Composed by Johannes Brahms (1833-1897). Edited by Clive Brown / Neal Peres Da C...(+)
Composed by Johannes
Brahms (1833-1897).
Edited by Clive Brown /
Neal Peres Da Costa /
Kate Bennett Wadsworth.
For cello and piano. This
edition: Urtext edition.
Stapled. With an Urtext
solo part by Clive Brown
and a solo part with
bowing and fingering by
Kate Bennett Wadsworth;
Fingering in the piano
part by Neal Peres Da
Costa; Performance
Practice Commentary by C.
Brown, N. P. Da Costa and
K. B. Wadsworth. Level 3.
Score and part. Text
Language: German/English.
Opus 38. Published by
Baerenreiter Verlag
Arranged by Daniel Kelley. For Cello (or Bassoon) and Piano. Solos. Recital, Chu...(+)
Arranged by Daniel
Kelley. For Cello (or
Bassoon) and Piano.
Solos. Recital, Church.
Level:
Intermediate/Advanced.
Piano Score and Solo
Part. Published by Last
Resort Music Publishing.
Violoncelle, Piano [Reduction] - Intermédiaire/avancé Last Resort Music Publishing
Edited by Jan Kelley. Arranged by Daniel Kelley. For Cello and Piano. Solos. Rec...(+)
Edited by Jan Kelley.
Arranged by Daniel
Kelley. For Cello and
Piano. Solos. Recital,
Wedding. Level:
Intermediate/Advanced.
Piano Score and Solo
Part. Published by Last
Resort Music Publishing.
Edited by Rachel Lonergan. Arranged by Daniel Kelley. For Cello and Piano. Solos...(+)
Edited by Rachel
Lonergan. Arranged by
Daniel Kelley. For Cello
and Piano. Solos.
Recital. Level:
Intermediate. Piano Score
and Solo Part. Published
by Last Resort Music
Publishing.
Cello and piano SKU: BO.B.3652 Composed by Jordi Cervello. Published by E...(+)
Cello and piano
SKU:
BO.B.3652
Composed by
Jordi Cervello. Published
by Editorial de Musica
Boileau (BO.B.3652).
Sonata for
cello and piano was
written between September
and October of 2010. It
is made up of three
movements, each of which
has unique
characteristics. The
first, Allegro
appassionato, is
monothematic, although
the theme itself is
presented in several
ways. Following a
vigorous start featuring
cello cadenza, the
movement is developed
with a lively feel,
alternating lyrical
fragments with other
energetic ones. Its
conclusion is
resounding. Meanwhile,
the second movement,
Quasi un lamento, is
introspective and
fragile. A long melody is
sustained by a delicate
and transparent piano
accompaniment, evoking
once again the theme of
the first movement and
concluding with a Lento
of descending piano
harmonies while the cello
follows, in octaves, with
heartfelt
glissando.
The
third movement,
Scherzando-Allegro, is a
light-hearted game
between the piano and the
cello. The main theme is
repeated once again, this
time with a binary time
signature. The cello uses
ricochet (the rebounding
of notes in a bow
stroke), as well as
natural and artificial
harmonies in quick time.
The piano part unfolds
completely naturally,
excluding any gratuitous
artifice.
Chamber Music Cello, Piano SKU: PR.114418630 Composed by Stacy Garrop. Se...(+)
Chamber Music Cello,
Piano
SKU:
PR.114418630
Composed
by Stacy Garrop. Set of
Score and Parts. With
Standard notation. 24+8
pages. Duration 13
minutes. Theodore Presser
Company #114-41863.
Published by Theodore
Presser Company
(PR.114418630).
ISBN
9781491114063. UPC:
680160642724. 9 x 12
inches.
The film
noir genre of 1940s
cinema typically includes
a strong but flawed male
lead (often a detective),
a beautiful woman who
coerces the male into
committing murder or is a
killer herself (a
“femme
fataleâ€), and a
twisting plot line that
involves one or more
homicides. These movies
typically are shot in
black and white, with
emphasis on shadows and
light, alcohol and
cigarettes, trench coats
and fedoras. Most of the
story lines do not have
happy endings. Inspired
by this genre, NOIR
VIGNETTES consists of
four movements, each
depicting an aspect of
film noir: Murder at
Midnight, Loaded Gun,
Femme Fatale, and Last
Cigarette. In the
mid-1940s, film critics
in France noticed a trend
emerging in movies from
the United States, which
they coined film noir
(which translates to
“black
filmâ€). These
movies were dark, moody,
and pessimistic,
reflecting the agitation
and anxiety present in
society following World
War II. Several
characteristics are
commonly found in many of
these movies, including a
strong but flawed male
lead (often a detective),
a beautiful woman who
either coerces the male
lead into committing
murder for her or is a
killer herself (a
“femme
fataleâ€), and a
twisting, turning plot
line that involves one or
more homicides.
Additionally, there are
several visual elements
that these movies share:
many are shot in black
and white, with great
emphasis on the use of
shadows and light;
alcohol and cigarettes
are heavily consumed by
men and women alike; and
men typically wear trench
coats and fedoras. Most
of the story lines do not
have happy endings.
Examples of film noir
include Orson
Welles’ The Lady
from Shanghai, Billy
Wilder’s Double
Indemnity, and John
Huston’s The
Maltese Falcon.NOIR
VIGNETTES consists of
four movements, each
depicting a different
aspect of film noir:
Murder at Midnight,
Loaded Gun, Femme Fatale,
and Last Cigarette.This
piece was commissioned by
the University of
Illinois Research Board
on behalf of double
bassist Michael Cameron;
and it also published for
Double Bass and Piano
(114-41811). The cello
version is transcribed by
the composer.-- Stacy
Garrop.
By Daniel Kelley. Arranged by Daniel Kelley. For Cello solo and Piano accompanim...(+)
By Daniel Kelley.
Arranged by Daniel
Kelley. For Cello solo
and Piano accompaniment.
Solos. Contemporary Solo
Series. Incredible New
Works that exemplify the
gorgeous and virtuosic
qualities of the cello.
Recital.
Intermediate/Advanced.
Piano score and solo
part. Published by Last
Resort Music Publishing
Cello, piano SKU: FG.55011-673-3 Composed by Kalevi Aho. Fennica Gehrman ...(+)
Cello, piano
SKU:
FG.55011-673-3
Composed by Kalevi Aho.
Fennica Gehrman
#55011-673-3. Published
by Fennica Gehrman
(FG.55011-673-3).
ISBN
9790550116733.
A
large-scale work in four
movements lasting over
half an hour, Kalevi
Aho's Sonata for
violoncello and piano
(2019) in four movements
is furios, virtuosic and
poweful, with a lyrical
second movement. The
third movement is a cello
cadenza, provided in two
versions: with and
without throat
singing.
(Cello Part And Piano Score) SKU: HL.48183028 Composed by Bohuslav Martin...(+)
(Cello Part And Piano
Score)
SKU:
HL.48183028
Composed
by Bohuslav Martinu.
Leduc. Post-1900.
Softcover. Alphonse Leduc
#AL24921. Published by
Alphonse Leduc
(HL.48183028).
UPC:
888680877941.
9.0x12.0x0.093
inches.
Composed by
the Czech composer
Bohuslav Martinu in 1930,
Miniature Study is a
chamber work for Cello
and Piano that lasts 10
minutes and 30 seconds.
The difficulty for Cello
is considered as medium
and for the Piano, easy
to medium. Miniature
Study is divided in seven
sections: I. Moderato II.
Poco andante III. Poco
moderato IV. Andante V.
Poco allegro VI.
Allegretto VII. Moderato
Good for recitals, this
piece is really melodic
and cheerful, with some
parts quiet and others
quite energetic. Bohuslav
Martinu(1890-1959) also
wrote 13 other ballets,
15 operas and 6
symphonies and some
orchestral and chamber
music..
Urtext based on the
new Complete Edition (G.
Henle Verlag).
Composed by Johannes
Brahms. Edited by Michael
Struck. Stapled.
Orchester-Bibliothek
(Orchestral Library). The
piano reduction and the
study score
(,,Studien-Edition) are
available at G. Henle
Verlag. Solo concerto;
Romantic. Part. 12 pages.
Duration 35'. Breitkopf
and Haertel #OB 16104-19.
Published by Breitkopf
and Haertel
(BR.OB-16104-19).
ISBN
9790004339435. 10 x 12.5
inches.
The
publishers Henle and
Breitkopf & Hartel are
continuing their
collaboration, now with
Brahms, by publishing the
performance material of
the double concerto.
Brahms's last work with
orchestra was published
in the new Brahms
Complete Edition in 2002,
whereby the editor was
able to base himself on
newly accessible sources.
Of particular interest
are the additional
performance instructions
for the solo violin and
solo cello, which were
gathered from the first
edition of the solo
parts. These indications
were supplied by the
soloists of the first
performance, Joseph
Joachim and Robert
Hausmann. No doubt
authorized by Brahms,
they communicate valuable
insights into the
performance practice of
the time. The new
material also contains a
part in which the solo
violin and cello are
notated one above the
other. The trio edition
for violin, violoncello
and piano (EB 6040),
which was made by Brahms
himself, has proven
itself for chamber
performances; it
continues to be
available.The full score
is a conductor's dream:
big, bold, and
beautifully laid out on
glare-free bluff paper.
(Strings).
Urtext based on the
new Complete Edition (G.
Henle Verlag).
Composed by Johannes
Brahms. Edited by Michael
Struck. Stapled.
Orchester-Bibliothek
(Orchestral Library). The
piano reduction and the
study score
(,,Studien-Edition) are
available at G. Henle
Verlag. Solo concerto;
Romantic. Part. 12 pages.
Duration 35'. Breitkopf
and Haertel #OB 16104-27.
Published by Breitkopf
and Haertel
(BR.OB-16104-27).
ISBN
9790004339459. 10 x 12.5
inches.
The
publishers Henle and
Breitkopf & Hartel are
continuing their
collaboration, now with
Brahms, by publishing the
performance material of
the double concerto.
Brahms's last work with
orchestra was published
in the new Brahms
Complete Edition in 2002,
whereby the editor was
able to base himself on
newly accessible sources.
Of particular interest
are the additional
performance instructions
for the solo violin and
solo cello, which were
gathered from the first
edition of the solo
parts. These indications
were supplied by the
soloists of the first
performance, Joseph
Joachim and Robert
Hausmann. No doubt
authorized by Brahms,
they communicate valuable
insights into the
performance practice of
the time. The new
material also contains a
part in which the solo
violin and cello are
notated one above the
other. The trio edition
for violin, violoncello
and piano (EB 6040),
which was made by Brahms
himself, has proven
itself for chamber
performances; it
continues to be
available.The full score
is a conductor's dream:
big, bold, and
beautifully laid out on
glare-free bluff paper.
(Strings).
Urtext based on the
new Complete Edition (G.
Henle Verlag).
Composed by Johannes
Brahms. Edited by Michael
Struck. Folder.
Orchester-Bibliothek
(Orchestral Library). The
piano reduction and the
study score
(,,Studien-Edition) are
available at G. Henle
Verlag. Solo concerto;
Romantic. Set of parts.
100 pages. Duration 35'.
Breitkopf and Haertel #OB
16104-30. Published by
Breitkopf and Haertel
(BR.OB-16104-30).
ISBN
9790004339466. 10 x 12.5
inches.
The
publishers Henle and
Breitkopf & Hartel are
continuing their
collaboration, now with
Brahms, by publishing the
performance material of
the double concerto.
Brahms's last work with
orchestra was published
in the new Brahms
Complete Edition in 2002,
whereby the editor was
able to base himself on
newly accessible sources.
Of particular interest
are the additional
performance instructions
for the solo violin and
solo cello, which were
gathered from the first
edition of the solo
parts. These indications
were supplied by the
soloists of the first
performance, Joseph
Joachim and Robert
Hausmann. No doubt
authorized by Brahms,
they communicate valuable
insights into the
performance practice of
the time. The new
material also contains a
part in which the solo
violin and cello are
notated one above the
other. The trio edition
for violin, violoncello
and piano (EB 6040),
which was made by Brahms
himself, has proven
itself for chamber
performances; it
continues to be
available.The full score
is a conductor's dream:
big, bold, and
beautifully laid out on
glare-free bluff paper.
(Strings).
Urtext based on the
new Complete Edition (G.
Henle Verlag).
Composed by Johannes
Brahms. Edited by Michael
Struck. Stapled.
Orchester-Bibliothek
(Orchestral Library). The
piano reduction and the
study score
(,,Studien-Edition) are
available at G. Henle
Verlag. Solo concerto;
Romantic. Part. 12 pages.
Duration 35'. Breitkopf
and Haertel #OB 16104-16.
Published by Breitkopf
and Haertel
(BR.OB-16104-16).
ISBN
9790004339428. 10 x 12.5
inches.
The
publishers Henle and
Breitkopf & Hartel are
continuing their
collaboration, now with
Brahms, by publishing the
performance material of
the double concerto.
Brahms's last work with
orchestra was published
in the new Brahms
Complete Edition in 2002,
whereby the editor was
able to base himself on
newly accessible sources.
Of particular interest
are the additional
performance instructions
for the solo violin and
solo cello, which were
gathered from the first
edition of the solo
parts. These indications
were supplied by the
soloists of the first
performance, Joseph
Joachim and Robert
Hausmann. No doubt
authorized by Brahms,
they communicate valuable
insights into the
performance practice of
the time. The new
material also contains a
part in which the solo
violin and cello are
notated one above the
other. The trio edition
for violin, violoncello
and piano (EB 6040),
which was made by Brahms
himself, has proven
itself for chamber
performances; it
continues to be
available.The full score
is a conductor's dream:
big, bold, and
beautifully laid out on
glare-free bluff paper.
(Strings).
Urtext based on the
new Complete Edition (G.
Henle Verlag).
Composed by Johannes
Brahms. Edited by Michael
Struck. Stapled.
Orchester-Bibliothek
(Orchestral Library). The
piano reduction and the
study score
(,,Studien-Edition) are
available at G. Henle
Verlag. Solo concerto;
Romantic. Part. 12 pages.
Duration 35'. Breitkopf
and Haertel #OB 16104-23.
Published by Breitkopf
and Haertel
(BR.OB-16104-23).
ISBN
9790004339442. 10 x 12.5
inches.
The
publishers Henle and
Breitkopf & Hartel are
continuing their
collaboration, now with
Brahms, by publishing the
performance material of
the double concerto.
Brahms's last work with
orchestra was published
in the new Brahms
Complete Edition in 2002,
whereby the editor was
able to base himself on
newly accessible sources.
Of particular interest
are the additional
performance instructions
for the solo violin and
solo cello, which were
gathered from the first
edition of the solo
parts. These indications
were supplied by the
soloists of the first
performance, Joseph
Joachim and Robert
Hausmann. No doubt
authorized by Brahms,
they communicate valuable
insights into the
performance practice of
the time. The new
material also contains a
part in which the solo
violin and cello are
notated one above the
other. The trio edition
for violin, violoncello
and piano (EB 6040),
which was made by Brahms
himself, has proven
itself for chamber
performances; it
continues to be
available.The full score
is a conductor's dream:
big, bold, and
beautifully laid out on
glare-free bluff paper.
(Strings).
(Cello and Piano). Composed by Edward Gregson. For Cello, Piano Accompaniment. M...(+)
(Cello and Piano).
Composed by Edward
Gregson. For Cello, Piano
Accompaniment. Music
Sales America. 52 pages.
Novello and Co Ltd.
#NOV958089. Published by
Novello and Co Ltd.
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,â€
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.
Arrangement for Violoncello and Piano by the Composer. By Edward Elgar. Edited b...(+)
Arrangement for
Violoncello and Piano by
the Composer. By Edward
Elgar. Edited by Jonathan
Del Mar. For Cello Solo,
piano. Piano
Reduction/Vocal Score;
Urtext Edition. Op. 85.
Duration 25'. Published
by Baerenreiter-Ausgaben
(German import). (BA9040
90)
Score and Parts Piano Quintet (Score & Parts) SKU: HL.49045797 For Two...(+)
Score and Parts Piano
Quintet (Score & Parts)
SKU: HL.49045797
For Two Violins,
Viola, Violoncello and
Piano Score and
Parts. Composed by
Olli Mustonen. Ensemble.
Classical. Softcover. 168
pages. Duration 1320
seconds. Schott Music
#ED22250. Published by
Schott Music
(HL.49045797).
The first
movement of my Piano
Quintet is filled with
drama and passion. Its
atmosphere can be related
to my Second Symphony
Johannes Angelos. The
second movement is a set
of polyphonic variations
in a form reminiscent of
a passacaglia. The music
seems to be hypnotized by
a theme consisting of a
chromatic cluster of ten
notes. In the beginning
of the last movement,
materials from the
previous movements start
to reappear, but this
time in a mysterious,
incoherent way. The
strings find new music
resembling a fragmented
hymn. Fast-moving
triplets start to appear
and the music reaches a
joyful and ecstatic
conclusion. Olli
Mustonen.
Cello; Piano Accompaniment (Cello Part And Piano Score) SKU: HL.49047040 ...(+)
Cello; Piano
Accompaniment (Cello Part
And Piano Score)
SKU:
HL.49047040
30
Concert and Salon Pieces
for Cello and Piano.
Composed by Various.
Edited by Beverley Ellis
and Rainer Mohrs. String.
Classical. Softcover. 192
pages. Schott Music
#ED22414. Published by
Schott Music
(HL.49047040).
ISBN
9783795711436. UPC:
196288116332.
9.0x12.0x0.535
inches.
Cello; Piano Accompaniment - intermediate SKU: HL.49019267 Violoncello...(+)
Cello; Piano
Accompaniment -
intermediate
SKU:
HL.49019267
Violoncello and
Piano. Composed by
George Goltermann. Edited
by Fritz Zumkley. This
edition: Saddle
stitching. Sheet music.
String. Stilistisch ganz
dem romantischen Geist
ihrer Zeit verhaftet,
handelt es sich um
relativ kurze Stucke.
Nicht zuletzt aufgrund
ihrer melodischen und
harmonischen
Eingangigkeit erfreuen
sie sich nachhaltiger
Beliebtheit sowohl im
Unterricht wie im
hausliche. Classical.
Softcover. Op. 54/3. 8
pages. Schott Music
#CB247. Published by
Schott Music
(HL.49019267).
ISBN
9790001180689. UPC:
841886018143.
9.0x12.0x0.074 inches.
Edited with fingerings
and bowings by Fritz
Zumkley.
Goltermann
(1824-1898) left a
plethora of works for his
instrument, including
seven cello concertos
which sometimes go to the
limitsof what was
considered to be
technically playable in
his time. Even today,
these works have
maintained their
importance throughout the
methodological progress
in literature. Apart from
the concertos, Goltermann
also composed a large
number of character
pieces, including
romances, reveries,
nocturnes and serenades.
Stylistically wholly
rooted in the Romantic
spirit of their time, the
pieces are relatively
short and of medium
difficulty as regards the
technical demands. It is
not least due to their
melodic and harmonic
catchiness that they
enjoy a lasting
popularity both in music
lessons and in domestic
concerts.
Cello; Piano Accompaniment (Score and Solo Part) SKU: HL.48024757 Cell...(+)
Cello; Piano
Accompaniment (Score and
Solo Part)
SKU:
HL.48024757
Cello
and Piano. Composed
by Magnus Lindberg.
Boosey & Hawkes Chamber
Music. Classical.
Softcover. 68 pages.
Duration 1200 seconds.
Boosey & Hawkes
#M060132179. Published by
Boosey & Hawkes
(HL.48024757).
ISBN
9781784542085. UPC:
888680962067.
9.0x12.0x0.189
inches.
This work
was composed in 2013 to a
commission by the Los
Angeles Philharmonic
Association. It was first
performed that year at
Walt Disney Concert Hall,
Los Angeles, by Anssi
Karttunen (cello) and the
Los Angeles Philharmonic,
conducted by Esa-Pekka
Salonen. The piece is
formed in a single span
lasting 20 minutes.
(Cello Part And Piano Score) SKU: HL.48186482 Composed by Reynaldo Hahn. ...(+)
(Cello Part And Piano
Score)
SKU:
HL.48186482
Composed
by Reynaldo Hahn. Leduc.
24 pages. Alphonse Leduc
#AL30749. Published by
Alphonse Leduc
(HL.48186482).
Reynaldo Hahn:
Works for cello and piano
[AL 30 749] For quite
some time, posterity
remembered Reynaldo Hahn
(1874-1947) for just a
handful of songs and the
operetta Ciboulette,
overlooking the
incredible diversity of a
catalogue as eclectic as
it is appealing. Yet his
chamber music contains
many little-known
treasures: thus, cellist
Steven Isserlis, in his
preface, hastens to hail
the first modern edition
of these two scores,
which he regularly plays
in recital, so much does
their beauty enchant the
audience. Published in
1911, the Two
Improvisations on Irish
Airs for cello and piano
turn out to be the
transcription of his
first and third Preludes
for piano four hands
(1894). These folk themes
come from the collection
Songs of Old Ireland,
published 12 years
earlier by Charles
Villiers Stanford:
gracefully and tenderly,
The Little Red Lark
unfurls a melancholic
tune of which the regular
foundation respects the
breadth of phrase typical
of folk songs; in The
Willow-Tree, the lover
begs his beloved in vain
to take him in her arms
one last time before he
lies down, lifeless, in
the shade of the tree.
Beyond this sensitive
exploration of the Irish
soul, Hahn offers us a
journey into the past:
the Variations chantantes
sur un air ancien develop
a theme borrowed from
Cavalli?s opera Xerse. In
this aria (1660 version:
Act IV, sc. 6),
Ambassador Periarco
dreams of moving away
from court intrigues to
be able to taste the
pleasures ?to which the
gods have destined him?.
Reynaldo Hahn?s
variations succeed in
maintaining the sweet
simplicity of this theme,
as noble as it is
refined. Let us wager
that this publication
will delight cellists and
pianists alike: it
contains some nuggets.
Deux improvisations sur
des airs irlandais (The
Little Red Lark, The
Willow-Tree) Variations
chantantes sur un air
ancien.
Cello and piano (solo: vc - 2.2.2.2 - 4.2.3.0 - timp - str) SKU: BR.EB-10802<...(+)
Cello and piano (solo: vc
- 2.2.2.2 - 4.2.3.0 -
timp - str)
SKU:
BR.EB-10802
Urtext. Composed
by Edouard Lalo. Edited
by Peter Jost. Arranged
by J. Schiff and J.
Umbreit. Solo
instruments; Softbound.
Edition Breitkopf.
The first
definitive author's
version - In
Cooperation with G. Henle
Verlag
Solo concerto;
Romantic. Piano
reduction. 92 pages.
Breitkopf and Haertel #EB
10802. Published by
Breitkopf and Haertel
(BR.EB-10802).
ISBN
9790201808024. 9.5 x 12
inches.
In the past
years, French music has
become a focal point of
Breitkopf's orchestral
library. With Edouard
Lalo's popular
violoncello concerto,
these new editions of
French music now bring
publishers Breitkopf and
G. Henle together once
again in another example
of their proven
cooperation. Peter Jost,
an expert on French music
who established his claim
to expertise through his
Debussy, Franck and
Saint-Saens editions,
ensures a flawless Urtext
edition which is based
for the first time on the
autograph piano
reduction. This
piano-cello score shows
traces of several layers
of arrangements, the last
two of which were
obviously not taken into
account in the first
edition. The new edition
thus offers a wealth of
new, authentic readings.A
carefully researched text
with clear and spacious
printing highlights this
sympathetic collaboration
of two esteemed
publishing houses,
Breitkopf & Hartel and
Henle. (Mary Nemet,
Strings).
Cello - difficult SKU: HL.49018988 Cello and Piano Performance Score(+)
Cello - difficult
SKU:
HL.49018988
Cello
and Piano Performance
Score. Composed by
Detlev Mueller-Siemens.
This edition: Saddle
stitching. Sheet music.
Edition Schott.
Classical. Softcover.
Composed 2008-2009. 96
pages. Duration 18'.
Schott Music #ED20830.
Published by Schott Music
(HL.49018988).
ISBN
9790001171601.
The
title 'called dusk'
quotes the last line of
the prose fragment
'Lessness' by Samuel
Beckett: 'Figment dawn
dispeller of figments and
the other called dusk'.
As regards the
compositional structure,
the three movements of
the work written 'in
memoriam Gyorgy Ligeti'
are based on the tones of
a Kaddish which, however,
cannot literally be heard
but, with the fingertips
placed on the cello
strings, generate
artificial harmonics of
totally different
sequences of tones.