Invocation Violoncelle, Piano [Conducteur et Parties séparées] Faber Music Limited
By Gustav Holst (1874-1934). Edited by Julian Lloyd Webber. For Cello and Piano....(+)
By Gustav Holst
(1874-1934). Edited by
Julian Lloyd Webber. For
Cello and Piano.
Masterworks; Part(s);
Score; Solo; String -
Cello and Piano. Faber
Edition. 20th Century;
Masterwork; Romantic.
Published by Faber Music
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
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,
“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.
(with marked and unmarked string parts). By Johannes Brahms (1833-1897). Edited ...(+)
(with marked and unmarked
string parts). By
Johannes Brahms
(1833-1897). Edited by
Egon Voss and Johannes
Behr. For Cello, Piano.
Henle Music Folios.
Softcover. 62 pages. G.
Henle #HN1135. Published
by G. Henle
Jungle Fever Violoncelle, Piano [Conducteur et Parties séparées] Faber Music Limited
By Matthew Hindson. For Cello and Piano. Masterworks; Part(s); Score; Solo; Stri...(+)
By Matthew Hindson. For
Cello and Piano.
Masterworks; Part(s);
Score; Solo; String -
Cello and Piano. Faber
Edition. 20th Century;
Masterwork. Published by
Faber Music
Cello and Piano Schott Student Edition Level 1. Composed by Arnold Trowell. ...(+)
Cello and Piano Schott
Student Edition Level 1.
Composed by Arnold
Trowell.
Edited by Beverley Ellis.
This edition: Saddle
stitching. Sheet music.
Schott Student Edition.
Classical. Softcover. Op.
4/1-6. 40 pages. Schott
Music
#SE 1024. Published by
Schott
Music
Schott Student Edition Repertoire. Composed by Jean Baptiste Breval. Edit...(+)
Schott Student Edition
Repertoire. Composed
by Jean Baptiste Breval.
Edited by Beverley Ellis.
This edition: Saddle
stitching. Sheet music.
Schott Student Edition.
Repertoire. Softcover.
Op. 40/1. 36 pages.
Schott Music #SE1006.
Published by Schott Music
(HL.49045503).
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).
6 Easy Concert Pieces. Composed by Arnold Trowell. Edited by Beverley Ellis. ...(+)
6 Easy Concert Pieces.
Composed by Arnold
Trowell.
Edited by Beverley Ellis.
This edition: Saddle
stitching. Sheet music.
Schott Student Edition. 6
leichte Stucke fur
Violoncello und Klavier.
Classical. Softcover. Op.
4/7-12. 40 pages. Schott
Music #SE 1050. Published
by
Schott Music
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.
(Violoncello and Piano With Marked and Unmarked String Parts). Composed by Edwar...(+)
(Violoncello and Piano
With Marked and Unmarked
String Parts). Composed
by Edward Elgar
(1857-1934). Edited by
Claus Kanngiesser, Rolf
Koenen, and Rupert
Marshall-Luck. For Cello,
Piano Accompaniment.
Henle Music Folios.
Softcover. 8 pages. G.
Henle #HN1189. Published
by G. Henle
Cello; Piano - easy to intermediate Cello and Piano. Composed by Ludwig van Beet...(+)
Cello; Piano - easy to
intermediate
Cello and Piano. Composed
by Ludwig van Beethoven
(1770-1827). Arranged by
Julius Berger. This
edition: Saddle
stitching. Sheet music.
String. Classical.
Softcover. 16 pages.
Schott Music #CB239.
Published by Schott Music
Set of Parts Cello; Chamber Music; Piano Accompaniment; Violin (Ensemble) SKU...(+)
Set of Parts Cello;
Chamber Music; Piano
Accompaniment; Violin
(Ensemble)
SKU:
HL.51481532
Set of
Parts for Violin, Cello
and Piano. Composed
by Felix Bartholdy
Mendelssohn. Henle Music
Folios. Classical.
Softcover. G. Henle
#HN1532. Published by G.
Henle (HL.51481532).
UPC: 840126989298.
9.25x12.25x0.357
inches.
After the
great success of his
first Piano Trio in d
minor op. 49, some five
years passed before
Mendelssohn set to work
on a new composition for
this formation. But then
the c-minor Trio came
into being in a
relatively short period
in March/April 1845 and
was published around a
year later. Much more
sombre in character than
the sibling work, this
second trio is also
considered much more
difficult in terms of
technique (above all in
the piano part). Thus, it
has always stood somewhat
in the shadow of the
earlier trio. However,
chamber music aficionados
generally regard it as
the more mature and
challenging work in terms
of compositional
technique. The trio,
taken from the volume
Mendelssohn • Piano
Trios HN 957, is now
available from Henle for
the first time also as a
practical single
edition.
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 and piano (Cello Part And Piano Score) - intermediate SKU: HL.49019221<...(+)
Cello and piano (Cello
Part And Piano Score) -
intermediate
SKU:
HL.49019221
Composed
by George Goltermann.
Edited by Fritz Zumkley.
This edition: Saddle
stitching. Sheet music.
String Solo. Softcover.
Op. 92/2. 12 pages.
Schott Music #CB246.
Published by Schott Music
(HL.49019221).
ISBN
9790001180672. UPC:
841886018136.
9.0x12.0x0.092
inches.
Georg
Goltermann (1824-1898)
left a plethora of works
for his instrument,
including seven cello
concertos which still
play an important role in
the cello literature of
today. In addition, he
composed a large number
of character pieces,
including romances,
reveries, nocturnes and
serenades. Rooted
entirely in the romantic
spirit of their time with
regard to style, they are
relatively short pieces
of medium difficulty. It
is not least due to its
melodic and harmonic
catchiness that the
rather easy Reverie in G
minor Op. 92/2 enjoys
great popularity both in
lessons and in concerts.
The expression marking
'Allegro appassionato'
refers to the fundamental
character of the piece
which demands, in
particular, an expressive
vibrato rich in
modulation.
Virtuoso and Entertaining Pieces for Cello and Piano. Composed by Various. Edi...(+)
Virtuoso and Entertaining
Pieces for Cello and
Piano.
Composed by Various.
Edited
by Beverley Ellis and
Rainer
Mohrs. String. Softcover.
Schott Music #ED23310.
Published by Schott Music
Cello and Piano or 3 Cellos, Level 3 Schott Student Edition Repertoire. C...(+)
Cello and Piano or 3
Cellos, Level 3 Schott
Student Edition
Repertoire. Composed
by Bernhard Romberg.
Edited by Beverley Ellis.
Arranged by Friedrich
Janssen. This edition:
Saddle stitching. Sheet
music. Schott Student
Edition. Repertoire.
Softcover. Op. 38/1. 32
pages. Schott Music
#SE1007. Published by
Schott Music
(HL.49045501).
Composed by Jean-Baptiste Breval. Edited by Christoph Sassmannshaus. Stapled...(+)
Composed by Jean-Baptiste
Breval. Edited by
Christoph
Sassmannshaus. Stapled.
Barenreiter's
Concert
Pieces. Piano reduction,
part(s). 7/12 pages.
Duration 8:00.
Baerenreiter
Verlag #BA 10698.
Published
by Baerenreiter Verlag
18 Recital Pieces in First Position for Cello and Piano or Two Celli. Edited b...(+)
18 Recital Pieces in
First
Position for Cello and
Piano
or Two Celli. Edited by
Christoph Sassmannshaus /
Melissa Lusk. Stapled.
Baerenreiter's
Sassmannshaus.
Performance score, parts.
22/24/17 pages pages.
Published by Baerenreiter
Verlag
By Louise Farrenc (1804-1875). Edited by Bella and Semjon Kalinowsky. For viola ...(+)
By Louise Farrenc
(1804-1875). Edited by
Bella and Semjon
Kalinowsky. For viola and
piano. Viola.
Instrumental Music.
Intermediate. Score and
parts. Composed 1861.
Published by Furore
Verlag
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.
With piano accompaniment. By Craig Duncan. By Craig Duncan. For Cello. Solos. Sa...(+)
With piano accompaniment.
By Craig Duncan. By Craig
Duncan. For Cello. Solos.
Sacred. Level:
Beginning-Intermediate.
Book. 80 pages. Published
by Mel Bay Publications,
Inc.
Piano; Violin; Cello SKU: AP.12-0571540805 Composed by Tom Coult. Piano T...(+)
Piano; Violin; Cello
SKU:
AP.12-0571540805
Composed by Tom Coult.
Piano Trio; Trio. Score.
Faber Music
#12-0571540805. Published
by Faber Music
(AP.12-0571540805).
ISBN 9780571540808.
English.
Accelerati
on, deceleration, and the
inconsistent nature of
time are at the heart of
Piano Trio The
Chronophage by Tom Coult.
Throughout the 17-minute
work, cello and piano
lines constantly speed up
or slow down relative to
one another, while the
violin has only one
role---to accelerate
throughout. The listener
feels clunky gear
changes, as previously
reliable demarcations of
time seem unsteady, even
unsafe. The trio's
subtitle comes from The
Corpus Clock in
Cambridge, a clock that
plays with exactly this
perception. Completely
accurate every five
minutes, the clock
lurches unevenly from
second to second, the
grinding mechanism driven
by the terrifying metal
insect escapement known
as the Chronophage (from
the Greek meaning of
time-eater).
Cello; Piano Accompaniment (Cello Part And Piano Score) SKU: HL.48025367 ...(+)
Cello; Piano
Accompaniment (Cello Part
And Piano Score)
SKU:
HL.48025367
Cello
and Piano. Composed
by Simon Laks. Boosey &
Hawkes Chamber Music.
Classical. Softcover.
Bote & Bock #M202538630.
Published by Bote & Bock
(HL.48025367).
12 Recital Pieces in First Position for Cello and Piano or Two Celli. Edited b...(+)
12 Recital Pieces in
First
Position for Cello and
Piano
or Two Celli. Edited by
Christoph Sassmannshaus /
Melissa Lusk. Stapled.
Baerenreiter's
Sassmannshaus.
Performance score, parts.
16/23/21 pages pages.
Published by Baerenreiter
Verlag