This volume from the popular 'Cellissimo' series contains 37 popular recital pieces from classical to pop music. It is suitable for lessons, performances and competitions. As there is little literature for the cello in jazz and pop style, this volume has a special focus on modern styles such as blues, jazz, pop, rock, funk, folk, Latin, or tango. The selection motivates and introduces to playing techniques of pop music (slide, hard chop etc). Many pieces can be played in the 1st - 4th position, while some also use harmonics or the 5th - 7th position. Entertaining music has existed at all times, so the volume also contains arrangements of popular classics: 'Eine kleine Nachtmusik' by Mozart, 'An der schönen blauen Donau' by Johann Strauß, 'Pomp and Circumstance' by Edward Elgar, or 'The Entertainer' by Scott Joplin. The motivational package for cello lessons!/ Recueil / Violoncelle et Piano

for Cello and Piano. Par HOPKINS JOHN. Langue: Français / Niveau : Intermédiaire / Répertoire / Violoncelle et Piano

La référence CC1300 de l'éditeur Billaudot dont l'auteur célèbre est Chopin Frédéric, qui a pour titre INTRODUCTION ET POLONAISE BRILLANTE OPUS 3, a été écrite et composée pour Violoncelle et plus particulièrement pour Violoncelle Et Piano. Cette partition musicale appartient à la catégorie Classique. / Violoncelle Et Piano / Partition

Arrangements de facile a moyen concu pour faire ressortir lesqualites remarquable du violoncelle. Ce qui comprend les chansons folk, les dances et le travails par Debussy, Chopin et Brahms. Partition de violoncelle a part. / Violoncelle Et Piano / 160 pages / Partition

Suite pour violoncelle et piano. Par LAKS SIMON. 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. . / Date parution : 2024-01-06/ Répertoire / Violoncelle et Piano

Original Version - Edition for Cello and Piano. Par SCHUMANN ROBERT. Schumann’s Cello Concerto Rediscovered In her first Urtext edition for Edition Peters, internationally renowned cellist Josephine Knight reveals Robert Schumann’s original version of his Cello Concerto in A minor Op. 129 – a piece he actually called a ‘Concertstück’ – removing generations of inauthentic editorial interventions. This is the only available modern scholarly edition of the work as Schumann originally conceived it, and restores the text from October 1850, based on the composer’s manuscript held in the Biblioteka Jagiellonska in Kraków. This Full Score matches the separately available edition for Cello and Piano (EP 73488). Matching orchestral material is also available from the publisher. Only modern Urtext edition based on Schumann’s original 1850 manuscript Many new corrections and clarifications, especially to the cello part Scholarly preface detailing history of the work and this edition by editor Josephine Knight, Piatti Professor of Cello at the Royal Academy of Music London Cello Part contains Josephine Knight's fingering and bowing suggestions Critical Commentary Cello and piano edition available separately from Edition Peters: orchestral parts available for rental Recording of the Concertstück featuring Josephine Knight available from Dutton Robert Schumann’s tragic last years have mired many of his greatest works in unnecessary doubt. The story of the suppression of his Violin Concerto by well-meaning friends is relatively well-known. Few, however, know that the version of the Cello Concerto that is routinely heard today is so far from Schumann’s original conception of the work – not only in details of phrasing and articulation, but also featuring a different ending with a bold final flourish from the cello. Composed in a burst of inspiration in two weeks in October 1850 shortly after he and Clara had moved to Düsseldorf, Schumann (who in 1850 was still in good health) never heard the piece performed. In an effort to promote a performance of the work, he gave the score to the cellist Robert Emil Bockmühl. Bockmühl made revisions that Schumann resisted, and the hoped-for performance never happened. Schumann’s health failed and he died aged just 46 in 1856. The Concerto, in an already substantially revised form, was premiered in 1860 but it was not given significant recognition until it was championed by Pablo Casals in the 20th century by which time (and since) the text for the work had accreted additions and alterations from generations of soloists. Now Josephine Knight, Piatti Professor of Cello at the Royal Academy of Music, London has returned to the original 1850 manuscript of the work, which is in the Biblioteka Jagiellonska in Kraków, to reveal Schumann’s original thoughts for the first time in a modern Urtext edition. The edition reflects Schumann’s original conception of the work as a Concertstück and restores Schumann’s musical text, free of posthumous interventions. ‘My ultimate wish,’ says the editor, ‘is to give performers both access to, and confidence that they are playing from, an edition which is a true representation of the piece in its original form, no matter how much more difficult this might be. I found that incorporating the changes enabled the piece to take on a completely different character – one that is lighter and happier, even “cheerful”, as Schumann himself described the work.'/ Répertoire / Violoncelle et Piano

Per Violoncello E Pianoforte. Edizione Critica Di Giuliano Cavaliere.. Par TIRINDELLI PIER ADOLFO. The Romanza for cello and piano by Pier Adolfo Tirindelli (1858-1937), who was particularly noted for his vocal compositions, is a cantabile, expressive piece that is typical of the salon romanza. This critical edition is based on the manuscript kept in the Biblioteca del Conservatorio di Musica “Santa Cecilia” in Rome. It is hoped that this will contribute to the rediscovery of Tirindelli - one of the greatest Italian composers from the latenineteenth century - and his instrumental chamber music. / Niveau : Intermédiaire / Date parution : 1905-07-09/ Répertoire / Violoncelle et Piano

Cello and Piano. Par SQUIRE WILLIAM HENRY. William Henry Squire's Gondoliera for cello and piano evokes the dreamy magic of Venice and the barcarolles of Chopin, Fauré, Liszt and Mendelssohn. Performers and audiences who enjoy the three 'Venetian gondola songs' in Mendelssohn's Lieder ohne Worte will certainly derive pleasure from Squire's illustration of the watery half-light of the lagoon at dusk or daybreak and the chiarascuoro of a contrasting, brighter middle section in G major. Though not challenged technically beyond an intermediate level of difficulty of around Grade 6, cellists ideally must project the melody with truly vocal poise and bel canto spirit in this short work that is a real treasure for amateur and professional players alike./ Répertoire / Violoncelle et Piano

In a speech at the 1984 Matsumoto Summer Conference, Dr. Shinichi Suzuki nicknamed Alice Kanack Mozart's mother in response to her innovative work in the development of the creative part of the brain. He added to this his hope that as a result, someday all children might create their own music. After twelve years of research and testing, the Fun Improvisation for... series was developed. Each book contains philosophical and practical advice on how to use the 28 musical exercises to develop a child's innate creative ability to its highest level. The basic instructions allow even a twinkler to use these exercises, while the advanced instructions provide a challenge to the most advanced player.

Une collection de quatorze morceaux pour le Violoncelle et le piano, présentant quelques morceaux peu de-connus. Approprié aux joueurs intermédiaire-avancés (catégorie 5-8). / Violoncelle Et Piano

Virtuoso and Entertaining Pieces for Cello and Piano. À l'occasion de son 250e anniversaire, Schott Music a le plaisir de vous présenter Joy of Music. Des trésors découverts dans les archives historiques, réédités et présentés dans cette très belle collection. Des ?uvres en grande partie de l'époque romantique, pour des musiciens de niveau intermédiaire à confirmé à la recherche de nouveautés. / Niveau : Intermédiaire à Avancé / Recueil / Violoncelle et Piano