dité par Mez? Imre, Mez? LászlóInstrument: Violoncello and PianoGenre: 20th Century MusicLangue: Hungarian, English, GermanPages: 6 ppDate du parution: Octobre 1981

Par DEBUSSY CLAUDE. This piece dates originally from May 1882, when Debussy made his first public appearance as a composer, at a musical soirée in Paris accompanying the violinist Maurice Thieberg. Among the other works performed on that occasion was a Nocturne and Scherzo for violin and piano by the 19-year-old composer, which has since disappeared. In June Debussy made a new version for cello and piano, which survives in autograph manuscript and is published here - in this new edition by the musicologist and cellist Neil Heyde - for the first time. Although the title implies two separate pieces, the Nocturne et Scherzo is a hybrid piece, in which the opening Scherzo material surrounds a cantabile episode of nocturnal character. / Répertoire / Violoncelle et Piano

Hungarian Rondo was composed by Zoltán Kodály in December 1917, drawing on material from the incidental music he had written for Zsigmond Móriczs play Pacsirtaszó (Skylarking). The rondo form is shaped out of four new-style Hungarian folk songs and an instrumental dance melody. Kodály prepared the piece in two somewhat different versions, one for two clarinets, two bassoons and string orchestra, and the other for cello and piano. The orchestral version received its first performance in Vienna on 12 January 1918 at a 'historical concert' organized by the War Ministry of the Austro-Hungarian Monarchy. The cello version was premi?red by Miklós Zsámboky and Ottó Herz at the Budapest Academy of Music on 4 November 1927. Neither version appeared in print in the composers lifetime. The version for string orchestra was edited in 1976 by Ferenc Farkas and István Máriássy (and is distributed as a hire material under the order number K-1). The cello version appears here in print for the first time. The publication is based on the composers surviving manuscript and a contemporary manuscript copy of this. The fingerings are by the editor. / Violoncelle Et Piano

Isserlis Steven (Editor). Par ISSERLIS STEVEN. Unbeaten Tracks , for Cello and Piano, comprises eight contemporary graded pieces grades 4 and 7 in standard. These contemporary eight pieces in this volume are written in an array of musical styles by some of today's most talented composers and are undoubtedly destined to become standard repertoire for players of intermediate level upwards. Handy Biopics collect small details about various composers giving an insight into the inspiration and mood of the music. The solo cello part is also included on a separate insert. / Niveau : Assez Facile / Date parution : 2000-08-17/ Recueil / Violoncelle et Piano

Brahms completed his Cello Sonata op. 99 during the productive summer of 1886. The first public performance took place in Vienna on 24 November of the same year. Robert Hausmann played the cello part and the composer himself was his partner at the piano. Even though the work was generally received positively, it took some years until it was fully appreciated and gained its irrevocable place in the cello repertoire.Of particular value to the editors were the two early performance editions of the Cello Sonata op. 99 by Hugo Becker and Carl Friedberg, as well as by Julius Klengel. Both cellists, Becker and Klengel, had a connection to Brahms who very much admired and trusted Becker's playing and who performed together with Klengel. This edition not only incorporates Becker's and Klengel's performance markings but also Hausmann's for whom the piece was written. As such, the Barenreiter edition comes with a cello part marked with fingering and bowing by the editors which are based on the practices of Brahms' contemporaries. We also provide an unmarked Urtext part.An important part of this edition is the extensive Preface. Firstly it informs about the work's origin, early performances, its publication as well as early reception. Truly remarkable is the unique Performance Practice Commentary. Here the editors take the premise that already a few decades after Brahms' death, a widening gulf developed between the composer's expectations and the performance practices of the early 20th century. In a very concrete and practical way, the editors summarize some of the key issues in understanding Brahms' notation with regard to rhythm and timing, dynamics and accentuation, dots and strokes, slurring and non legato, piano pedalling and overholding, piano arpeggiation and dislocation, string instrument fingering, string instrument harmonics and vibrato. In this way, the edition offers an exciting and often surprising insight into Romantic musical interpretation.- A pioneering Urtext edition- With an unmarked Urtext part- With a second part including fingering and bowing based on the practices of contemporaries of Brahms- With an extensive Performance Practice Commentary- For further information on Romantic performance practice we recommend the text booklet: 'Performance Practices in Johannes Brahms' Chamber Music?, BA 9600 / Violoncelle Et Piano

With online audio of piano accompaniments. Par HAMMERSTEIN II OSCAR / RODGERS RICHARD. / TV, Film, Comédie musicale / Répertoire / Violoncelle et Piano

Publié par Máriássy István, Pejtsik ÁrpádInstrument: Violoncello and PianoSérie: EMB UrtextGenre: BaroquePages: 68 ppDate du parution: 1992

Publié par Pejtsik ÁrpádInstrument: Violoncello and PianoSérie: Moments Musicaux for VioloncelloGenre: RomanticPages: 6 ppDate du parution: 1991

Par WATERFIELD POLLY / BEACH L.. This is a celebration of music from the time the pioneers explored the vast reaches of North America. A presentation of eleven imaginative and idiomatic arrangements for elementary cello Grade 1-3 with Piano. Helpful background notes help players to understand the style and spirit of the music. The book is also compatible with the Viola and Violin editions, giving an opportunity for young players to experience ensemble playing at quite an early stage. / Niveau : Facile / Date parution : 2003-10-16/ Répertoire / Violoncelle et Piano

Par BUSONI FERRUCCIO. Busoni was just sixteen years old when he wrote the extraordinary Serenata, and the quality of the music is exceptional. The work draws inspiration from the serenade as love song, and the interplay between the warm, lyrical cello line countered by its bright and lively piano partner is highly effective. In preparing this new addition, cellist Lowrii Blake has consulted the original manuscript of this undeservedly neglected work. / Niveau : Elémentaire / Répertoire / Violoncelle et Piano

Par FAURE GABRIEL. Immediately after finishing his second Violin Sonata op. 108, Fauré started work on a sonata for Cello and Piano in early 1917, thus realising a long-conceived plan. In their predisposition and attitude, both works are very closely related. In the Cello sonata, a sombre, dramatic opening movement is also followed by a calm, relaxed slow middle movement and a graceful finale. The critical response to the first performances was subdued, but on account of increasing interest in Fauré ’s complete late chamber music, this sonata has recently been rediscovered as a substantial part of his oeuvre. The Henle Urtext edition constitutes the first criticaledition of this work. David Geringas, a master of his craft, supplied the markings in the Cello part. / Kolb, Fabian / Répertoire / Violoncelle et Piano

Une pièce vivante pour violoncelle et piano / Violoncelle Et Piano / niveau : Elementaire / Partition