By Wolfgang Amadeus Mozart (1756-1791). Edited by Hummel, Johann Nepomuk. For Flute, Violin, Violoncello and piano. Score with parts. KV 551. Published by Thomi-Berg (German import). (ETG 41)

By Ludwig Van Beethoven (1770-1827). Edited by Fischer, H. For Mixed Choir or Mens Choir (3 voices) with Violin, Violincello and Piano ad lib. Score (Choral Score). Published by Thomi-Berg (German import). (V 6105)

By Gyula Petendi. For Cello and Piano. Published by Thomi-Berg (German import). (ETG 4)

By Camille Saint-Saens. For Cello and Piano. Op. 16. Published by Thomi-Berg (German import). (TB 948)

By Wolfgang Amadeus Mozart. Edited by Hummel, Johann Nepomuk. For Flute, Violin, Violoncello and piano. Score with parts. KV 385. Published by Thomi-Berg (German import). (ETG 35)

By Richard Strauss. Edited by Singer, O. For Violoncello (Horn) and Piano. Level: Intermediate. Op. 41 Nr. 1. Published by Thomi-Berg (German import). (TB 954)

By Wolfgang Amadeus Mozart. Edited by Hummel, Johann Nepomuk. For Flute, Violin, Violoncello and piano. Score with parts. KV 550. Published by Thomi-Berg (German import). (ETG 40)

By Ermanno Wolf-Ferrari (1876-1948). Edited by Lothar, M. For Cello and Piano. Op. 30. Published by Thomi-Berg

Cello and Piano

SKU: HL.50602301

For Cello and Piano Reduction. Composed by Brian Elias. Instrumental. Softcover. Chester Music #CH87769. Published by Chester Music (HL.50602301).

UPC: 840126900217. 8.5x11.0x0.097 inches.

A work for cello and piano, L'innominata means 'the unnamed' or 'the nameless'. This work was commissioned by the Purbeck International Chamber Music Festival. It was first performed on 31st August 2018 by Natalie Clein (cello) and Vadym Kholodenko (piano), at the Priory Church of Lady St. Mary, Wareham, Dorset. The world premiere can be watched here: https://www.youtube.com/w atch?v=9fFNlpJZmbE.

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.

Composed by Jean-Baptiste Breval. Edited by Christoph Sassmannshaus. Stapled. Barenreiter's Concert Pieces. Piano reduction, part(s). 7/12 pages. Duration 8:00. Baerenreiter Verlag #BA 10698. Published by Baerenreiter Verlag

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: BT.PWM8613

Transcription for Cello and Piano. By Kazimierz Wiłkomirski. By Karol Szymanowski. Classical. Book Only. Composed 1987. 44 pages. Polskie Wydawnictwo Muzyczne #PWM8613. Published by Polskie Wydawnictwo Muzyczne (BT.PWM8613).

Sonata in D minor is Szymanowski's earliest violin work and was written in 1904. In its conventional character one clearly feels the dependence on the violin sonatas of Franck ahd Brahms and the composer's desire to master the traditional, three-movement cyclic form. Sonata for violin and piano (arranged for cello by Kazimierz Wi komirski), a juvenile work, in spite of the fact that its style is still not crystallised, betrays the composer's growing interest in tone colour and foreshadows the bold and rich melodic line characteristic of Szymanowski's later works.

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.

By William J. Kirkpatrick. Arranged by Joseph Hoffman. For Cello and Piano. Christmas. Level: Medium Easy. Duration 2:45. Published by Jackman Music Corporation.

Composed by Joe Hisaishi. Studio Ghibli Songs. Anime, Studio Ghibli. Score and part. Yamaha Music Media #GTW01100681. Published by Yamaha Music Media

(Arranged for Cello and Piano With a CD of Piano Accompaniments). Composed by Leonard Bernstein (1918-1990). Arranged by Joel Boyd and Joshua Parman. For Cello, Piano Accompaniment (Cello). Instrumental. Softcover with CD. 88 pages. Boosey and Hawkes #M051106509. Published by Boosey and Hawkes

For Cello and Piano. Composed by Francois Couperin (1668- 1733). Leduc. Baroque. Softcover. 12 pages. Alphonse Leduc #AL16920. Published by Alphonse Leduc

Strings

SKU: HL.8773243

Softcover. Alliance Publications #AP4092. Published by Alliance Publications (HL.8773243).

UPC: 649325040928. 8.5x11.0x0.052 inches.

By Jean-Marc Allerme. For cello and piano. Pop / Jazz. Score and CD. 46 15 pages. Published by Editions Henry Lemoine

(for Violoncello and Piano) Composed by David Popper, edited by Martin Rummel. Score; Single Part for cello and piano. First modern edition of the complete suite; Two cello parts, one with Popper's fingering and bowing and one modified for the modern cello; With helpful performance tips by the editor. Published by Baerenreiter-Ausgaben (German import). ISBN M006531936.

Cello - intermediate

SKU: HL.49018923

Cello and Piano. Composed by Eduard Puetz. Edited by Julius Berger. This edition: Saddle stitching. Sheet music. Edition Schott. Classical. Softcover. Composed 1990. 12 pages. Duration 4' 30''. Schott Music #CB233. Published by Schott Music (HL.49018923).

ISBN 9790001176545. 9.0x12.0x0.078 inches.

Eduard Putz (1911-2000) studied with Heinrich Lemacher and Hermann Schroeder at the Cologne Musikhochschule and later worked as a music teacher at the grammar school in Rheinbach near Bonn as well as a composition teacher at the Rhenish Music School in Cologne. Overcoming the boundaries between serious and entertaining music was what mattered to him which is why he wrote many works which tried to combine jazz and new music. His 'Adagietto' for violoncello and piano (1990) was discovered within the composer's estate and published for the first time. Prof. Julius Berger arranged the piece for practical playing, adding appropriate fingerings. A short performance piece with interesting harmonies and arpeggios in the piano part and expressive cantilenas in the cello part.