Cello; Piano Accompaniment (Cello Part And Piano Score) SKU: HL.48025324 ...(+)
Cello; Piano
Accompaniment (Cello Part
And Piano Score)
SKU:
HL.48025324
Cello
and Piano. Composed
by Elena Kats-Chernin.
Boosey & Hawkes Chamber
Music. Classical.
Softcover. Duration 180
seconds. Bote & Bock
#M202536346. Published by
Bote & Bock
(HL.48025324).
UPC:
196288175445.
The
piece is part of the
ballet Wild Swans,
choreographed by Meryl
Tankard at the Sydney
Opera House in 2002,
based on the fairy tale
The Wild Swans by Hans
Christian Andersen.
Originally scored for
soprano and orchestra,
Eliza Aria introduces
Princess Elisa and
expresses her pure soul,
innocence and belief in
the goodness of the
world: Without saying a
word, she must weave
stinging nettles into
cloth to save her
enchanted brothers. The
short, enchanting
vocalise is perhaps Elena
Kats-Chernin's best-known
creation and went around
the world as music in a
promotional video on
YouTube. It is now
available in numerous
versions for `ifferent
instruments and
instrumentations.
For Violoncello and Piano Viola version included. By Nikolai Miaskovsky. Arrange...(+)
For Violoncello and Piano
Viola version included.
By Nikolai Miaskovsky.
Arranged by Mstislav
Rostropovich. String.
Size 8.25x11.75 inches.
88 pages. Published by
Sikorski.
From Jewish Life Violoncelle, Piano Guitare classique Carl Fischer
Chamber Music Cello, Piano SKU: CF.BF141 Composed by Ernest Bloch. Edited...(+)
Chamber Music Cello,
Piano
SKU:
CF.BF141
Composed by
Ernest Bloch. Edited by
Julian Schwarz. 12+8
pages. Carl Fischer Music
#BF141. Published by Carl
Fischer Music (CF.BF141).
ISBN 9781491159989.
UPC:
680160918584.
The
three pieces From Jewish
Life were composed by
Swiss-American composer
Ernest Bloch in 1924, the
same year he took U.S.
citizenship. Though
clearly inspired and
influenced by Jewish
experience, they are
purely concert pieces,
and do not provide any
specific liturgical
significance.
The
first movement, Prayer,
is a deeply heartfelt
plea to the almighty. As
Neil W Levin writes, The
initial four-note motive
in the minor mode,
together with its
elaboration in the
ensuing phrases, sounds
as if it might have
served as the skeletal
model for Max Janowski's
(1912-1991) now
well-known setting of the
High Holyday prayer Avinu
Malkenu. This prayer has
special meaning in my own
spiritual life, as I have
been singing it since my
childhood. Both Prayer
and Janowski's Avinu
Malkenu are cantorial in
nature, to be sung with
heartfelt
pathos.
The second
movement, Supplication
(the act of begging
humbly), has more angst,
almost a sense of urgency
as a result of the
rhythmic motor in the
piano. The third
movement, Jewish Song,
evokes a quintessentially
Eastern-European
melancholy. Its falling
motives with bent
intonation might
represent the pain of the
Jewish
experience.
The
works were dedicated to
Dutch-American cellist
Hans Kindler, a highly
influential musician of
his time, and founder of
the National Symphony
Orchestra in Washington,
D.C. Mr. Kindler was the
soloist for the world
premiere of Bloch's most
celebrated work, Schelomo
in 1917.
Though
the popularity of Bloch's
oeuvre has been dominated
by works of Jewish
connection, we should not
forget that Bloch had
many other stylistic
periods, including
Franco-Belgian, modal,
serial, and even American
folk. In 1927, he was
awarded Musical America's
composition prize in a
unanimous vote, despite
being regarded as an
outsider by American
music writers at the
time. His winning work
America (1928) was
performed by every major
orchestra and conductor
in the following seasons.
May we be proud of his
contributions to American
music. The three
pieces From Jewish Life
were composed by
Swiss-American composer
Ernest Bloch in 1924, the
same year he took U.S.
citizenship. Though
clearly inspired and
influenced by Jewish
experience, they are
purely concert pieces,
and do not provide any
specific liturgical
significance. The first
movement, Prayer, is a
deeply heartfelt plea to
the almighty. As Neil W
Levin writes, The initial
four-note motive in the
minor mode, together with
its elaboration in the
ensuing phrases, sounds
as if it might have
served as the skeletal
model for Max Janowski's
(1912-1991) now
well-known setting of the
High Holyday prayer Avinu
Malkenu. This prayer has
special meaning in my own
spiritual life, as I have
been singing it since my
childhood. Both Prayer
and Janowski's Avinu
Malkenu are cantorial in
nature, to be sung with
heartfelt pathos. The
second movement,
Supplication (the act of
begging humbly), has more
angst, almost a sense of
urgency as a result of
the rhythmic motor in the
piano. The third
movement, Jewish Song,
evokes a quintessentially
Eastern-European
melancholy. Its falling
motives with bent
intonation might
represent the pain of the
Jewish experience. The
works were dedicated to
Dutch-American cellist
Hans Kindler, a highly
influential musician of
his time, and founder of
the National Symphony
Orchestra in Washington,
D.C. Mr. Kindler was the
soloist for the world
premiere of Bloch's most
celebrated work, Schelomo
in 1917. Though the
popularity of Bloch's
oeuvre has been dominated
by works of Jewish
connection, we should not
forget that Bloch had
many other stylistic
periods, including
Franco-Belgian, modal,
serial, and even American
folk. In 1927, he was
awarded Musical America's
composition prize in a
unanimous vote, despite
being regarded as an
outsider by American
music writers at the
time. His winning work
America (1928) was
performed by every major
orchestra and conductor
in the following seasons.
May we be proud of his
contributions to American
music. The three
pieces From Jewish Life
were composed by
Swiss-American composer
Ernest Bloch in 1924, the
same year he took U.S.
citizenship. Though
clearly inspired and
influenced by Jewish
experience, they are
purely concert pieces,
and do not provide any
specific liturgical
significance.The first
movement,
“Prayerâ€, is
a deeply heartfelt plea
to the almighty. As Neil
W Levin writes,
“The initial
four-note motive in the
minor mode, together with
its elaboration in the
ensuing phrases, sounds
as if it might have
served as the skeletal
model for Max
Janowski’s
(1912–1991) now
well-known setting of the
High Holyday prayer Avinu
Malkenu.†This
prayer has special
meaning in my own
spiritual life, as I have
been singing it since my
childhood. Both
“Prayer†and
Janowski’s Avinu
Malkenu are cantorial in
nature, to be sung with
heartfelt pathos.The
second movement,
“Supplicationâ€
(the act of begging
humbly), has more angst,
almost a sense of urgency
as a result of the
rhythmic motor in the
piano. The third
movement, “Jewish
Songâ€, evokes a
quintessentially
Eastern-European
melancholy. Its falling
motives with bent
intonation might
represent the pain of the
Jewish experience.The
works were dedicated to
Dutch-American cellist
Hans Kindler, a highly
influential musician of
his time, and founder of
the National Symphony
Orchestra in Washington,
D.C. Mr. Kindler was the
soloist for the world
premiere of
Bloch’s most
celebrated work, Schelomo
in 1917.Though the
popularity of
Bloch’s oeuvre has
been dominated by works
of Jewish connection, we
should not forget that
Bloch had many other
stylistic periods,
including Franco-Belgian,
modal, serial, and even
American folk. In 1927,
he was awarded Musical
America’s
composition prize in a
unanimous vote, despite
being regarded as an
outsider by American
music writers at the
time. His winning work
America (1928) was
performed by every major
orchestra and conductor
in the following seasons.
May we be proud of his
contributions to American
music.
Violoncello, piano SKU: FG.55011-903-1 Composed by Victoria Yagling. Arra...(+)
Violoncello, piano
SKU:
FG.55011-903-1
Composed by Victoria
Yagling. Arranged by
Yuriy Leonovich.
Classical, contemporary.
Score and part. Fennica
Gehrman #55011-903-1.
Published by Fennica
Gehrman (FG.55011-903-1).
ISBN
9790550119031.
Vict
oria Yagling's Suite for
Cello and String
Orchestra (1967) is one
of her first successes as
a composer. The movement
layout of the Suite is
fast-slow-fast-slow. The
first movement, Toccata,
is a perpetual motion
with a brisk tempo of 100
per dotted half. The Aria
is reminiscent of
Rachmaninov's Vocalise
melody and Prokofiev's
tonal language. This
movement is the
centerpiece of the Suite.
The Humoresque is closely
connected in style and
motives to the March and
Aria movements from Boris
Tchaikovsky's Suite for
Cello Solo. Mostly
homophonic Finale plays
with bitonality and
contains several
circle-of-fifth
sequences.
This
product is is the
reduction for violoncello
and piano by prof. Yuriy
Leonovich. Orchestral
material available on
hire from the publisher.
Stydy score with solo
part is available for
sale (ISMN
9790550116436).
Vi
ctoria Yagling
(1946?2011) was born in
Russia and lived in
Finland since 1990. Her
long career as a cellist
served as an excellent
accompaniment to the
composition she began at
an early age. For 11
years she was a cello
student of Mstislav
Rostropovich at the
Moscow Conservatory and
Dmitry Kabalevsky and
Tikhon Khrennikov taught
her
composition.
Yagli
ng won the first prize in
the Gaspar Cassadò
Cello Competition and the
following year the second
prize in the Moscow
Tchaikovsky Competition.
Her solo engagements took
her to countless
countries. She has also
taught at several
international music
courses and master
classes and was often a
jury member for
international cello
competitions.
Yagl
ing left a profilic
oeuvre, and the three
cello concertos are her
main works. Her other
orchestral works include
Finnish Notebook, Lyrical
Preludes and the Suite
for Cello and String
Orchestra. She has also
composed solo works (e.g.
the Suite for Cello Solo
No. 1 chosen as an
obligatory piece for the
7th Tchaikovsky
Competition in Moscow in
1982), chamber works,
including two string
quartets, and vocal
music. Her expressive,
romantically orientated
style is Russian in
spirit and has grown out
of the soil provided by
Prokofiev and
Shostakovich.
Cello; Piano Accompaniment (Cello Part And Piano Score) SKU: HL.48025367 ...(+)
Cello; Piano
Accompaniment (Cello Part
And Piano Score)
SKU:
HL.48025367
Cello
and Piano. Composed
by Simon Laks. Boosey &
Hawkes Chamber Music.
Classical. Softcover.
Bote & Bock #M202538630.
Published by Bote & Bock
(HL.48025367).
Cello; Piano; Violin (Score) SKU: HL.50499719 For Violin, Cello and Pi...(+)
Cello; Piano; Violin
(Score)
SKU:
HL.50499719
For
Violin, Cello and Piano
Score. Composed by
Si-Ang Chen. Ensemble.
Classical, Contemporary.
Softcover. 16 pages.
Sikorski #SIK8751.
Published by Sikorski
(HL.50499719).
11.75x8.25x0.4
inches.
With this
composition, Si-Ang Chen
was awarded 1st prize at
the 2nd China ConTempo
Composition Competition
2008.
Cello; Piano; Violin (Score) SKU: HL.50499718 For Violin, Cello and Pi...(+)
Cello; Piano; Violin
(Score)
SKU:
HL.50499718
For
Violin, Cello and Piano
Score. Composed by
Hui-Hui Cheng. Ensemble.
Contemporary. Softcover.
26 pages. Sikorski
#SIK8750. Published by
Sikorski (HL.50499718).
11.75x8.25x0.4
inches.
With this
composition, Hui-Hui
Cheng was awarded 1st
prize at the 1st China
ConTempo Composition
Competition 2007.
Plus Ultra Violoncelle, Piano Editorial de Musica Boileau
Cello and piano SKU: BO.B.3724 Composed by J. Cassado/M. Mestre. Publishe...(+)
Cello and piano
SKU:
BO.B.3724
Composed by
J. Cassado/M. Mestre.
Published by Editorial de
Musica Boileau
(BO.B.3724).
Cassado could
be considered are the
first great Catalan
symphonist of the 19th
Century and one of the
first pre-coursers of
Nationalism in our
country. His is a
Nationalism that is
solidly based on central
European traditions,
mainly Germanic in
its.
Plus Ultra
is a special case in
which the desire to
exhibit his deepest
Nationalist sentiments
took a second place to a
more global style into
which he incorporated
harmonies and melodic
turns that recall
Rachmaninoff more than
Albeniz. Plus Ultra can
be considered as a
musical thought which, in
spite of references or
paraphrases of some
typical aspects of
Spanish music of the era,
is an authentic lied in
which the cello sings
out, using maximum of its
expressive possibilities,
with a piano
accompaniment of the
first order.
In
this work Cassado makes
more extensive use of
pianissimo, which is more
typical of the French
school, than in any other
of his works. Through the
use of gestures which are
almost Impressionist, as
well as refined and
tasteful harmonies, the
composer divides the
musical discourse between
the two instruments
creating a fantastic work
which his son Gaspar
performed in
concerts.
Pampas Violoncelle, Piano Lauren Keiser Music Publishing
Cello and Piano. Composed by Lalo Schifrin. LKM Music. Classical. 24 pages. Laur...(+)
Cello and Piano. Composed
by Lalo Schifrin. LKM
Music. Classical. 24
pages. Lauren Keiser
Music Publishing
#X531023. Published by
Lauren Keiser Music
Publishing
(Selections from the Cello Repertoire). Compiled, ed., and arr. Carey Cheney. Fo...(+)
(Selections from the
Cello Repertoire).
Compiled, ed., and arr.
Carey Cheney. For Cello
and Piano. String - Cello
Studies or Collection.
Companion CD also
available (see item
24483). Instrumental Solo
Book and Piano
Accompaniment Book. 104
pages. Published by
Alfred Publishing.
50 Popular Classics in Easy Arrangements. Composed by Various. Arranged b...(+)
50 Popular Classics in
Easy Arrangements.
Composed by Various.
Arranged by Barrie Carson
Turner. String. Softcover
Audio Online. 56 pages.
Schott Music #ED13862.
Published by Schott Music
(HL.49045387).
Cello; Piano Accompaniment SKU: HL.50512037 Cello and Piano. Compo...(+)
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.+.