| Cello Concerto In E Minor
Op. 85 - Full Score
(ELGAR EDWARD) Violoncelle, Orchestre [Partition] Dover Publications
Par ELGAR EDWARD. Un tour de force pour tout violoncelliste, violoncelle Concert...(+)
Par ELGAR EDWARD. Un tour de force pour tout violoncelliste, violoncelle Concerto d'Elgar magnifique est effectué plus souvent que les autres, sauf celui de Dvorák. Considéré comme une élégie pour un monde perdu, le Concerto pour violoncelle a été écrit après une longue stagnation du compositeur créatif au cours de la Première Guerre mondiale I. Mélodique et évocateur, il présente une portée remarquable./ Répertoire / Violoncelle et Orchestre
22.00 EUR - vendu par LMI-partitions Délais: 2-5 jours - En Stock Fournisseur | |
| Lydie's Blues -
Partition
En Français Violoncelle, Orchestre [Partition] Billaudot
Voici une partition musicale pour Orchestre et plus spécialement pour Grande Fo...(+)
Voici une partition musicale pour Orchestre et plus spécialement pour Grande Formation que vous pouvez acquérir pour moins de 10C. Classée dans la catégorie Jazz & Blues, cette partition dont le titre est LYDIE'S BLUES - PARTITION a été composée par le célèbre compositeur Barbet Patrick. C'est l'éditeur Billaudot sous la référence EDFR0021 1 qui a les droits pour éditer cette partition. / Grande Formation / Partition
10.77 EUR - vendu par LMI-partitions Délais: Sur commande | |
| Emergences - Nachlese Vi
(JARRELL MICHAEL)
En Français Violoncelle, Orchestre [Partition] Lemoine, Henry
Par JARRELL MICHAEL. Composition works like an arborescent structure. At each ra...(+)
Par JARRELL MICHAEL. Composition works like an arborescent structure. At each ramification you choose a path, which depends on the whole dynamic of the whole piece. Doing this, you leave quite a lot of ideas and fragments behind. Nachlese is a german term already used by Goethe for the idea of 'reading again', referring to, commenting something...
The idea of this cycle (Nachlese) is to come back to some musical ideas which I liked and found interesting, but were inappropriate in a different context and to develop them in new directions.
When choosing a title I like it to refer to different techniques used in the piece, but also very directly to what is heard at some moments. For instance, in the first movement the orchestra 'emerges' from the very fast and nervous line played by the soloist and then, later, the 'climax' of this movement 'emerges' from the fast line then played by the orchestra.
This piece is dedicated to Jean-Guihen Queyras and Thierry Fischer. / contemporain / Répertoire / Violoncelle et Orchestre
47.90 EUR - vendu par LMI-partitions Délais: Sur commande | |
| Robert Schumann: Concerto
for Cello and Orchestra
(Concertstück): Cello
and Violoncelle, Orchestre Peters
Original Version. Schumann?s Cello Concerto Rediscovered
In her first Urtext edi...(+)
Original Version. 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 Jagiello?ska 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 Jagiello?ska 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.'
52.00 GBP - vendu par Musicroom GB | |
| Bohuslav Martinu:
Concerto No.2 For Cello
And Orchestra: Cello and
Accomp.: Violoncelle, Orchestre Hal Leonard
This is one of the best Cello concertos of the twentieth century and readily co...(+)
This is one of the best Cello concertos of the twentieth century and readily communicates the Bohuslav Martinu strong feelings for his homeland. Written over the Christmas and New year period of 1944-45 in New York it is full ofhis reactions to that last dramatic winter of the war and the desire to go home. It is an expansive work over 35 minutes in length in the standard three movements. Typically for Martinu the first movement is inModerato tempo. The opening gesture is highly characteristic: A pulsing rhythm establishes itself in the orchestra and a striving rising theme with a contradictory rhythm contends with it. The second movement Andante pocomoderato has a general pulse that is not much slower than that of the first. It is episodic with a faster central section and then a truly magical and heartfelt treatment of the main subject in which Martinu expresses hislonging for home. The final movement Allegro is a driving energetic conclusion with a solo cadenza that breaks the ongoing rhythm and provides a touching moment of contemplation before the joyous conclusion. This editioncontains a Piano reduction of the Orchestral part for rehearsal purposes.
29.99 GBP - vendu par Musicroom GB | |
| Cello Concerto Violoncelle, Orchestre Schott
/ Violoncelle Et Orchestre
45.51 EUR - vendu par LMI-partitions Délais: 2-5 jours - En Stock Fournisseur | |
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