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.

By William Walton (1902-1983). For Cello and piano. William Walton Edition. Pieces and Studies. Cello and piano reduction. 68 pages. Duration 27'. Published by Oxford University Press

Choral Cello, Piano, alto 1, alto 2, soprano 1, soprano 2

SKU: CF.CM9625

Composed by Jimmy Baas. Sws. Performance Score. 16 pages. Duration 3 minutes, 49 seconds. Carl Fischer Music #CM9625. Published by Carl Fischer Music (CF.CM9625).

ISBN 9781491156988. UPC: 680160915545. 6.875 x 10.5 inches. Key: Bb major. English, English. William Butler Yeats.

The Everlasting Voices is the perfect blend of textural variety and harmonic interest for the advanced treble ensemble. Employing a powerful text, Baas' vocal layering coupled with piano and optional cello make this compelling piece a programming must!.
O sweet everlasting Voices, be still; Go to the guards of the heavenly fold And bid them wander obeying your will, Flame under flame, till Time be no more; Have you not heard that our hearts are old, That you call in birds, in wind on the hill, In shaken boughs, in tide on the shore? O sweet everlasting Voices, be still. This SSAA choral work by Jimmy Baas was comissioned by the Lumberton HS Varsity Treble Choir. The opening and closing lines of the poem, O sweet everlasting voices, be still provide the perfect bookends for two larger sections of the poem. These two sections are equally divided into verses. The opening line is used once again as a transition between the verses. The previously mentioned lines, O sweet everlasting voices, are overlapped as different layers of voices enter and sustain. A fifth and sixth voice, the cello and piano accompaniment take part in these layers as well. The words be still are very much a part of the mood each time as the everlasting voices become quiet and still. The two verses feature different voices within the SSAA choir. Verse 1, the sopranos, and verse 2 the altos. There are many moments in this piece to explore the full range and color of the SSAA choir. The piano and cello play an important part throughout, making this piece an excellent choice for any festival women's chorus.
O sweet everlasting Voices, be still;Go to the guards of the heavenly foldAnd bid them wander obeying your will,Flame under flame, till Time be no more;Have you not heard that our hearts are old,That you call in birds, in wind on the hill,In shaken boughs, in tide on the shore?O sweet everlasting Voices, be still.This SSAA choral work by Jimmy Baas wascomissioned by the Lumberton HS Varsity Treble Choir.The opening and closing lines of the poem, “O sweeteverlasting voices, be still” provide the perfect bookendsfor two larger sections of the poem. These two sectionsare equally divided into verses. The opening line is usedonce again as a transition between the verses.The previously mentioned lines, “O sweet everlastingvoices,” are overlapped as different layers of voices enterand sustain. A fifth and sixth voice, the cello and pianoaccompaniment take part in these layers as well.The words “be still” are very much a part of the moodeach time as the everlasting voices become quietand still.The two verses feature different voices within the SSAAchoir. Verse 1, the sopranos, and verse 2 the altos. Thereare many moments in this piece to explore the full range andcolor of the SSAA choir. The piano and cello play an importantpart throughout, making this piece an excellent choice for anyfestival women’s chorus.

Violoncello and Piano Reduction. By Antonio Vivaldi. Arranged by Enzo Altobelli. String Solo. Size 8.25x11.75 inches. 15 pages. Published by Ricordi.

Cello; Piano Accompaniment (Cello Part And Piano Score)

SKU: HL.48024888

Cello and Piano. Composed by Bertold Hummel. Boosey & Hawkes Chamber Music. Classical. Softcover. 20 pages. Duration 360 seconds. Simrock #M221122575. Published by Simrock (HL.48024888).

UPC: 840126919769.

As a lesson and lecture piece, Bertold Hummel's Sonatine op. 35, created in 1969, accompanied many young musicians on their way. Sold a thousand times all over the world, it is one of the composer's best-known works and has been included in the repertoire list for the 'Jugend musiziert' competition by the German Music Council. Warmth and sparkling rhythm characterize the three movements: inthe powerful maestoso, the sonority of the main theme is contrasted with a lyrical side theme; the recapitulation ends with an impulsive fugato. The second movement Elegie consists of a single soulful melody about spherical harmonies of the piano. As the highlight in the Finale vivace, playful lightness, marching rhythms and dramatic increases replace each other in quick succession; wild arpeggios lead to the end. Originally composed for violin, versions for viola and cello were already familiar. For the 50th birthday, Simrock / Boosey & Hawkespresents the work in a revised, revised edition. A repertoire enrichment for beginning instrumentalists are the first available versions for alto and tenor saxophone, which the composer made himself in the 1990s.