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.

Cello and piano

SKU: BR.EB-32083

Urtext. Composed by Camillo Schumann. Edited by Maria Kliegel. Solo instruments; stapled. Edition Breitkopf.

With supplementary violoncello part marked by Maria Kliegel

Sonata; Late-romantic. Score. 108 pages. Breitkopf and Haertel #EB 32083. Published by Breitkopf and Haertel (BR.EB-32083).

ISBN 9790004186299. 9 x 12 inches.

There are many composers about whom it is believed, today, that they composed conservatively, or against the taste of their time. The question is also raised, today, which extract of this large amount of effective and high-quality music, unknown for the most part, should receive our attention; which of it is worth rediscovering or re-editing. Camillo Schumann is one of the most important representatives of these composers, but his works are still largely unknown today. He was born on 10 March 1872 in Konigstein, Saxony. His musical language combines the sound world of Brahms with the grand, late-romantic Liszt School. He wrote piano parts of incredible power and virtuosity, approaching the sounds of Rachmaninoff. His wonderfully individual melodic language makes these works a valuable testimony to a composer who never had his due recognition. The cello sonatas Opp. 59 (EB 32082) and 99 (EB 32083) are the first of three works for this combination. Op. 59 was composed around 1905/06, Op. 99 followed in 1932. Nothing is known so far of the circumstances of the composition of this work, including for whom it was composed. However, it is quite evident that Schumann wrote it, like most of his works, primarily for his own concerts and befriended musicians. The extensive entries in the piano part bear witness to a considerably practical approach. Crossed-out bars, notes added or crossed out in chords as well as a number of revisions of other kinds are more the rule than the exception. The composer's own fingerings written in the piano part also underline this assumption. The present edition contains two solo-parts each. One clean Urtext-part free of any additions from the editor and a second one with bowing marks and fingerings by Maria Kliegel who recorded both sonatas for the first time with the label Naxos. Both sonatas show evident resemblance to the works of this combination by Johannes Brahms and are therefore a must have for ambitious cellists.

With supplementary violoncello part marked by Maria Kliegel.

Cello and Piano

SKU: HL.14006097

Composed by Per Norgard. Music Sales America. Classical. Book and Part(s). Music Sales #KP00873. Published by Music Sales (HL.14006097).

ISBN 9788759872222. Danish.

Programme Note CANTICA for cello and piano (1977)When in 1975 I had finished composing my Symphony no. 3 (begun in 1973), I wrote three simple melodies for two psalm texts by Ole Sarvig: The Year and Choral Hymn. These three tunes were derived from the same material as the second movement of the symphony and could be harmonized together in several different tempo relationships, like proportional canons. For this reason they inspired me to write several choral and instrumental works in the following decade: Frost Psalm, Winter Cantata, the tuba octet Now all the earth is white with snow, Canticles (and others).Cantica, meaning song or singing, was composed (forthe Danish musicians Hans Erik Dechert og Kjeld Hansen) as a instrumental little brother the long, polyphonic choral pieces. As in these the canonical melodies in Cantica drift from foreground to background, from cello to piano. The melodies are simple, diatonic and in traditional rhythms and the surface of the music in a way traditional. The intention of the composer with this easily understood expression is to lead the listeners ears to the many internal, proportional developments. The story is in a way hidden between the lines. In the myriads of rhythmic and tempo relations the Golden Mean (near to 2:3:5:8: et cetera) plays an important role, like in nature. Among the experiences giving by this natural phenomenon are - perhaps - the musical points to be found (?).Per Norgard(1997).

Cello and Piano. Composed by Ludwig van Beethoven (1770- 1827). Edited by Jens Dufner. Henle Music Folios. Classical. Softcover. 62 pages. G. Henle #HN1471. Published by G. Henle

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, “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.

(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 and Piano. Composed by Various. Edited by Katharina Deserno, Rainer Mohrs. This edition: Saddle stitching. Sheet music with CD. String. Ob fur Unterricht oder das erste Konzert: Die Ausgabe enthalt leichte, bekannte Stucke von der Renaissance bis zur Moderne, die sorgfaltig nach technischen und musikalischen Anforderungen ausgewahlt wurden. Alle Stucke sind auf der beiliegenden CD enthalt. Renaissance, Modern, Classical. Edition/Softcover with CD. 21706. 60 pages. Schott Music #ED21706. Published by Schott Music

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.

The piece lasts approximately 20 minutes.

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 Pam Wedgwood. For Cello and Piano. Book; Method/Instruction; String - Cello Studies or Collection. Faber Edition: After Hours. Published by Faber Music

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

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

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).

UPC: 196288194286.

Simon Laks (1901-1983), who moved from Warsaw to Paris in 1926 at the age of 25, belonged to the large group of composers from Central and Eastern European countries who went down in 20th-century music history as the “École de Paris”. Slavic temperament amalgamated in their music with French esprit, the folklore of their native countries combined with the stylistic elements of neoclassicism and jazz typical of the time. As a member of the “Association of Young Polish Musicians”, Laks quickly made his way into French musical life. However, his career was ended with the beginning of World War 2 due to the collaboration of the Vichy government with Nazi Germany. Internment in 1941 was followed by deportation to Auschwitz in 1942. Laks survived the Shoah as a member and later leader of a camp band in Birkenau, which he testified to in his moving book Music in Auschwitz. After the traumatic experiences, Laks did not return to regular compositional activity until the 1960s, producing an opera, songs, and chamber music works, some of which were awarded important composition prizes. At the peak of this optimistic creative phase, he composed incidental music for Peretz Hirschbein's famous Yiddish comedy Dem Schmids Techter (The Blacksmith's Daughters), which premiered in New York in 1918, for a new production of the play at the Théâtre de'l’Entrepôt in Paris. Along with Prokofiev's Overture on Hebrew Themes and Shostakovich's cycle From Yiddish (Jewish) Folk Poetry, it is one of the most significant 20th-century explorations of art music with Jewish folklore – homage to a culture irreparably destroyed. From the original score, Holger Groschopp compiled two suites, for violoncello and piano and piano solo, that capture the essence of Lak's enchanting drama music. The premiere recording of the suites with Holger Groschopp and Adele Bitter was awarded the Opus Klassik 2023 in the category Editorial Achievement of the Year.

Cello and Piano - easy

SKU: BT.DHP-1175823-401

Composed by Pascal Proust. De Haske String Series. Book and Part(s). Composed 2017. 8 pages. De Haske Publications #DHP 1175823-401. Published by De Haske Publications (BT.DHP-1175823-401).

ISBN 9789043152938. English-German-French-Dut ch.

A small, playful piece that revives the famous Twinkle, twinkle, little star in a dance version (a short tango).
Composer Pascal Proust has many years of experience as a musician and music teacher. His work includes several hundred compositions for the most diverse instrumentations. He wrote El violonchelo del niño for cellists with an ability of approximately one year’s experience. He paid special attention to an easy-to-follow, attractive musical style. El violonchelo del niño is an ideal performance or competition work for young musicians.

Een kort, vrolijk werkje waarin Twinkel, Twinkel, little star is verwerkt als een dansbaar nummer (een korte tango).
De componist Pascal Proust kan bogen op een jarenlange ervaring als muzikant en muziekdocent. Zijn oeuvre omvat honderden composities voor de meest diverse instrumentaties. Hij schreef El violonchelo del niño voor cellisten die ongeveer een jaar les hebben gehad, waarbij hij speciaal aandacht heeft besteed aan een makkelijk te volgen, aantrekkelijke muziekstijl. Daardoor is El violonchelo del niño een ideaal voordrachts- of wedstrijdstuk voor jonge muzikanten.

Ein kurzes spielerisches Stück, in dem das bekannte LiedAh! vous dirais-je, maman in einer tänzerischen Version (ein kleiner Tango) verwendet wird.
Der Komponist Pascal Proust kann aus seiner langjährigen Erfahrung als Musiker und Musikpädagoge schöpfen, sein Oeuvre umfasst mehrere hundert Kompositionen für verschiedenste Besetzungen. Er schrieb El violonchelo del niño für Cellisten mit ungefähr 1 Jahr Unterrichtserfahrung und legte besonderes Augenmerk auf einen leicht verständlichen, attraktiven musikalischen Stil. Dadurch eignet sich El violonchelo del niño ideal als Vortrags- und Wettbewerbsstück für junge Musiker.

Une petite pièce ludique reprenant le célèbre Ah! vous dirai-je, maman dans une version dansante (un petit tango).
Le compositeur Pascal Proust puise volonté dans son immense expérience de musicien et professeur de musique - son catalogue d’œuvres englobe plusieurs centaines de compositions pour divers instruments. Il a notamment écrit El violonchelo del niño pour violoncellistes ayant environ une année de pratique, dans un style musical accessible et coloré. De ce fait, El violonchelo del niño est la pièce idéale pour tout examen ou audition de jeunes musiciens.

Cello; Piano Accompaniment (Cello Part And Piano Score)

SKU: HL.48025366

Cello and Piano. Composed by Hans Winterberg. Boosey & Hawkes Chamber Music. Classical. Softcover. Bote & Bock #M202538104. Published by Bote & Bock (HL.48025366).

UPC: 196288194279.

Hans Winterberg, born in Prague in 1901, lived through almost the entire period of the 20th century and was influenced as a composer by its most important artistic innovations. Already a brilliant pianist as an adolescent, he studied with Alois Hába and Alexander von Zemlinsky in Prague. Both his life and his music reflect the Austrian-Czech-Jewish cultural symbiosis; he saw himself as a bridge builder between Western and Eastern, i.e. Slavic, cultures. Owing to his Jewish ancestry, he was deported to the Terezin concentration camp after the annexation of Czechoslovakia by Nazi Germany. He was the only Jewish representative of the Czech musical avant-garde of the 1920s and 1930s to survive the Shoah and, in 1947, followed his non-Jewish wife and their daughter to the FRG in the course of the expulsion of the German-speaking population from Czechoslovakia. Winterberg's fascinating oeuvre, which was kept under lock and key in a German music archive for years after his death, is now being made accessible in first editions due to a cooperation between the Exilarte Center for Banned Music at the University of Music in Vienna and Boosey & Hawkes. The first printed edition is Winterberg's Cello Sonata, composed in 1951, in which all the characteristics of his unmistakable personal style come to the fore: dance-like energy, polyrhythm, intimate yet unsentimental melos, subtle handling of folkloristic material, and an unerring sense of form and balance. This work is of medium technical and great interpretative difficulty.

Violoncello, piano

SKU: FG.55011-903-1

Composed by Victoria Yagling. Arranged by Yuriy Leonovich. Classical, contemporary. Score and part. Fennica Gehrman #55011-903-1. Published by Fennica Gehrman (FG.55011-903-1).

ISBN 9790550119031.

Vict oria Yagling's Suite for Cello and String Orchestra (1967) is one of her first successes as a composer. The movement layout of the Suite is fast-slow-fast-slow. The first movement, Toccata, is a perpetual motion with a brisk tempo of 100 per dotted half. The Aria is reminiscent of Rachmaninov's Vocalise melody and Prokofiev's tonal language. This movement is the centerpiece of the Suite. The Humoresque is closely connected in style and motives to the March and Aria movements from Boris Tchaikovsky's Suite for Cello Solo. Mostly homophonic Finale plays with bitonality and contains several circle-of-fifth sequences.

This product is is the reduction for violoncello and piano by prof. Yuriy Leonovich. Orchestral material available on hire from the publisher. Stydy score with solo part is available for sale (ISMN 9790550116436).

Vi ctoria Yagling (1946?2011) was born in Russia and lived in Finland since 1990. Her long career as a cellist served as an excellent accompaniment to the composition she began at an early age. For 11 years she was a cello student of Mstislav Rostropovich at the Moscow Conservatory and Dmitry Kabalevsky and Tikhon Khrennikov taught her composition.

Yagli ng won the first prize in the Gaspar Cassadò Cello Competition and the following year the second prize in the Moscow Tchaikovsky Competition. Her solo engagements took her to countless countries. She has also taught at several international music courses and master classes and was often a jury member for international cello competitions.

Yagl ing left a profilic oeuvre, and the three cello concertos are her main works. Her other orchestral works include Finnish Notebook, Lyrical Preludes and the Suite for Cello and String Orchestra. She has also composed solo works (e.g. the Suite for Cello Solo No. 1 chosen as an obligatory piece for the 7th Tchaikovsky Competition in Moscow in 1982), chamber works, including two string quartets, and vocal music. Her expressive, romantically orientated style is Russian in spirit and has grown out of the soil provided by Prokofiev and Shostakovich.

Cello and piano (VC/PF) - difficult

SKU: HL.49007557

Composed by Wilhelm Killmayer. This edition: Saddle stitching. Sheet music. Edition Schott. Classical. Composed 1989. 41 pages. Duration 20'. Schott Music #ED 7829. Published by Schott Music (HL.49007557).

ISBN 9790001081214. UPC: 196288050568. 9.0x12.0x0.125 inches.

'Humour plays a role, and my pieces are also an attempt to entertain people.' Words not often associated with contemporary music, but Wilhelm Killmayer wants to place fun and seriousness side by side. Different tonal spheres are found in the 'Impromptu' and the jaunty 'Scherzo lento' which uses tap tones for example. The 'Chorale' that follows allows the music to drift seamlessly into atonality. In the fourth romance 'Im Schumannschen Ton' ('The Schumann Sound'), a diatonic melody is complicated so much that the ending distorts to the beginning, 'just like man combines many different qualities'.In the concluding 'Capriccio', shifting time signatures and dynamic fluctuations are combined in a virtuoso manner. A humourous piece which demands the purest concentration from the players.

Cello and Piano. Composed by Gabriel Faure (1845-1924). Edited by Fabian Kolb. Henle Music Folios. Classical. Softcover. G. Henle #HN1357. Published by G. Henle

Arranged for Violoncello and Piano. Composed by Antonin Dvorak (1841-1904). Arranged by Jiri Gemrot. Stapled. Performance score and part. 60/16 pages. Published by Baerenreiter Verlag

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 fatale”), 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 film”). 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 fatale”), 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.

Cello and Piano

SKU: BT.EMBZ6528

Composed by Pal Jardanyi. Book Only. Composed 1972. 16 pages. Editio Musica Budapest #EMBZ6528. Published by Editio Musica Budapest (BT.EMBZ6528).

An ABRSM syllabus title - Grade 7.Pál Járdányi (1920-1966) was one of Zoltán Kodály's most faithful pupils and followers. At the end of his short career in 1965, he wrote his Sonata for Cello and Piano. The two movement format follows the format of a rhapsody. The Larghetto is dominated by pentatonic melodies characteristic of Hungarian folksongs. In contrast, the Allegro assai takes the tone of a bagpipe song, offering rhythmic and virtuosic parts for each instrument.

Voice, flute, violin, cello and piano - intermediate

SKU: HL.49019869

Composed by Carl Maria von Weber. Edited by Marjorie Rycroft. This edition: Saddle stitching. Sheet music. Ensemble. Softcover. Composed 1826. 8 pages. Schott Music #ED21648-03. Published by Schott Music (HL.49019869).

ISBN 9790001193726. UPC: 841886021037. 9.0x12.0x0.049 inches. English.

In 1826 Weber wrote musical arrangements of ten traditional Scottish melodies. Some of the texts of the German edition follow the original English texts, others are completely independent texts.The individual parts are available as well.

Voice, flute, violin, cello and piano - intermediate

SKU: HL.49019867

Composed by Carl Maria von Weber. Edited by Marjorie Rycroft. This edition: Saddle stitching. Sheet music. Ensemble. Softcover. Composed 1826. 8 pages. Schott Music #ED21648-01. Published by Schott Music (HL.49019867).

ISBN 9790001193702. UPC: 841886021013. 9.0x12.0x0.051 inches. English.

In 1826 Weber wrote musical arrangements of ten traditional Scottish melodies. Some of the texts of the German edition follow the original English texts, others are completely independent texts.The individual parts are available as well.

Voice, flute, violin, cello and piano - intermediate

SKU: HL.49019868

Composed by Carl Maria von Weber. Edited by Marjorie Rycroft. This edition: Saddle stitching. Sheet music. Ensemble. Softcover. Composed 1826. 8 pages. Schott Music #ED21648-02. Published by Schott Music (HL.49019868).

ISBN 9790001193719. UPC: 841886021020. English.

In 1826 Weber wrote musical arrangements of ten traditional Scottish melodies. Some of the texts of the German edition follow the original English texts, others are completely independent texts.The individual parts are available as well.

Voice, flute, violin, cello and piano - intermediate

SKU: HL.49019839

Composed by Carl Maria von Weber. Edited by Marjorie Rycroft. This edition: Saddle stitching. Sheet music. Ensemble. Softcover. Composed 1826. 8 pages. Schott Music #ED 21638-01. Published by Schott Music (HL.49019839).

ISBN 9790001193498. UPC: 841886021051. German.

In 1826 Weber wrote musical arrangements of ten traditional Scottish melodies. Some of the texts of the German edition follow the original English texts, others are completely independent texts.The individual parts are available as well.

Voice, flute, violin, cello and piano - intermediate

SKU: HL.49019841

Composed by Carl Maria von Weber. Edited by Marjorie Rycroft. This edition: Saddle stitching. Sheet music. Ensemble. Softcover. Composed 1826. 8 pages. Schott Music #ED 21638-03. Published by Schott Music (HL.49019841).

ISBN 9790001193511. UPC: 841886021075. 9.0x12.0x0.04 inches. German.

In 1826 Weber wrote musical arrangements of ten traditional Scottish melodies. Some of the texts of the German edition follow the original English texts, others are completely independent texts.The individual parts are available as well.