By Various. Arranged by Darwin Wolford. For cello and piano. Includes part for c...(+)
By Various. Arranged by
Darwin Wolford. For cello
and piano. Includes part
for cello only. Piano
accompaniment available
separately (see item
01436). Medium. Published
by Jackman Music
Corporation (JK.01162).
This book of hymns for
cello with piano
accompaniment includes:
"A Poor Wayfaring Man of
Grief" "Abide with Me;
'Tis Eventide" "Beautiful
Zion for Me" "Come Thou
Fount of Every Blessing"
"God Is Love" "I Am a
Child of God" "I Know
That My Redeemer Lives"
"Love at Home" "Sweet
Hour of Prayer" "The Lord
is My Shepherd".
Cello and orchestra (2 (2. auch Picc.) * 1 * Engl. Hr. * 2 (2. auch Altsax.) * 1...(+)
Cello and orchestra (2
(2. auch Picc.) * 1 *
Engl. Hr. * 2 (2. auch
Altsax.) * 1 * Kfg. - 4 *
3 * i 3 * 0 - P. S.
(Trgl. * Beck. * Tamt. *
Tamb. * Ruhrtr. * kl. Tr.
* Holztr. * i gr. Tr. *
Kast. * Glspl. * Xyl.) (2
Spieler) - Hfe. * Klav.
(auch Cel.) - i Str.)
SKU: HL.49005128
Dialog. Composed
by Hermann Reutter. This
edition: Paperback/Soft
Cover. Sheet music.
Edition Schott.
Classical. Piano
Reduction with Solo Part.
Composed 1958. 40 pages.
Duration 22'. Schott
Music #ED 4759. Published
by Schott Music
(HL.49005128).
For Oboe, Bassoon, Violin, Violoncello and Piano - Piano Reduction. By Franz Jos...(+)
For Oboe, Bassoon,
Violin, Violoncello and
Piano - Piano Reduction.
By Franz Joseph Haydn.
Edited by S. Gerlach.
Arranged by Siegfried
Petrenz. (Piano). This
edition: HN154. Chamber
Music with Winds. Henle
Music Folios. Urtext
edition (Paper-bound). 86
pages. Published by Henle
URTEXT Edition.
Altoflute, horn, viola d'amore, cello and piano (Score) - difficult SKU: HL.4...(+)
Altoflute, horn, viola
d'amore, cello and piano
(Score) - difficult
SKU: HL.49015289
Composed by Volker David
Kirchner. Sheet music.
Edition Schott.
Classical. Score and
Parts. Composed 1985. 73
pages. Duration 12'.
Schott Music #ED 7364.
Published by Schott Music
(HL.49015289).
ISBN
9790001076807.
In
1983, my friend and
colleague Arnt Martin
made me read and listen
to a most interesting
piece of music for
soprano, viola d'amore
and strings, this work
called my attention to
the viola d'amore. In the
following year, I became
more and more absorbed in
the possibilities this
instrument offers and in
1985 decided to write a
morceau d'ensemble
including a viola
d'amore. Thus birth was
given to Mysterion, a
composition for which
these five musicians seem
tailormade. As to
content, Mysterion
represents a reflection
on death. Passing through
various stages, the music
describes a path up to
the mysteries of
Redemption. Volker David
Kirchner.
Souvenirs Violoncelle, Piano - Intermédiaire Salabert
Cello and Piano - intermediate SKU: BT.SLB-00595900 Extrait de la musi...(+)
Cello and Piano -
intermediate
SKU:
BT.SLB-00595900
Extrait de la musique
de scène pour « Le
Voyageur sans bagages
». Composed by
Francis Poulenc.
Classical. Book and
Part(s). Composed 2016. 5
pages. Editions Salabert
#SLB 00595900. Published
by Editions Salabert
(BT.SLB-00595900).
INSSTR inches.
French.
A
previously unreleased
piece by Francis Poulenc,
published with permission
from the Bibliothèque
Historique de la Ville de
Paris and Benoît
Seringe, secretary of the
Association des amis
de Francis Poulenc
[Association of the
Friends ofFrancis
Poulenc]. Le Voyageur
sans bagage [The
Traveller Without
Luggage], which had been
premiered in 1937 with
music by Darius Milhaud,
was reprised on 1 April
1944 at the Thé tre de
la Michodière; Francis
Poulenc was asked to
compose new stage music.
Theentire unpublished
score lay undiscovered
until Bérengère de
l’Épine, a librarian
at the Bibliothèque
Historique de la Ville de
Paris, announced the
existence of a manuscript
in the Association de la
Régie Thé trale
collection.Poulenc
finalised the score
between 19 and 21 March
1944. It contains nine
songs, all written for a
small instrumental
ensemble including oboe,
clarinet, cello and
piano. However, at the
end of the manuscript,
the composer echoes the
second song Lent
[Slow] and creates
another version for cello
and piano; curiously, the
original version of the
song has not been erased
in the manuscript.
Poulenc seems to suggest
that we consider the
piece for cello and
piano, that we have
publishedhere, as a
different piece of music.
It was premiered on
Wednesday 23 January 2013
by Marc Coppey,
accompanied by
Jean-François Heisser,
in the organ auditorium
of the Conservatoire
National Supérieur de
Musique et Danse de Paris
(CNSMDP), during
thesymposium for the
fiftieth anniversary of
Poulenc’s death.Given
in a dramatic context,
some elements allow us to
get an idea of the
character of the piece,
which Benoît Seringe,
Poulenc’s beneficiary,
judiciously chose to name
Souvenirs.The
main character of
Anouilh’s play, Gaston,
is suffering from amnesia
at the end of World War
One. Several families try
to claim him; they want
him to be their missing
relative. The Renaud
family prove to be
particularly stubborn,
but Gaston doesnot
recognize himself in the
child and young man they
depict: a ruthless and
violent person. In Act 1
Scene 3, left alone for a
moment, overwhelmed by
the story of the “old
Gaston” that is
gradually coming to
light, and outraged by
the desire ofthose around
him to appropriate him
(to the detriment of the
person he would like to
be from now on), he
whispers these words:
“You all have proof,
photographs that look
like me, memories as
clear as day… I’ve
listened to you all and
it’s slowlycausing a
hybrid person to rise up
in me; a person in which
there is a piece of each
of your sons and nothing
of me.” Poulenc chose
to place the second piece
from his stage music
score as these words are
spoken.He borrowed part
of the material, as he
often did, from an
earlier composition. In
this particular case, the
beginning is a recycled
version of the “slow
and melancholic”
section from
L’Histoire de Babar
, composed between
1940 and 1945,
andpremiered in 1946
(unless it is Babar
that reuses the
musical idea from
Voyageur ).The
eponymous elephant
decides to leave in
search of the great
forest. He embraces the
old lady, promises her he
will return and reassures
her that he will never
forget her. Left alone,
the old lady, feeling sad
and pensive, wonders when
she’ll seeher friend
Babar again. The
situation is similar to
that in Voyageur sans
bagage: solitude,
sadness, a distressing
and introspective time,
fear of oblivion, the
presence of
memories…
Pièce
inédite de Francis
Poulenc, publiée avec
l’autorisation de la
Bibliothèque historique
de la ville de Paris et
de Benoît Seringe,
secrétaire de
l’Association des Amis
de Francis Poulenc.Le 1er
avril 1944, Le Voyageur
sans bagage d’Anouilh,
qui avait été créé en
1937 avec de la musique
de Darius Milhaud, est
repris au Thé tre de la
Michodière. Francis
Poulenc a été
sollicité afin
d’écrire une nouvelle
musique de scène. On
ignoraittout de cette
partition inédite,
jusqu’au jour où
Bérengère de
l’Épine, conservateur
la Bibliothèque
historique de la ville de
Paris, nous signala
l’existence d’un
manuscrit dans le fonds
de l’Association de la
Régie thé trale.Poulenc
mit au point sa partition
entre le 19 et le 21 mars
1944. Elle comprend neuf
numéros, tous écrits
pour un petit effectif
instrumental réunissant
un hautbois, une
clarinette, un
violoncelle et un
piano.Cependant, la fin
de son manuscrit, le
compositeur reprend le no
2 Lent et en donne une
seconde version, pour
violoncelle et piano.
Curieusement, la version
originale de ce numéro
n’est pas biffée dans
le manuscrit.Poulenc
semble nous inviter
considérer comme un
morceau distinct cette
pièce pour violoncelle
et piano dont nous
proposons ici
l’édition. Elle a
été créée par Marc
Coppey, accompagné de
Jean-François Heisser,
lors du concert donné
durant lecolloque
organisé pour le
cinquantenaire du décès
de Poulenc, le mercredi
23 janvier 2013, salle
d’orgue du
Conservatoire National
Supérieur de Musique et
de Danse de Paris
(CNSMDP).Quelques
éléments sur le
contexte dramatique
permettront de se faire
une idée du caractère
du morceau, que Benoît
Seringe, ayant droit
Poulenc, a judicieusement
choisi d’intituler
Souvenirs.Le personnage
principal de la pièce
d’Anouilh, Gaston, a
été retrouvé
amnésique la fin de la
Première Guerre
Mondiale. Plusieurs
familles le réclament.
On veut voir en lui un
parent disparu. Les
Renaud se montrent
particulièrement tenaces
; maisGaston ne parvient
se reconnaître dans
l’enfant et le jeune
homme dont on lui trace
le portrait : un être
violent et sans scrupule.
Au tableau 3 de l’acte
I, resté seul un moment,
écrasé par l’histoire
de cet autre lui-même
qu’il découvre peu
peu, indigné par le
désir des personnes qui
l’entourent de le
ramener elles au
détriment de celui
qu’il voudrait être
désormais, il se murmure
ces paroles : « Vous
avez tous des preuves,
des photographies
ressemblantes, des
souvenirs précis
commedes crimes… je
vous écoute tous et je
sens surgir peu peu
derrière moi un être
hybride où il y a un peu
de chacun de vos fils et
rien de moi »…C’est
sur ces mots que Poulenc
a choisi de placer le no
2 de sa partition de
musique de scène.Comme
il le fait souvent, il
emprunte une composition
antérieure une part de
son matériau. Dans ce
cas précis, il
réutilise pour le début
du morceau la section «
Lent et mélancolique »
de l’Histoire de Babar,
composée entre 1940 et
1945, créée en1946 (
moins que ce ne soit
Babar qui réutilise
l’idée musicale du
Voyageur). Le
héros-éléphant s’est
décidé partir pour
retrouver la grande
forêt. Il a embrassé la
vieille dame, lui a
promis de revenir, l’a
rassurée : jamais il ne
l’oubliera.Restée
seule, la vieille dame,
triste et pensive, se
demande quand elle
reverra son ami Babar. La
situation est similaire
celle du Voyageur sans
bagage : solitude,
tristesse, instantde
trouble et de retour sur
soi, crainte de
l’oubli, présence des
souvenirs….
Score & Parts Cello SKU: HL.51481132 For Violoncello and Piano. Co...(+)
Score & Parts Cello
SKU: HL.51481132
For Violoncello and
Piano. Composed by
Jean-Louis Duport. Edited
by Norbert Gertsch. Henle
Music Folios. Classical.
Softcover. 42 pages. G.
Henle #HN1132. Published
by G. Henle
(HL.51481132).
UPC:
840126989656.
9.0x12.0x0.35
inches.
“More
than 20 years ago I was
called upon by friends,
artists, and aficionados
to write about fingerings
for the violoncello,”
then-famous Berlin
cellist Jean-Louis Duport
thus opens his
“Essai” from 1806,
dedicated to
“Professeurs de
Violoncelle.” His
methodology
revolutionized cello
technique, and the 21
etudes printed in its
appendix are still
regarded today as perhaps
the most important set of
studies for all budding
cellists. Modelled after
the volumes of etudes for
violin, Henle is also
issuing the Urtext here,
together with all
original fingerings and
bowings, while also
offering alternatives by
the famous cellist and
teacher Wolfgang Emanuel
Schmidt. This edition
also offers a second
cello part provided by
Duport for
accompaniment.
About Henle
Urtext
What I can expect from
Henle Urtext
editions:
error-free, reliable
musical texts based on
meticulous musicological
research - fingerings and
bowings by famous artists
and pedagogues
preface in 3
languages with
information on the
genesis and history of
the work
Critical Commentary
in 1 – 3 languages
with a description and
evaluation of the sources
and explaining all source
discrepancies and
editorial
decisions
most beautiful music
engraving
page-turns, fold-out
pages, and cues where you
need them
excellent print
quality and
binding
largest Urtext
catalogue
world-wide
longest Urtext
experience (founded 1948
exclusively for Urtext
editions)
Cello; Piano Accompaniment (Cello Part And Piano Score) SKU: HL.284546 (+)
Cello; Piano
Accompaniment (Cello Part
And Piano Score)
SKU:
HL.284546
Cello
and Piano Version.
Composed by Kevin Volans.
Music Sales America.
Classical. Softcover.
Chester Music #CH86372 .
Published by Chester
Music (HL.284546).
For Bob is
arranged for Cello and
Piano. First performed by
Elisabeth Smalt and Kevin
Volans, London 2016.
Composers Note: I have no
idea where this piece
came from and how it is
structured. But before
and after I wrote it I
was nagged by the
question: what does the
viola have to do with the
piano? Did this
combination evolve by
unfortunate accident? The
viola was perfected in
the 18th century. Its
natural metier is
(private) chamber music.
The piano on the other
hand kept growing and
blossomed in the 19th
century as the ultimate
public instrument. If the
piano is to play with the
viola, it has to rein
back its power and pose
as an accompanist. Maybe
a third instrument,
perhaps from the 20th
century, is needed to
mediate between these two
very different sound
worlds. So whenwe play
this 'trio' with 2
instruments I invite the
listener to mentally add
the silent part(ner). -
Kevin Volans.
Cello and Piano - easy SKU: BT.EMBZ6748 Easy concert pieces in first p...(+)
Cello and Piano - easy
SKU: BT.EMBZ6748
Easy concert pieces in
first position. By
Arpad Pejtsik. By Endre
Lengyel. EMB Music for
Beginners. Educational
Tool. Book Only. Composed
1973. 64 pages. Editio
Musica Budapest
#EMBZ6748. Published by
Editio Musica Budapest
(BT.EMBZ6748).
Hungarian-English-Germ
an-French.
The
volumes of the series
cover the entire music
literature from the
earliest centurties to
our days. The material of
the individual volumes
containing short, easy
pieces to be played in
the first three-four
years of studying the
instrument has been
compiled by accomplished
music teachers. The
majority of the
contemporary works
included in the volumes
have been published in
this series for the first
time. An ABRSM syllabus
title, 2010-16, Grade
2-3.
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, “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.
Cello and Piano SKU: BT.EMBZ14768 Composed by Franz Liszt. Book Only. Com...(+)
Cello and Piano
SKU:
BT.EMBZ14768
Composed
by Franz Liszt. Book
Only. Composed 2011. 76
pages. Editio Musica
Budapest #EMBZ14768.
Published by Editio
Musica Budapest
(BT.EMBZ14768).
Not many people
know that Franz Liszt
arranged some of his
piano pieces for the
cello, with piano
accompaniment, and that
these versions of the
works appeared in print
during the maestro's
lifetime. Árpád Pejtsik
selected two of these for
this volume compiled to
mark Liszt's jubilee:
Elegies I and II. The
other compositions by
Liszt that appear in the
collection were likewise
originally works for
piano: the Ave Maria and
Cantique d'amour (pieces
from the Harmonies
poétiques et religieuses
cycle) were transcribed
by a pupil of Liszt,
Robert Pflughaupt the
cello version, transposed
into G major, of the E
Major Consolation is by
Jules de Swert, solo
cellist in the Weimar
orchestraof those days
that of the Angelus (the
opening piece in Volume 3
of the cycle entitled
Years of Pilgrimage ) is
by Lothar Windsperger, a
German composer who lived
at the turn of the
19th-20th century. The
Valse oubliée No. 1 was
transcribed by Liszt s
virtuoso piano pupil
Ferruccio Busoni
Notturno, which became
famous as the third piece
in the Liebesträume
series, is a transposed
version of the original
song ( O lieb, so lang du
lieben kannst ) made by
the editor of this
volume.
Not many
people know that Ferenc
Liszt arranged some of
his piano pieces for the
cello, with piano
accompaniment, and this
version of the works
appeared in print during
the maestro's lifetime.
Árpád Pejtsik selected
two of these forthis
volume compiled to mark
Liszt's jubilee: Elegy
I and Elegy
II. The other
compositions by Liszt
that appear in the
collection were likewise
originally works for
piano: the Ave
Maria and Cantique
d'amour(pieces from
the Harmonies poétiques
et religieuses cycle)
were transcribed by a
pupil of Liszt, Robert
Pflughaupt; the cello
version, transposed into
G major, of the E major
Consolation is by
Jules de Swert, solo
cellistin the Weimar
orchestra of those days;
that of the
Angelus (the
opening piece in Volume 3
of the cycle entitled
Years of Pilgrimage) is
by Lothar Windsperger, a
German composer who lived
at the turn of the
19th-20thcentury.
Nur Wenigen ist bekannt,
dass Liszt einige seiner
Klavierstücke auch für
Violoncello mit
Klavierbegleitung
bearbeitet hatte, und
dass diese Version der
Werke noch zu Lebzeiten
des Komponisten in Druck
erschien. In diesem Band
nahm Árpád Pejtsik zwei
dieser Stücke, die I.
und II. Elegie auf. Die
anderen
Liszt-Kompositionen in
der Sammlung sind auch
ursprünglich
Klavierwerke: der
Bearbeiter ist beim Ave
Maria und Cantique
d'amour (Stücke aus dem
Zyklus Harmonies
poétiques et
religieuses) der
Liszt-Schüler Robert
Pflughaupt. Von Jules de
Swert, der damals
Solocellist des Weimarer
Orchesters war, wurde die
in G-Dur transponierte
Violoncelloversion der
E-Dur Consolation, und
vonLothar Windsperger,
dem an der Wende zum 20.
Jahrhundert lebenden
deutschen Komponisten,
das Angelus (das
Eröffnungsstück des
III. Bandes des Zyklus
Pilgerjahre)
bearbeitet.
Sonata for Violoncello and Piano. By Claude Debussy. Edited by Regina Back. For ...(+)
Sonata for Violoncello
and Piano. By Claude
Debussy. Edited by Regina
Back. For Cello, Piano.
Urtext Edition. Playing
score with critical
commentary. Published by
Baerenreiter Verlag
(German import).
Chamber Music Cello, Piano SKU: PR.114423720 Composed by Andrii Dido...(+)
Chamber Music Cello,
Piano
SKU:
PR.114423720
Composed
by Andrii Didorenko. Set
of Score and Parts.
Duration 10 minutes.
Theodore Presser Company
#114-42372. Published by
Theodore Presser Company
(PR.114423720).
ISBN
9781491129487. UPC:
680160690404.
POSTC
ARDS FROM UKRAINE is a
charming-yet-fiery suite
of six character pieces
reflecting the culture
and music of
Didorenko??s homeland.
The work was composed in
early 2022 following the
invasion. Movements 2 and
3 are inspired by folk
music with the piano
imitating sounds of the
bandura, and the other
four movements are free
settings of authentic
folk melodies. More
and more in recent times,
I turn to the musical
heritage of my native
Ukraine for inspiration.
Shortly after the start
of the war in Spring
2022, my friend and New
York pianist Evelyne
Luest approached me with
a suggestion to compose a
piece based on Ukrainian
folk music. As I began to
research authentic song
and dance styles, I was
immediately drawn to
their soulful melodies
and stirring rhythms.
Postcards from Ukraine
came into being in just
under a month.The second
of these six pieces is
written in the style of
duma, a sung epic poem
recited by itinerant
bards, accompanied on a
bandura; strumming on the
high piano strings
imitates the bandura??s
sound. In the third
piece, an ostinato bass
is another impression of
bandura playing, while
the cello references
Carpathian dance tunes.
The other four pieces are
my interpretations of
true Ukrainian folk
songs, typically sung a
cappella by a women??s
choir, from small
villages that keep their
vocal traditions
alive.
Super Solos Violoncelle, Piano [Partition + CD] - Intermédiaire Anglo Music
Cello and Piano - late intermediate SKU: BT.AMP-353-400 10 Selected So...(+)
Cello and Piano - late
intermediate
SKU:
BT.AMP-353-400
10
Selected Solos with Piano
Accompaniment.
Composed by Philip
Sparke. Super Solos.
Tuition. Book with CD.
Composed 2013. 56 pages.
Anglo Music Press #AMP
353-400. Published by
Anglo Music Press
(BT.AMP-353-400).
ISBN
9789043138710. 9x12
inches.
English-German-French-Dut
ch.
Philip
Sparke’s Super
Solos is the third
volume of a progressive
series of solo books that
takes the young wind
player from beginner to
accomplished musician.
Following on from the
first two books in the
series (Starter
Solos and Skilful
Solos) this
collection generally
contains longer pieces
suitable for the
developing young
musicians. Specifically
tailored for each
instrument, Super
Solos extends
technical and musical
demands, takes the player
into new keys with larger
instrumental ranges and
adds new notes in a
gradual and logical
manner.The books provide
invaluable additional
material to complement
any teaching method.
Including play-along
CD.
Na Starter
Solos en Skilful
Solos sluit Philip
Spark deze reeks met het
nieuw verschenen boek
Super Solos. De
solos in deze boeken zijn
qua mogelijkheden en
moeilijkheidsgraad
perfect toegesneden op
het betreffende
instrument.Bovendien vult
het de vorige uitgaven in
deze reeks gestructureerd
aan, waardoor het de
instrumentalist een
zinvol en motiverend
vervolg biedt. Elk boek
bevat een cd met
begeleiding. Het voordeel
hiervan is dat jonge
muzikanten de
belangrijkeaspecten van
het samenspel al vanaf
het begin kunnen ervaren.
Zo ontwikkelen ze
essentiële vaardigheden,
zoals het luisteren
tijdens het spelen en het
handhaven van een strak
tempo.
Nach
STARTER SOLOS und SKILFUL
SOLOS vollendete Philip
Sparke seine Reihe
Solobücher mit SUPER
SOLOS. Die Soli in jedem
Buch sind genau auf die
Bedürfnisse und
Anforderungen des
jeweiligen Instruments
zugeschnitten, im
Schwierigkeitsgrad
angepasstund schaffen
somit einen Rahmen, in
dem sich
Instrumentalschüler neue
Elemente in sinnvoller
Reihenfolge aneignen
können. Dank der im Buch
und auf CD enthaltenen
Klavierbegleitung lernen
sie außerdem wichtige
Aspekte des
Ensemblespiels. SUPER
SOLOS für
fortgeschrittene Schüler
hält mitreißende
Stücke parat, mit denen
neue technische und
musikalische
Schwierigkeiten
gemeistert und ein
größerer Tonumfang
sowie neue Tonarten
gelernt werden
können.
Inhalt: Little
Overture - Berceuse -
March of the Toy Soldiers
- Air and Variations -
Chicago Blues - Moto
Perpetuo - Song of
Farewell - Promenade -
September Song - Scherzo
Finale
Supe
r Solos s'inscrit
dans la lignée des
recueils Starter
Solos et Skilful
Solos. Jouer avec un
accompagnateur est un
travail d'équipe qui
développe l'écoute et
la capacité de
réaction. Super Solos
est le moteur
indispensable de votre
avancée dans le monde de
la musique.
Dopo
Starter Solos e
Skilful Solos,
Philip Sparke completa la
serie di libri per
strumenti solisti con
Super Solos. I
brani proposti rispondono
alle richieste e alle
caratteristiche dei vari
strumenti. Grazie al CD
incluso,
conlaccompagnamento del
pianoforte, si apprendono
i vari aspetti del
suonare in ensemble.
Cello and Piano Book/Online Audio. Composed by George Gershwin (1898-1937). ...(+)
Cello and Piano
Book/Online
Audio. Composed by George
Gershwin (1898-1937). For
Classical Players.
Softcover
Audio Online. 56 pages.
Published by Hal Leonard
For cello (bass), piano. Instrumental collections, Play along. Instrumental, Pla...(+)
For cello (bass), piano.
Instrumental collections,
Play along. Instrumental,
Play along. Intermediate.
Book and accompaniment
CD. Published by
SoundForth . book and
accompaniment CD.
Instrumental, Play along.
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.+.