Ce portefeuille comprend 14 classiques de l'adaptation du film oscarisé de Boublil et Schönberg superlatif musicale, Les Misérables, savamment arrangé pour violoncelle. Comprend la nouvelle chanson coup et: Suddenly and: At the End of the Day - Bring Him Home - Castle on a Cloud - Do You Hear the People Sing? - Drink with Me (To Days Gone By) - Empty Chairs at Empty Tables - A Heart Full of Love - I Dreamed a Dream - In My Life - A Little Fall of Rain - On My Own - Stars - Who Am I? / Violoncelle

This eclectic collection for solo Flute will delight film fans of all ages! 101 Movie Hits contains a dazzling selection of favourites from the silver screen, including Diamonds Are A Girl's Best Friend (Gentlemen Prefer Blondes), Eye Of The Tiger (Rocky III), Hallelujah (Shrek), Happy (Despicable Me 2), Mrs. Robinson (The Graduate), The Dreame (Sense And Sensibility), Let It Go (Frozen), Summer Nights (Grease), The Music Of Goodbye (Out Of Africa) and more. / Violoncelle

An amazing selection from VH-1's 100 Greatest Songs Of Rock and Roll, arranged for solo Cello.Includes the songs: All Along the Watchtower, All Shook Up, American Pie, Beat It, Blowin' in the Wind, Blue Suede Shoes, Bohemian Rhapsody, Born to Be Wild, Born to Run, Bridge over Troubled Water, California Dreamin', Dream On, Every Breath You Take, Fire and Rain, Free Bird, Gloria, Good Vibrations, Great Balls of Fire, A Hard Day's Night, Hey Jude, Hotel California, (I Can't Get No) Satisfaction, I Heard It Through the Grapevine, Imagine, Jump, Layla, Let It Be, London Calling, Maggie May, My Generation, Piano Man, Proud Mary, Respect, Rock Around the Clock, Roxanne, Smells like Teen Spirit, Stairway to Heaven, Stand by Me, Sunshine of Your Love, Superstition, We Are the Champions, When Doves Cry, Yesterday, You Shook Me All Night Long and more. / Violoncelle

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

Par LIEBMAN DAVID. Atonement commemorates the holiest day of the year in the Jewish faith, called Yom Kippur. On that day an individual repents for transgressions which may have occurred during the past year. Fasting and prayer are the activities which begin at sundown with the chanting of Kol Nidre and end twenty four hours later. I wrote the melodies for this piece on Yom Kippur, 1979. Part of the piece quotes the beginning strains of Hatikvah, the Israeli national anthem. It is adaptable to any solo instrument. Solo parts are included for C concert, Bb, Eb and bass clef instruments. Recorded on 'Classique”./ Répertoire / Quatuor à Cordes et Instrument Solo

Through the centuries, the Christmas season has inspired composers, poets, lyricists and hymn writers to apply their craft in devotion to this event. This book presents 100 arrangements of favorite Christmas carols and advent hymns for cello solo with guitar accompaniment. Suggested chordal accompaniment is included for each solo so that any chordal instrument can accompany the cello. Where appropriate, capo chords are shown.The author has also indicated whether the guitarist should use fingerstyle or strum accompaniment. The music in this book spans centuries and represents a wonderful assortment of solos which may be used as preludes or offertories throughout the various seasons in the church year. / Niveau : Intermédiaire / Musique religieuse / Date parution : 2018-05-04/ Recueil / Violoncelle et Guitare

Instrumentalists will love this collection of Broadway classics, including: Any Dream Will Do - Cabaret - Defying Gravity - Do You Hear the People Sing? - Edelweiss - Getting to Know You - Guys and Dolls - Hello, Dolly! - I Dreamed a Dream - If I Were a Bell - Luck Be a Lady - Mame - The Music of the Night - Ol' Man River - People Will Say We're in Love - Seasons of Love - Send in the Clowns - The Surrey with the Fringe on Top - Think of Me - Tomorrow - What I Did for Love - You'll Never Walk Alone - and many more. / Violoncelle

Beethoven's fifth and final piano concerto is at the same time the culmination of his efforts in this genre and a reflection of all his artistic skill and expertise. The surviving manuscripts provide a clear insight into his working methods and his intentions regarding the work's performance.The editor, Jonathan Del Mar, has closely scrutinised the autograph solo piano part and reproduced Beethoven's sophisticated performance instructions for the first time in a modern edition. Among other things, this has special repercussions for the left-hand figured bass line of the piano part during the tutti passages.As with the Piano Concertos Nos. 1 to 4, the piano reduction appears with a separate solo part containing all the information needed by the soloist to conduct the ensemble from the piano.- Many wholly new corrections in the solo and orchestral parts- Piano reduction with a separate solo part, as was customary in Beethoven's day- With Beethoven's continuo figures for the first time in a modern edition / Violoncelle

for Cello. Instrumentalists will love this jam-packed collection of 101 timeless pop hits and favorite standards/ Recueil / Violoncelle

Les 21 miniatures pour violoncelle et piano de Mikis Theodorakis, basées sur un de ses fameux cycles de chansons, sont une déclaration d'amour à sa patrie à l'?est de l'Egée?, c'est-à-dire aux îles Chios, Lesbos et Ikaria. Ces pièces pleines de charme app / Violoncelle Et Piano / niveau : Avancé / Partition

This series offers a versatile selection of music for flute, clarinet, alto sax, tenor sax, trumpet, horn in F, trombone, violin, viola, and cello. Each book contains carefully edited arrangements appropriate to each instrument, and is well suited for level 2-3 students. The CD includes a fully orchestrated demo track of each song, which features a live instrumental solo performance, followed by a play-along track. Also included are PDFs of piano accompaniments, and Alfred's Tempo Changer Software. / Violoncelle

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

Par ALEXANIAN DIRAN. The Classic Treatise on Cello Theory and Practice. An unabridged republication of Diran Alexanian's 1922 classic, Traite Theorique et Pratique du Violoncelle, this volume represents one of the most thorough explorations of cello playing and technique in the literature. It reprints the orginal dual-language edition, featuring French and English instruction side by side on the page, complemented by numerous photographs, diagrams, and music examples. Student and growing professionals alike will find it superb compendium of instruction. / Pédagogie / Livre / Livre Musical

Famous in his day, the Austrian composer and pianist Johann Nepomuk Hummel (1778-1837) studied with Mozart and befriended Beethoven.Among his many works is a relatively late sonata for violoncello and piano composed in 1824 and published in 1826 - a delightful early Romantic piece in three movements supported by a capricious piano part.The expressive cello cantilena in the 'Romance? will capture the heart of every cellist.Our edition, edited by Mark Kroll, is the first scholarly-critical publication of this sonata. It is based on the first edition of 1826 and the autograph manuscript, which served as a master copy for the engraving.A comparison of the sources brought to light a number of details overlooked in the first edition, especially with regard to dynamics.- A must for all cellists and lovers of chamber music- Notes on performance practice in the Foreword (Ger/Eng)- Detailed Critical Commentary (Eng) / Violoncelle Et Piano

Par ROSSINI GIOACHINO. Duetto Per Violoncello E Contrabbasso. Composed in London near the end of 1824, the Duetto is one of the few chamber music works regularly performed today. It is a light and charming composition yet requires experienced performers. The work was often performed in the 19th century by the Double Bass virtuoso Domenico Dragonetti (called ‘Il drago’ or ‘Paganini of the Double Bass’) and we know that Rossini was acquainted with and consulted Dragonetti on matters dealing with the instrument. Bärenreiter’s critical edition is the only currently available publication which is based on Rossini ’s autographand not on the first edition. - Urtext based on the “ Works of Gioachino Rossini”. - First critical edition of the work. - Reference score and separate parts. - With a foreword (Ger/Eng/Ital) and Critical Commentary (Eng)./ Répertoire / Violoncelle ou Contrebasse