| Hungarian Dance, Op. 51 Violoncelle, Piano - Intermédiaire Latham Music Enterprises
Cello, Piano - Grade 4.5 SKU: AP.36-52730016 For Violoncello and Piano...(+)
Cello, Piano - Grade 4.5
SKU:
AP.36-52730016 For
Violoncello and
Piano. Composed by
Laura Netzel. Arranged by
Lynne Latham. Solo; Solo
Small Ensembles; String -
Cello Solo and Piano.
Ludwig Masters. Book.
Latham Music Enterprises
#36-52730016. Published
by Latham Music
Enterprises
(AP.36-52730016). ISBN
9781682967331. UPC:
660355159718.
English. Venturing
into tenor and treble
clef for flashy passage
work, advanced students
can show off with this
fun piece.
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. $7.95 - Voir plus => Acheter | | |
| Csardas obstinee Violoncelle, Piano EMB (Editio Musica Budapest)
Cello and Piano SKU: BT.EMBZ14779 Composed by Franz Liszt. Book Only. Com...(+)
Cello and Piano SKU:
BT.EMBZ14779 Composed
by Franz Liszt. Book
Only. Composed 2011. 16
pages. Editio Musica
Budapest #EMBZ14779.
Published by Editio
Musica Budapest
(BT.EMBZ14779).
The arranger of
this work (a well-known
Hungarian composer living
in Romania) writes: This
piece has always excited
my imagination, from
several points of view.
First of all, its name.
The German title, the
obstinate one, may refer
to its ostinato
character. This is close
to Liszt's programme
concept, but the French
word 'obstiné' is
closer in meaning to
stubborn. There is just a
shade of difference, but
to me it is important,
because the latter
suggests the description
of a type of behaviour,
the emotional state of a
dancer's inner frame of
mind abstracted into
movements, expressed in
dance movements, and this
is a fascinating
interpretation. The
demonstration ofstubborn
resistance and defiance
to the point of
exhaustion was not a
frequently occurring
phenomenon with Liszt.
Secondly, at the
beginning of the
seventies Zoltán
Kocsis played the piece
in Transylvania. At that
time, I asked the
composer, Is the
character of the
continuous staccato in
the left hand sharp,
short, or an accompanying
background like a
constant shadow? Is it a
weighty Brahmsian
staccato, an ominous
knocking? - and so on.
Then there are the
Bartókian false
relations that keep
recurring in the work,
the B-E flat-G, etc. That
foreshadows Debussy,
creating harmonic thrills
that, when I hear the
work, keep my continuing
interest alive for it.
Finally, my immediate
reason for arranging the
work was of a family
nature: in connection
with Liszt's jubilee
year, my daughter, who is
a cellist, wanted a 'more
energetic' piece to play
at a bicentenary concert
an addition to the
existing slow, lyrical,
or sombre works written
by Liszt for the cello.
The arranger of
this work, the well-known
Romania-based Hungarian
composer Cs ky
Boldizsár writes: This
piece has always excited
my imagination, from
several points of view.
First of all, its name.
The German title, the
obstinateone, may refer
to its ostinato
character, this is close
to Liszt's programme
concept, but the French
word 'obstiné' is
closer in meaning to
stubborn. There is just a
shade of difference, but
to me it is important,
because the
lattersuggests the
description of a type of
behaviour, the emotional
state of a dancer's inner
frame of mind abstracted
into movements, expressed
in dance movements, and
this is a fascinating
interpretation. The
demonstration of
stubbornresistance ,
defiance to the point of
exhaustion, was not a
frequently occurring
phenomenon with Liszt.
Secondly, at the
beginning of the
seventies Zoltán
Kocsis played the piece
here in Transylvania
(Romania).
Der
Bearbeiter des Werkes,
der renommierte
ungarische Komponist aus
Rumänien, schreibt:
Dieses Stück reizte
immer schon meine
Phantasie, sogar in
vielerlei Hinsicht. Als
erstes sein Name. Der
deutsche Titel
‚Hartnäckiger'
kann auf den ihm
innewohnenden ostinativen
Charakter hinweisen, was
der Liszt'schen
Programm-Konzeption
näher kommt, das
französische
,obstiné' steht jedoch
eher dem Wort
‚dickköpfig'
nah. Das sind nur
geringfügige
Unterschiede, mir ist das
dennoch wichtig, weil aus
Letzterem die Darstellung
eines Verhaltens, der in
Tanzgesten
ausgedrückte, zur
Bewegung abstrahierte
innere emotionale Zustand
eines Tänzers
durchscheint, und das ist
eine überaus
beeindruckendeErklärun
g. Die Demonstration des
bis zur Erschöpfung
reichenden Trotzes, der
störrischen Kraft
erscheint bei Liszt
selten. Der zweite
Aspekt: Zu Beginn der
70er Jahre spielte bei
uns Zoltán Kocsis das
Stück. Schon damals
(und seitdem) frage ich
den Komponisten:. $18.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Franz Liszt - Csardas Obstinee Violoncelle, Piano EMB (Editio Musica Budapest)
Cello; Piano Accompaniment SKU: HL.50512037 Cello and Piano. Compo...(+)
Cello; Piano
Accompaniment SKU:
HL.50512037 Cello
and Piano. Composed
by Franz Liszt. Edited by
Csiky Boldizsar. Arranged
by Csí, ky
Boldizsá, and r.
Romantic. EMB. Classical.
Softcover. 14 pages.
Editio Musica Budapest
#Z14779. Published by
Editio Musica Budapest
(HL.50512037). ISBN
9790080147795. UPC:
884088668723.
9.0x12.0x0.079 inches.
Ferenc Liszt; Boldizsar
Csiky. The arranger
of this work (a
well-known Hungarian
composer living in
Romania) writes: +This
piece has always excited
my imagination, from
several points of view.
First of all, its name.
The German title, the
obstinate one, may refer
to its ostinato
character. This is close
to Liszt's programme
concept, but the French
word 'obstine' is closer
in meaning to stubborn.
There is just a shade of
difference, but to me it
is important, because the
latter suggests the
description of a type of
behaviour, the emotional
state of a dancer's inner
frame of mind abstracted
into movements, expressed
in dance movements, and
this is a fascinating
interpretation. The
demonstration of stubborn
resistance and defiance
to the point of
exhaustion was not a
frequently occurring
phenomenon with Liszt.
Secondly, at the
beginning of the
seventies Zoltan Kocsis
played the piece in
Transylvania. At that
time, I asked the
composer, +Is the
character of the
continuous staccato in
the left hand sharp,
short, or an accompanying
background like a
constant shadow? Is it a
weighty Brahmsian
staccato, an ominous
knocking? - and so on.
Then there are the
Bartokian false relations
that keep recurring in
the work, the B-E flat-G,
etc. That foreshadows
Debussy, creating
harmonic thrills that,
when I hear the work,
keep my continuing
interest alive for it.
Finally, my immediate
reason for arranging the
work was of a family
nature: in connection
with Liszt's jubilee
year, my daughter, who is
a cellist, wanted a 'more
energetic' piece to play
at a bicentenary concert
an addition to the
existing slow, lyrical,
or sombre works written
by Liszt for the
cello.+. $27.45 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| First 50 Classical Pieces You Should Play on the Cello Violoncelle, Piano - Facile Hal Leonard
Cello and Piano. Composed by Various. Classical. Softcover. 136 pages. Publi...(+)
Cello and Piano. Composed
by
Various. Classical.
Softcover.
136 pages. Published by
Hal
Leonard
$16.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Time Pieces for Cello, Volume 2 Violoncelle, Piano - Facile ABRSM Publishing
By ABRSM. Edited by Catherine Black and Paul Harris. For violoncello, piano. (Gr...(+)
By ABRSM. Edited by
Catherine Black and Paul
Harris. For violoncello,
piano. (Grades 2-3).
Published by ABRSM
(Associated Board of the
Royal Schools of Music).
(1)$16.99 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
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