familiarise players with playing techniques such as sul ponticello, sul tasto, pizzicato, tremolo and staccato. Our edition is based on the autograph score with added recommendations for fingering and bowing. Composed in 1969, this collection which has a duration of 15 minutes is dedicated to the cellist Antonín Kohout, the founder of the famous Smetana Quartet, and his daughter Máša./ Recueil / 2 Violoncelles

This anonymous sextet arrangement of Beethoven's Fourth Piano Concerto was highly popular in Vienna during the composer's lifetime.We know this from at least two sets of handwritten parts which were then in circulation.No piano part has been handed down- indeed, the original sets of parts probably omitted the piano.The soloist presumably studied his part from the first edition of the solo part, published with the original performance material in 1808. (The full score did not appear until 1861).The sextet version deftly integrates the original wind parts into the string texture.The arrangement stands in the tradition of piano reductions with chamber music accompaniment, of the sort which were also made for Mozart's piano concertos K. 413 to 415 and later for the Chopin concertos.This Urtext edition, edited by the renowned Beethoven scholar Jonathan Del Mar, presents this arrangement for the first time in print. The musical text is supplemented by an informative Introduction and a Critical Commentary.- First ever publication of this arrangement- Includes a separate solo part as was customary in Beethoven's day- Provides new possibilities for soloists to perform this work / Quatuor A Cordes Et Piano

Original Version - Edition for Cello and Piano. Par SCHUMANN ROBERT. Schumann’s Cello Concerto Rediscovered In her first Urtext edition for Edition Peters, internationally renowned cellist Josephine Knight reveals Robert Schumann’s original version of his Cello Concerto in A minor Op. 129 – a piece he actually called a ‘Concertstück’ – removing generations of inauthentic editorial interventions. This is the only available modern scholarly edition of the work as Schumann originally conceived it, and restores the text from October 1850, based on the composer’s manuscript held in the Biblioteka Jagiellonska in Kraków. This Full Score matches the separately available edition for Cello and Piano (EP 73488). Matching orchestral material is also available from the publisher. Only modern Urtext edition based on Schumann’s original 1850 manuscript Many new corrections and clarifications, especially to the cello part Scholarly preface detailing history of the work and this edition by editor Josephine Knight, Piatti Professor of Cello at the Royal Academy of Music London Cello Part contains Josephine Knight's fingering and bowing suggestions Critical Commentary Cello and piano edition available separately from Edition Peters: orchestral parts available for rental Recording of the Concertstück featuring Josephine Knight available from Dutton Robert Schumann’s tragic last years have mired many of his greatest works in unnecessary doubt. The story of the suppression of his Violin Concerto by well-meaning friends is relatively well-known. Few, however, know that the version of the Cello Concerto that is routinely heard today is so far from Schumann’s original conception of the work – not only in details of phrasing and articulation, but also featuring a different ending with a bold final flourish from the cello. Composed in a burst of inspiration in two weeks in October 1850 shortly after he and Clara had moved to Düsseldorf, Schumann (who in 1850 was still in good health) never heard the piece performed. In an effort to promote a performance of the work, he gave the score to the cellist Robert Emil Bockmühl. Bockmühl made revisions that Schumann resisted, and the hoped-for performance never happened. Schumann’s health failed and he died aged just 46 in 1856. The Concerto, in an already substantially revised form, was premiered in 1860 but it was not given significant recognition until it was championed by Pablo Casals in the 20th century by which time (and since) the text for the work had accreted additions and alterations from generations of soloists. Now Josephine Knight, Piatti Professor of Cello at the Royal Academy of Music, London has returned to the original 1850 manuscript of the work, which is in the Biblioteka Jagiellonska in Kraków, to reveal Schumann’s original thoughts for the first time in a modern Urtext edition. The edition reflects Schumann’s original conception of the work as a Concertstück and restores Schumann’s musical text, free of posthumous interventions. ‘My ultimate wish,’ says the editor, ‘is to give performers both access to, and confidence that they are playing from, an edition which is a true representation of the piece in its original form, no matter how much more difficult this might be. I found that incorporating the changes enabled the piece to take on a completely different character – one that is lighter and happier, even “cheerful”, as Schumann himself described the work.'/ Répertoire / Violoncelle et Piano

Because a fine orchestra depends on fine players, Solo Time for Strings emphasizes individual accomplishment, progress, and achievement while preparing young students for participation in a school orchestra. The series teaches reading in conjunction with note learning, enabling students to start playing melodies as soon as possible, and is appropriate for class or individual instruction. The solos assist in a progressive technical development from 'twinkle, twinkle' in Book 1 to music by Vivaldi in Book 5. / Violoncelle

Béla Bartók composed his 44 Violin Duos in 1931, at the urging of the German violin pedagogue Erich Doflein. With two exceptions, all the pieces are based on original folk music themes, most of which the composer himself collected in the course of his numerous collecting trips to the Carpathian Basin and in Algeria. Although conceived as parts of a pedagogically motivated set, these little pieces are highly effective in concert performance as well. The transcription follows Bartóks original faithfully. The publication includes fingerings added by the editor. / 2 Violoncelles

Easy Instrumental Duets. 24 favorite melodies from top classical composers in easy duet arrangements for two instrumentalists are featured in this collection, including: Air on the G String - Blue Danube Waltz - Canon in D - Eine Kleine Nachtmusik - Hallelujah Chorus - Jesu, Joy of Man's Desiring - Minuet in G Major - Ode to Joy - Pictures at an Exhibition - Sheep May Safely Graze - Trumpet Voluntary - William Tell Overture - and more. Arrangements work for two clarinets or can be used with the other woodwind titles from this series./ Recueil / 2 Violoncelles

16 Spooky morceaux à jouer et à chanter. Inclut le support CD. Hoojum, Boojum, higgery perruquier, assistants United ! et Trick, traiter ou Tango - quelques-unes des pièces captivante de la magique de nouveaux livres sorcières ' Brew et Potion de l'Assistant. Le mélange novateur de tunes rythmiques, rhymes descriptives et accompagnements jazzy passionnantes sont définies pour capturer l'imagination de tous les débutants. Chaque livre and CD contient: - enseignement points - formation rythmique - suggestions pour la pratique - superbes graphiques - fun et paroles utiles - varié et inspirant tunes. Enfants vont être ensorcelés par la sorcellerie visuel et musical contenue dans les sorcières ' Brew et Potion de l'Assistant livre suivi. Contes de sorcières et des assistants ont enthr MAREN1 les enfants et les adultes pendant des siècles et ont inspiré un travail remarquable des auteurs, des compositeurs et des illustrateurs. / Violoncelle Et Piano

This volume contains all Fauré's single-movement cello pieces, two of them published here for the first time. Also included as an appendix is a little-known sight-reading etude for two cellos. / Violoncelle Et Piano