Chamber Music Clarinet, Piano, Viola, Violoncello SKU: CF.MXE5 For Cla...(+)
Chamber Music Clarinet,
Piano, Viola, Violoncello
SKU: CF.MXE5
For Clarinet, Viola,
Violoncello and Piano -
Full Score and Parts.
Composed by David
Carlson. SWS+Inserts.
Carl Fischer Chamber
Music Edition. First
performance: Park City
International Music
Festival - Park City,
Utah. Set of Score and
Parts. With Standard
notation. Composed 1998.
Carl Fischer Music #MXE5.
Published by Carl Fischer
Music (CF.MXE5).
ISBN
9780825853401. UPC:
798408053406. 9 X 12
inches.
Commissione
d in 1998, this chamber
piece is truly unique
experience! A short piece
(18 minutes), the work is
derived from the
composer’s
fascination with a theory
from quantum physics
stating that time is
fluid and that matter can
exist concurrently in one
place. To encompass this
idea, the composer asks
that a passage of music
that he wrote when he was
15 be pre-recorded and
played during the second
movement (Desolato). The
music of the adult David
Carlson is coupled with
music written thirty
years ago, creating a
sonic continuum. The
highly charged,
rhythmically aggressive
music of the first
movement is contrasted by
the nostalgic slow mood
of the second movement.
The final movement is
both energetic and
passionate, which brings
this imaginative work to
a positive
conclusion.
Chamber Music cello, piano SKU: CF.B3417 Composed by David Carlson. SWS+I...(+)
Chamber Music cello,
piano
SKU:
CF.B3417
Composed by
David Carlson.
SWS+Insert. Premiered
January 17, 1993 by Emil
Miland and Robin
Sutherland. Classical.
Set of Score and Parts.
With Standard notation.
Composed 1992. Carl
Fischer Music #B3417.
Published by Carl Fischer
Music (CF.B3417).
ISBN
9780825859274. UPC:
798408059279. 9 X 12
inches.
Commissione
d by Chamber Music
America, this beautiful
neo-romantic work was
first performed on
January 17, 1993 by Emil
Miland and Robin
Sutherland. A substantial
work at 20 minutes, the
sonata, alternates
between lyrical writing
and music with a
scherzo-like feel that is
both lively and animated.
Sonata for Cello and
Piano is written in one
movement that flows
extremely well with an
intertwined cohesiveness
between the two players.
A memorable piece for a
cello recital!
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.
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,
“Prayerâ€, 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,
“Supplicationâ€
(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
Songâ€, 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.
Chamber Music Cello, Piano SKU: CF.B3444 For Cello and Piano. Comp...(+)
Chamber Music Cello,
Piano
SKU:
CF.B3444
For Cello
and Piano. Composed
by Daniel Godfrey. SWS.
Set of Score and Parts.
With Standard notation.
Composed 1990. 12+4
pages. Duration 7
minutes. Carl Fischer
Music #B3444. Published
by Carl Fischer Music
(CF.B3444).
ISBN
9780825887321. UPC:
798408087326. 9 x 12
inches.
From 1990,
Godfrey's Arietta for
cello and piano is a
delightful duo for two.
It opens with a quiet
uncertainty, swells to a
rhapsodic denouement, and
fades away in
requiescence. (program
notes) For advanced
performers. Duration:
7'.
Chamber Music Cello, Piano SKU: CF.B3473 Composed by Ernest Bloch. Edited...(+)
Chamber Music Cello,
Piano
SKU:
CF.B3473
Composed by
Ernest Bloch. Edited by
Julian Schwarz. Set of
Score and Parts. 12+4
pages. Carl Fischer Music
#B3473. Published by Carl
Fischer Music (CF.B3473).
ISBN 9781491161999.
UPC: 680160920679. Key: C
major.
Ballade Violoncelle, Piano [Conducteur et Parties séparées] Carl Fischer
For Cello and Piano. By Martin Bresnick. For Cello, Piano. This edition: score a...(+)
For Cello and Piano. By
Martin Bresnick. For
Cello, Piano. This
edition: score and part.
Carl Fischer Chamber
Music Edition. Classical.
Published by Carl
Fischer.
Chamber Music Cello and Piano SKU: CF.O4963 Composed by Peter Mennin. Thi...(+)
Chamber Music Cello and
Piano
SKU:
CF.O4963
Composed by
Peter Mennin. This
edition: Piano Reduction.
Set of Score and Parts.
With Standard notation.
64+20 pages. Carl Fischer
Music #O4963. Published
by Carl Fischer Music
(CF.O4963).
ISBN
9780825894374. UPC:
798408094379. 9 x 12
inches.
A director
of Peabody Conservatory
and long-time president
of the Juilliard School
of Music, the very busy
Mennin found time to
compose a number of major
works in the post-World
War II American music
scene, up until his
untimely death at age 60.
His Cello Concerto was
commissioned by the
Juilliard Music
Foundation in 1955, one
of many commissions from
prestigious
organizations. Enjoy a
YouTube performance from
Albany Records' American
Archives, as performed by
Janos Starker and the
Louisville Orchestra
(Jorge Mester,
cond.).
Static Violoncelle, Piano [Conducteur] Carl Fischer
For Flute, Clarinet in B-Flat, Violin, Cello and Piano - Full Score. By Sebastia...(+)
For Flute, Clarinet in
B-Flat, Violin, Cello and
Piano - Full Score. By
Sebastian Currier. Mixed
chamber ensemble. For
Flute, Clarinet, Violin,
Cello, Piano. Carl
Fischer Chamber Music
Edition. Classical. Full
Score - Large. 80 pages.
Duration 23:00. Published
by Carl Fischer.
Level:
Advanced/Professional.
Cello and piano SKU: CF.F1030 In the Style of Couperin. Composed b...(+)
Cello and piano
SKU:
CF.F1030
In the
Style of Couperin.
Composed by Francois
Couperin. Arranged by
Fritz Kreisler. Cello.
Performance Score. With
Standard notation. 4+4
pages. Carl Fischer Music
#F1030. Published by Carl
Fischer Music (CF.F1030).
ISBN 9781491154540.
UPC: 680160913060. 9 X 12
inches.
This lively
work from famous violin
virtuoso Fritz Kreisler
is an exciting and
entertaining study for
developing cello
students. Sprightly at
some points and
free-flowing at others,
this versatile piece in
the style of Couperin is
sure to become a
favorite.
Qhanri Violoncelle, Piano Guitare classique Carl Fischer
Chamber Music Cello, Piano SKU: CF.CY3410 Snow mountain. Composed ...(+)
Chamber Music Cello,
Piano
SKU:
CF.CY3410
Snow
mountain. Composed by
Marga Richter. Set of
Score and Parts. With
Standard notation. 57+17
pages. Carl Fischer Music
#CY3410. Published by
Carl Fischer Music
(CF.CY3410).
Duo Violoncelle, Piano Guitare classique Carl Fischer
Chamber Music Cello, Piano SKU: CF.CY1388 Composed by Henry Brant. Set of...(+)
Chamber Music Cello,
Piano
SKU:
CF.CY1388
Composed by
Henry Brant. Set of Score
and Parts. With Standard
notation. Composed 1937.
52+18 pages. Carl Fischer
Music #CY1388. Published
by Carl Fischer Music
(CF.CY1388).
ISBN
9780825880612. UPC:
798408080617. 9.5 x 13
inches.
The Duo,
written by then
24-year-old Brant, was
revised and reworked in
1962 and dedicated to the
cellist George Finckel,
with whom Brant served on
the faculty at
Bennington. The Duo is
comprised of five
movements (I. Sonata; II.
Ballad; III. Scherzo; IV.
Recitative; V.
Invention).
Concerto In E Minor Violoncelle, Piano [Conducteur et Parties séparées] Carl Fischer
Op. 85, for Violoncello and Piano. Composed by Edward Elgar (1857-1934). ...(+)
Op. 85, for
Violoncello and
Piano. Composed by
Edward Elgar (1857-1934).
Edited by Feldman,
Marion, du Pre,
Jaqueline. Score and
part(s). With Standard
notation. Opus 85. 32
12 pages. Carl Fischer
#B003463. Published by
Carl Fischer (CF.B3463).
Composed by Gioachino Rossini Maurice Ravel. Arranged by Mario Castelnuovo-T...(+)
Composed by Gioachino
Rossini
Maurice Ravel. Arranged
by
Mario
Castelnuovo-Tedesco.
Collection - Score and
Parts.
24+12 pages. Carl Fischer
Music #BF147. Published
by
Carl Fischer Music
A Brief Tone Poem about Her Life and Death. Composed by Lukas Foss (1922-). ...(+)
A Brief Tone Poem about
Her
Life and Death. Composed
by
Lukas Foss (1922-).
Edited by
Steven Honigberg. Sws.
Carl
Fischer Music #B3469.
Published by Carl Fischer
Music
From The Barber of Seville . Composed by Gioachino Rossini (1792-1868). ...(+)
From The Barber of
Seville . Composed by
Gioachino Rossini
(1792-1868). Edited by
Gregor Piatigorsky.
Arranged by Mario
Castelnuovo-Tedesco. With
Standard notation. Carl
Fischer #B002670.
Published by Carl Fischer
(CF.B2670).
Strutt Sonata Violoncelle, Piano - Intermédiaire Faber Music Limited
For Cello and Piano. Composed by Carl Vine (1954-). Duet or Duo; Piano Supple...(+)
For Cello and Piano.
Composed by Carl Vine
(1954-). Duet or Duo;
Piano
Supplemental; String -
Cello
Solo and Piano. Faber
Edition. Form: Sonata.
20th
Century. Part(s); Score.
Faber Music
#12-0571540635.
Published by Faber Music
(Movements I and II Arranged for Cello and Piano). Composed by Igor Fyodorovich ...(+)
(Movements I and II
Arranged for Cello and
Piano). Composed by Igor
Fyodorovich Stravinsky.
Arranged by David
Dutkanicz. For cello,
piano. 8 2 pages.
Published by Carl Fischer
Violoncelle, Piano [Set de Parties séparées] Carl Fischer
Composed by Camille Saint-Saens (1835-1921), arranged by Alvin Buechner. Set of ...(+)
Composed by Camille
Saint-Saens (1835-1921),
arranged by Alvin
Buechner. Set of
performance parts for
cello and piano
(Cello/Piano). With
bowings and fingerings. 5
pages. Published by Carl
Fischer.