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 Various. Arranged by Darwin Wolford. For cello and piano. Includes part for cello only. Piano accompaniment available separately (see item 01436). Medium. Published by Jackman Music Corporation (JK.01162). This book of hymns for cello with piano accompaniment includes: "A Poor Wayfaring Man of Grief" "Abide with Me; 'Tis Eventide" "Beautiful Zion for Me" "Come Thou Fount of Every Blessing" "God Is Love" "I Am a Child of God" "I Know That My Redeemer Lives" "Love at Home" "Sweet Hour of Prayer" "The Lord is My Shepherd".

Cello; Piano Accompaniment (Cello Part And Piano Score)

SKU: HL.48024730

Cello and Piano. Composed by Einojuhani Rautavaara. Boosey & Hawkes Chamber Music. Classical. Softcover. Fennica Gehrman #M550114319. Published by Fennica Gehrman (HL.48024730).

UPC: 888680955731.

Rauta vaara reworked his touching song from the opera Aleksis Kivi for cello and piano in 2000, to commemorate his late composer colleague Lepo Sumera. The melody is calm, in the style of chanson sans paroles - fit for many occasions. Song of My heart for celloand piano has been recorded (Ondine, 2018) by Tanja Tetzlaff and Gunilla Sussmann.

Violoncello & Piano or CD Play Back / Play Along - Grade 3

SKU: MA.EMR-56154

Composed by Michal Worek. Score and parts. Duration 19'32. Editions Marc Reift #EMR 56154. Published by Editions Marc Reift (MA.EMR-56154).

1. Storm In My Soul / 2. Look In The Mirror / 3. Wild Heart / 4. Less Is More / 5. Funny Dream.

Cello and piano - Level 1-2

SKU: LM.C04748

Composed by Jean Sichler. Classical. Score. Editions Combre #C04748. Published by Editions Combre (LM.C04748).

En montant au grenier - La boite a mystere - L'elephant mecanique - Le cheval a trois pattes - Le berceau a roulettes - La poupee qui danse - La voiture a pedales - Le jeune soldat - Le mariage des jouets.

Cello and piano - Intermediate

SKU: MN.20-617

Composed by Duane Funderburk. Instrumental Solo. Lent, 21st Century. MorningStar Music Publishers #20-617. Published by MorningStar Music Publishers (MN.20-617).

UPC: 688670206177.

This is the first solo cello collection in the Duane Funderburk Chamber Music Series. Like the other pieces Funderburk writes, the writing is impactful and idiomatic, requiring excellent players. Includes Alas, and Did My Savior Bleed (MARTYRDOM/AVON) and On Jordan's Stormy Banks (PROMISED LAND).

Cello and Piano. Composed by Georges Boulanger (1893- 1958). Boosey & Hawkes Chamber Music. Classical. Softcover. 12 pages. Boosey & Hawkes #M202535264. Published by Boosey & Hawkes

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.

Choral Cello, Piano, alto 1, alto 2, soprano 1, soprano 2

SKU: CF.CM9625

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,” 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.

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).

By Various. Arranged by Brent Jorgensen. For Cello and Piano. Published by Jackman Music Corporation.
Level: Medium Easy.

Violoncello & Piano or CD Playback / Play Along - Grade 2+

SKU: MA.EMR-63194

Composed by Gilles Remy and Rene Willener. Arranged by Jirka Kadlec. Score and parts. Duration 34'21. Editions Marc Reift #EMR 63194. Published by Editions Marc Reift (MA.EMR-63194).

1. Hello Christmas 2. Divine Christmas 3. Sweet Christmas Night 4. Jingle Bells 5. The Snow Angels 6. The Three Little Reindeer 7. Silver Bells 8. My Beautiful Christmas 9. Noel en Caleche 10. White Xmas 11. Wonderful Christmas 12. Peaceful Christmas.

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:.

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.+.

Composed by Brant Adams. String ensemble. For cello and piano. Lorenz Publishing Company #30/3262L. Published by Lorenz Publishing Company

Arranged by Doreen Smith. Fentone Play Along Books. Softcover with CD. 36 pages. Published by Fentone Music.

(Cello and Piano Meditations). Composed by Elisabeth Boyle. String ensemble. For instrumental. Recordings. Listening CD. SoundForth #278887. Published by SoundForth

Composed by Joe Hisaishi. Studio Ghibli Songs. Anime. Score and part. Yamaha Music Media #GPW01100360. Published by Yamaha Music Media

Easy Piano with Optional Cello. By The Piano Guys. Easy Piano Personality. Softcover. 88 pages. Published by Hal Leonard

For Piano and Cello. By The Piano Guys. Personality. Classical Crossover, Pop. Softcover. 112 pages. Published by Hal Leonard

Cello and Piano - Grade 2

SKU: AP.36-52730061

Composed by Ted Hunter. Method/Instruction; Reference Textbooks; Solo Small Ensembles. Ludwig Masters. Sacred. Book. Latham Music Enterprises #36-52730061. Published by Latham Music Enterprises (AP.36-52730061).

ISBN 9781628760101. UPC: 746241200297. English.

1st-4th positions; cello plays melody with simple accompaniments. Includes optional descant for violin in addition to descant part for cello. Hymns included: Jesus Loves Me; I Sing the Mighty Power of God; Take My Life, and Let it Be; Come Thou Long-Expected Jesus; Joyful, Joyful, We Adore Thee; Amazing Grace; For the Beauty of the Earth; Holy, Holy, Holy; Be Thou My Vision; Fairest Lord Jesus.

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.

Strings. Japanese Traditional Songs. Score and part with CD. Yamaha Music Media #GTW01091438. Published by Yamaha Music Media

By Martin Bresnick (1946-). For cello, piano. 24 pages. Duration 14 minutes, 30 seconds. Published by Carl Fischer