By Camilla De Rossi; Catterina Benedetta Grazianini. Edited by Barbara Jackson. ...(+)
By Camilla De Rossi;
Catterina Benedetta
Grazianini. Edited by
Barbara Jackson. Text by:
Camilla de Rossi;
Cardinal Benedettoo
Pamphili. Voices and
basso continuo. Arias.
Arias From Oratorios By
Women Composers Of The
18th Century, Volume 3.
Arias from oratorios.
Baroque. Level: Adult.
Sheet music. 73 pages.
Published by ClarNan
Editions.
By Domenico Gabrielli (1651-1690). Edited by Alessandro Bares. For solo cello / ...(+)
By Domenico Gabrielli
(1651-1690). Edited by
Alessandro Bares. For
solo cello / cello and
basso continuo. This
edition: Paperback.
Minghen dal Viulunzel.
Baroque. Score. Published
by Musedita Edizioni
Musicali
(Francesco Geminiani - Opera Omnia. Critical Edition directed by Christopher Hog...(+)
(Francesco Geminiani -
Opera Omnia. Critical
Edition directed by
Christopher Hogwood).
Composed by Francesco
Geminiani (1687-1762).
Edited by Christopher
Hogwood. For Violoncello
and Basso Continuo;
Violin and Basso
Continuo. Opera Omnia -
Vol. 5. Early Music.
Critical commentary. Op.
5 (H. 103-108, H.
109-114). 152 pages.
Published by Ut Orpheus
Te Deum and Jubilate Deo in D Soli, choeur mixte et accompagnement Soli, chœur mixte et orchestre [Vocal Score] - Intermédiaire/avancé Oxford University Press
By Henry Purcell (1659-1695). Arranged by Robert King. For SSATB soloists, SSATB...(+)
By Henry Purcell
(1659-1695). Arranged by
Robert King. For SSATB
soloists, SSATB choir, 2
trumpets, strings and
continuo (2 trumpets,
violin 1, violin 2,
viola, cello, double
bass, organ, theorbo
(optional)). Mixed
Voices. Classic Choral
Works. Standard Choral
Works. Vocal score. 40
pages. Duration 20'.
Published by Oxford
University Press
(Paris, Madame Boivin, Le Clerc - 1746). By Francesco Saverio Geminiani. Cello a...(+)
(Paris, Madame Boivin, Le
Clerc - 1746). By
Francesco Saverio
Geminiani. Cello and
continuo. For Cello.
Facsimiles. Collection
FacsiMusic. Grade 0. 32
pages
By Giuseppe Maria Jacchini (1663-1727). Edited by Alessandro Bares. For cello an...(+)
By Giuseppe Maria
Jacchini (1663-1727).
Edited by Alessandro
Bares. For cello and
basso continuo. Minghen
dal Viuluzel. Baroque.
Score and set of parts.
Published by Musedita
Edizioni Musicali
By Nicola Porpora (1686-1768). Edited by Alessandro Bares. For cello and basso c...(+)
By Nicola Porpora
(1686-1768). Edited by
Alessandro Bares. For
cello and basso continuo.
This edition: Paperback.
Minghen dal Viulunzel.
Baroque, Galant. Score
and set of parts.
Published by Musedita
Edizioni Musicali
By Antonio Bononcini. Edited by Alessandro Bares. For cello and basso continuo. ...(+)
By Antonio Bononcini.
Edited by Alessandro
Bares. For cello and
basso continuo. This
edition: Paperback.
Minghen dal Viulunzel.
Baroque. Score and set of
parts. Published by
Musedita Edizioni
Musicali
By Giovanni Battista Cirri. Edited by Alessandro Bares. For cello and basso cont...(+)
By Giovanni Battista
Cirri. Edited by
Alessandro Bares. For
cello and basso continuo.
This edition: Paperback.
Minghen dal Viulunzel.
Baroque, Galant. Score
and set of parts.
Published by Musedita
Edizioni Musicali
By Salvatore Lanzetti (1710-1780). Edited by Alessandro Bares. For cello and bas...(+)
By Salvatore Lanzetti
(1710-1780). Edited by
Alessandro Bares. For
cello and basso continuo.
This edition: Paperback.
Minghen dal Viulunzel.
Baroque, Galant. Score
and set of parts.
Published by Musedita
Edizioni Musicali
By Francesco Alborea Francischello. Edited by Alessandro Bares. For cello and ba...(+)
By Francesco Alborea
Francischello. Edited by
Alessandro Bares. For
cello and basso continuo.
This edition: Paperback.
Minghen dal Viulunzel.
Baroque, Galant. Score
and set of parts.
Published by Musedita
Edizioni Musicali
(for 3 Cellos - Score and Parts). Composed by Various. Edited by Ã?ÂrpÃ?Â...(+)
(for 3 Cellos - Score and
Parts). Composed by
Various. Edited by
Ã?ÂrpÃ?¡d
Pejtsik. For Cello Trio
(Score and Parts). EMB.
Softcover. Editio Musica
Budapest #Z14930.
Published by Editio
Musica Budapest
for Violoncello and Continuo or Two Violoncellos. By Various. Arranged by Pejtsi...(+)
for Violoncello and
Continuo or Two
Violoncellos. By Various.
Arranged by Pejtsik,
Vigh. EMB. Size 9x12
inches. 19 pages.
Published by Editio
Musica Budapest.
(Cello with Piano Accompaniment). Composed by Various. Edited by Elmar Preusser ...(+)
(Cello with Piano
Accompaniment). Composed
by Various. Edited by
Elmar Preusser and Rainer
Mohrs. For Cello, Piano
Accompaniment (Score and
Solo Part). String.
Softcover. 158 pages.
Schott Music #ED21998.
Published by Schott Music
By Nicola Porpora (1686-1768). Edited by Alessandro Bares. For cello and string ...(+)
By Nicola Porpora
(1686-1768). Edited by
Alessandro Bares. For
cello and string
orchestra. This edition:
Paperback. Minghen dal
Viulunzel. Baroque,
Galant. Score and set of
parts. Published by
Musedita Edizioni
Musicali
Violon, Basse continue [Conducteur et Parties séparées] G. Henle
Sadie with 2 Violin Parts (one with editorial annotations) and Cello - for Violi...(+)
Sadie with 2 Violin Parts
(one with editorial
annotations) and Cello -
for Violin and Basso
continuo. By George
Frideric Handel. Edited
by S. Sadie. Violin.
Pages: Score (Piano) = 59
* 2 Vl Parts = each 24 *
Vc (Gambe) Part = 19.
Urtext edition-paper
bound. Published by G.
Henle.
Violin and basso continuo SKU: HL.49044547 The Finest Baroque Sonatas<...(+)
Violin and basso continuo
SKU: HL.49044547
The Finest Baroque
Sonatas. Edited by
Peter Mohrs. This
edition: Saddle
stitching. Sheet music.
String. Softcover. 36
pages. Schott Music
#ED21925-01. Published by
Schott Music
(HL.49044547).
ISBN
9783795749422. UPC:
841886023338.
9.0x12.0x0.106
inches.
Separate
bass part for performance
e.g. with cello
accompaniment.Schott
Violin Library includes
eleven contrasting
Baroque sonatas for
violin and continuo bass.
Besides popular and
well-known sonatas by
Corelli, Vivaldi, Handel
and Telemann there are
also delightful less
familiar compositions by
Dall'Abaco, Pepusch and
Finger, among others. All
these pieces are at lower
to intermediate level.
Some of them can be
played in first position
throughout, while others
require just a few
position changes, but the
sonatas by Dall'Abaco,
Kirchhoff, Vivaldi and
Handel require fluent use
of the first three
positions. The pieces
brought together in this
book are the best-loved
works from the popular
series Schott Violin
Library (VLB) and other
violin repertoire
published by Schott.
Piano and orchestra - difficult SKU: HL.49046544 For piano and orchest...(+)
Piano and orchestra -
difficult
SKU:
HL.49046544
For
piano and orchestra.
Composed by Gyorgy
Ligeti. This edition:
Saddle stitching. Sheet
music. Edition Schott.
Softcover. Composed
1985-1988. Duration 24'.
Schott Music #ED23178.
Published by Schott Music
(HL.49046544).
ISBN
9781705122655. UPC:
842819108726.
9.0x12.0x0.224
inches.
I composed
the Piano Concerto in two
stages: the first three
movements during the
years 1985-86, the next
two in 1987, the final
autograph of the last
movement was ready by
January, 1988. The
concerto is dedicated to
the American conductor
Mario di Bonaventura. The
markings of the movements
are the following: 1.
Vivace molto ritmico e
preciso 2. Lento e
deserto 3. Vivace
cantabile 4. Allegro
risoluto 5. Presto
luminoso.The first
performance of the
three-movement Concerto
was on October 23rd, 1986
in Graz. Mario di
Bonaventura conducted
while his brother,
Anthony di Bonaventura,
was the soloist. Two days
later the performance was
repeated in the Vienna
Konzerthaus. After
hearing the work twice, I
came to the conclusion
that the third movement
is not an adequate
finale; my feeling of
form demanded
continuation, a
supplement. That led to
the composing of the next
two movements. The
premiere of the whole
cycle took place on
February 29th, 1988, in
the Vienna Konzerthaus
with the same conductor
and the same pianist. The
orchestra consisted of
the following: flute,
oboe, clarinet, bassoon,
horn, trumpet, tenor
trombone, percussion and
strings. The flautist
also plays the piccoIo,
the clarinetist, the alto
ocarina. The percussion
is made up of diverse
instruments, which one
musician-virtuoso can
play. It is more
practical, however, if
two or three musicians
share the instruments.
Besides traditional
instruments the
percussion part calls
also for two simple wind
instruments: the swanee
whistle and the
harmonica. The string
instrument parts (two
violins, viola, cello and
doubles bass) can be
performed soloistic since
they do not contain
divisi. For balance,
however, the ensemble
playing is recommended,
for example 6-8 first
violins, 6-8 second, 4-6
violas, 4-6 cellos, 3-4
double basses. In the
Piano Concerto I realized
new concepts of harmony
and rhythm. The first
movement is entirely
written in bimetry:
simultaneously 12/8 and
4/4 (8/8). This relates
to the known triplet on a
doule relation and in
itself is nothing new.
Because, however, I
articulate 12 triola and
8 duola pulses, an
entangled, up till now
unheard kind of polymetry
is created. The rhythm is
additionally complicated
because of asymmetric
groupings inside two
speed layers, which means
accents are
asymmetrically
distributed. These
groups, as in the talea
technique, have a fixed,
continuously repeating
rhythmic structures of
varying lengths in speed
layers of 12/8 and 4/4.
This means that the
repeating pattern in the
12/8 level and the
pattern in the 4/4 level
do not coincide and
continuously give a
kaleidoscope of renewing
combinations. In our
perception we quickly
resign from following
particular rhythmical
successions and that what
is going on in time
appears for us as
something static,
resting. This music, if
it is played properly, in
the right tempo and with
the right accents inside
particular layers, after
a certain time 'rises, as
it were, as a plane after
taking off: the rhythmic
action, too complex to be
able to follow in detail,
begins flying. This
diffusion of individual
structures into a
different global
structure is one of my
basic compositional
concepts: from the end of
the fifties, from the
orchestral works
Apparitions and
Atmospheres I
continuously have been
looking for new ways of
resolving this basic
question. The harmony of
the first movement is
based on mixtures, hence
on the parallel leading
of voices. This technique
is used here in a rather
simple form; later in the
fourth movement it will
be considerably
developed. The second
movement (the only slow
one amongst five
movements) also has a
talea type of structure,
it is however much
simpler rhythmically,
because it contains only
one speed layer. The
melody is consisted in
the development of a
rigorous interval mode in
which two minor seconds
and one major second
alternate therefore nine
notes inside an octave.
This mode is transposed
into different degrees
and it also determines
the harmony of the
movement; however, in
closing episode in the
piano part there is a
combination of diatonics
(white keys) and
pentatonics (black keys)
led in brilliant,
sparkling quasimixtures,
while the orchestra
continues to play in the
nine tone mode. In this
movement I used isolated
sounds and extreme
registers (piccolo in a
very low register,
bassoon in a very high
register, canons played
by the swanee whistle,
the alto ocarina and
brass with a harmon-mute'
damper, cutting sound
combinations of the
piccolo, clarinet and
oboe in an extremely high
register, also
alternating of a
whistle-siren and
xylophone). The third
movement also has one
speed layer and because
of this it appears as
simpler than the first,
but actually the rhythm
is very complicated in a
different way here. Above
the uninterrupted, fast
and regular basic pulse,
thanks to the asymmetric
distribution of accents,
different types of
hemiolas and inherent
melodical patterns appear
(the term was coined by
Gerhard Kubik in relation
to central African
music). If this movement
is played with the
adequate speed and with
very clear accentuation,
illusory
rhythmic-melodical
figures appear. These
figures are not played
directly; they do not
appear in the score, but
exist only in our
perception as a result of
co-operation of different
voices. Already earlier I
had experimented with
illusory rhythmics,
namely in Poeme
symphonique for 100
metronomes (1962), in
Continuum for harpsichord
(1968), in Monument for
two pianos (1976), and
especially in the first
and sixth piano etude
Desordre and Automne a
Varsovie (1985). The
third movement of the
Piano Concerto is up to
now the clearest example
of illusory rhythmics and
illusory melody. In
intervallic and chordal
structure this movement
is based on alternation,
and also inter-relation
of various modal and
quasi-equidistant harmony
spaces. The tempered
twelve-part division of
the octave allows for
diatonical and other
modal interval
successions, which are
not equidistant, but are
based on the alternation
of major and minor
seconds in different
groups. The tempered
system also allows for
the use of the
anhemitonic pentatonic
scale (the black keys of
the piano). From
equidistant scales,
therefore interval
formations which are
based on the division of
an octave in equal
distances, the
twelve-tone tempered
system allows only
chromatics (only minor
seconds) and the six-tone
scale (the whole-tone:
only major seconds).
Moreover, the division of
the octave into four
parts only minor thirds)
and three parts (three
major thirds) is
possible. In several
music cultures different
equidistant divisions of
an octave are accepted,
for example, in the
Javanese slendro into
five parts, in Melanesia
into seven parts, popular
also in southeastern
Asia, and apart from
this, in southern Africa.
This does not mean an
exact equidistance: there
is a certain tolerance
for the inaccurateness of
the interval tuning.
These exotic for us,
Europeans, harmony and
melody have attracted me
for several years.
However I did not want to
re-tune the piano
(microtone deviations
appear in the concerto
only in a few places in
the horn and trombone
parts led in natural
tones). After the period
of experimenting, I got
to pseudo- or
quasiequidistant
intervals, which is
neither whole-tone nor
chromatic: in the
twelve-tone system, two
whole-tone scales are
possible, shifted a minor
second apart from each
other. Therefore, I
connect these two scales
(or sound resources), and
for example, places occur
where the melodies and
figurations in the piano
part are created from
both whole tone scales;
in one band one six-tone
sound resource is
utilized, and in the
other hand, the
complementary. In this
way whole-tonality and
chromaticism mutually
reduce themselves: a type
of deformed
equidistancism is formed,
strangely brilliant and
at the same time
slanting; illusory
harmony, indeed being
created inside the
tempered twelve-tone
system, but in sound
quality not belonging to
it anymore. The
appearance of such
slantedequidistant
harmony fields
alternating with modal
fields and based on
chords built on fifths
(mainly in the piano
part), complemented with
mixtures built on fifths
in the orchestra, gives
this movement an
individual, soft-metallic
colour (a metallic sound
resulting from
harmonics). The fourth
movement was meant to be
the central movement of
the Concerto. Its
melodc-rhythmic elements
(embryos or fragments of
motives) in themselves
are simple. The movement
also begins simply, with
a succession of
overlapping of these
elements in the mixture
type structures. Also
here a kaleidoscope is
created, due to a limited
number of these elements
- of these pebbles in the
kaleidoscope - which
continuously return in
augmentations and
diminutions. Step by
step, however, so that in
the beginning we cannot
hear it, a compiled
rhythmic organization of
the talea type gradually
comes into daylight,
based on the simultaneity
of two mutually shifted
to each other speed
layers (also triplet and
duoles, however, with
different asymmetric
structures than in the
first movement). While
longer rests are
gradually filled in with
motive fragments, we
slowly come to the
conclusion that we have
found ourselves inside a
rhythmic-melodical whirl:
without change in tempo,
only through increasing
the density of the
musical events, a
rotation is created in
the stream of successive
and compiled, augmented
and diminished motive
fragments, and increasing
the density suggests
acceleration. Thanks to
the periodical structure
of the composition,
always new but however of
the same (all the motivic
cells are similar to
earlier ones but none of
them are exactly
repeated; the general
structure is therefore
self-similar), an
impression is created of
a gigantic, indissoluble
network. Also, rhythmic
structures at first
hidden gradually begin to
emerge, two independent
speed layers with their
various internal
accentuations. This
great, self-similar whirl
in a very indirect way
relates to musical
associations, which came
to my mind while watching
the graphic projection of
the mathematical sets of
Julia and of Mandelbrot
made with the help of a
computer. I saw these
wonderful pictures of
fractal creations, made
by scientists from Brema,
Peitgen and Richter, for
the first time in 1984.
From that time they have
played a great role in my
musical concepts. This
does not mean, however,
that composing the fourth
movement I used
mathematical methods or
iterative calculus;
indeed, I did use
constructions which,
however, are not based on
mathematical thinking,
but are rather craftman's
constructions (in this
respect, my attitude
towards mathematics is
similar to that of the
graphic artist Maurits
Escher). I am concerned
rather with intuitional,
poetic, synesthetic
correspondence, not on
the scientific, but on
the poetic level of
thinking. The fifth, very
short Presto movement is
harmonically very simple,
but all the more
complicated in its
rhythmic structure: it is
based on the further
development of ''inherent
patterns of the third
movement. The
quasi-equidistance system
dominates harmonically
and melodically in this
movement, as in the
third, alternating with
harmonic fields, which
are based on the division
of the chromatic whole
into diatonics and
anhemitonic pentatonics.
Polyrhythms and harmonic
mixtures reach their
greatest density, and at
the same time this
movement is strikingly
light, enlightened with
very bright colours: at
first it seems chaotic,
but after listening to it
for a few times it is
easy to grasp its
content: many autonomous
but self-similar figures
which crossing
themselves. I present my
artistic credo in the
Piano Concerto: I
demonstrate my
independence from
criteria of the
traditional avantgarde,
as well as the
fashionable
postmodernism. Musical
illusions which I
consider to be also so
important are not a goal
in itself for me, but a
foundation for my
aesthetical attitude. I
prefer musical forms
which have a more
object-like than
processual character.
Music as frozen time, as
an object in imaginary
space evoked by music in
our imagination, as a
creation which really
develops in time, but in
imagination it exists
simultaneously in all its
moments. The spell of
time, the enduring its
passing by, closing it in
a moment of the present
is my main intention as a
composer. (Gyorgy
Ligeti).
Cello & piano SKU: HH.HH286-FSP Composed by Anton Eberl. Edited by Christ...(+)
Cello & piano
SKU:
HH.HH286-FSP
Composed
by Anton Eberl. Edited by
Christopher Hogwood.
Cello & Piano. This is a
very interesting sonata
as it bridges the gap
between the
cello/continuo sonatas
and the ones by
Beethoven. Eberl's part
for violin is also
included. Full score and
parts. Edition HH Music
Publishers #HH286-FSP.
Published by Edition HH
Music Publishers
(HH.HH286-FSP).
ISBN
9790708092254.
A
true Grand Duo for cello
and piano to provide a
much needed connection
between the first sonatas
for this combination --
by Beethoven -- and the
later 19th century
repertoire. Eberl's
heroic style provides a
masterly alternative to
the over familiar works,
with the balance of power
between the two players
scrupulously maintained
throughout, and ingenious
formal innovations. The
Rhapsodie finale in
particular, with sections
in varying metres and
moods, resolves in an
elegant Pastorale, an
entirely new format for
this combination. The
composer thoughtfully
provided an adaptation of
the cello part for violin
containing many
differences which will be
of interest to players of
both instruments; both
string parts are included
in this publication.