(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.
(Fantasia for Cello and Piano). Composed by Edward Mollenhauer. Edited by Christ...(+)
(Fantasia for Cello and
Piano). Composed by
Edward Mollenhauer.
Edited by Christoph
Sassmannshaus. For cello
solo and piano. Stapled.
Barenreiter's Concert
Pieces. Transcribed for
Violoncello and Piano.
Level 2. Piano reduction,
part(s). Published by
Baerenreiter Verlag
(Monstrous Pieces for Beginners). By Pam Wedgwood. For Cello and Piano. Book; St...(+)
(Monstrous Pieces for
Beginners). By Pam
Wedgwood. For Cello and
Piano. Book; String -
Cello Studies or
Collection. Faber
Edition. 16 pages.
Published by Faber Music
Cello; Piano Accompaniment (Cello Part And Piano Score) SKU: HL.49046442 ...(+)
Cello; Piano
Accompaniment (Cello Part
And Piano Score)
SKU:
HL.49046442
Cello
and Piano. Composed
by Richard Strauss.
String Solo. Classical.
Softcover. 80 pages.
Duration 1560 seconds.
Schott Music #CB301.
Published by Schott Music
(HL.49046442).
ISBN
9781540094780. UPC:
842819113003.
The
Cello Sonata Op. 6 was
composed over an
apparently frequently
interrupted period of
three years, an
extraordinarily long time
for Strauss's early
creative phase. The
compositional process
spawned two independent
versions of the work, the
first of which is
published for the first
time on the basis of the
text in the Critical
Edition of the Works of
Richard Strauss in the
current editionas a
practical musical text.
The genesis of the two
versions and the reasons
for revision can only be
reconstructed in part:
only one of the surviving
autographs bears a date
and the second version
only survives in printed
form. What is more,
Strauss did not
communicate in greater
detail on this
composition in
correspondence with his
family and friends. There
are enormous differences
between the two versions
of the Sonata: Strauss
deleted the entire second
and third movements
Larghetto and Allegro
vivace, replacing them
with a newly composed
Andante and Finale. In
the first movement,
Allegro con brio, Strauss
retained the
thematic-motivic material
and compositionally
complex passages such as
the three-voice fugue in
the developmentsection
(from bar 241 in the
first version and bar 275
in the second version)
almost intact in the new
version of the sonata,
but also undertook
extensive alterations,
particularly in the
structure of the piano
part, the
motivic-thematic
development of the
movement and its harmony
which became far more
ambitious.12 Particular
attention should be drawn
to the repetitive
accompaniment of the con
espressione theme
beginning in bar 32 and
the significantly shorter
development in the first
version. The current
printed edition of the
first version of Richard
Strauss's Cello Sonata
now makes it possible to
follow Strauss's
compositional development
during this period. The
significance of the
differences between the
versions also mean that
two sonata compositions
for violoncello and piano
by Richard Strauss with
fundamental disparities
in their underlying
character are now
available for
performance.
Violoncelle, Piano - Avancé IMC (International Music Co.)
Composed by Dmitri Kabalevsky (1904-1987). Instrumental solo book for cello and ...(+)
Composed by Dmitri
Kabalevsky (1904-1987).
Instrumental solo book
for cello and piano
accompaniment. With
introductory text. G
Minor. Composed 1948. 39
pages. Published by
International Music Co.
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.
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
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 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.
Cello and Piano SKU: FG.042-04061-4 Composed by Ahti Sonninen. Published ...(+)
Cello and Piano
SKU:
FG.042-04061-4
Composed by Ahti
Sonninen. Published by
Fennica Gehrman
(FG.042-04061-4).
ISBN
979-0-042-04061-4.
Ahti Sonninen composed
these three works in
cooperation with Vili
Pullinen in order to
create new teaching
material for cello with
piano accompaniment. The
first two pieces, Prima
nota and Partita are
easier pieces, and the
third, Juvenalia, is a
bit more demanding. All
pieces offer training in
cantilene.
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.
Violoncello and Piano SKU: AP.36-M388991 Arranged by Johannes Brahms and ...(+)
Violoncello and Piano
SKU: AP.36-M388991
Arranged by Johannes
Brahms and ed./arr. by
Janos Starker/ Emilio
Colon. Cello. Starker
Performance Editions.
Book. LudwigMasters
Publications #36-M388991.
Published by
LudwigMasters
Publications
(AP.36-M388991).
ISBN
9798892704182. UPC:
659359984921.
English.
An
immensely powerful piece
for solo cello and piano,
Brahms' SONATA NO. 2, OP.
99 is one of the most
impressive cello
repertoire selections.
Composed of four
movements, the first
Allegro vivace contains
the grandiose main theme.
The hauntingly beautiful
second movement is Adagio
affetuoso. The fiery and
furious third movement is
Allegro passionato. The
fourth Allegro molto
movement ends the piece
with exhilaration and an
optimistic feeling.
These products
are currently being
prepared by a new
publisher. While many
items are ready and will
ship on time, some others
may see delays of several
months.