| Noir Vignettes Violoncelle, Piano Theodore Presser Co.
Chamber Music Cello, Piano SKU: PR.114418630 Composed by Stacy Garrop. Se...(+)
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
fataleâ€), 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
filmâ€). 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
fataleâ€), 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. $20.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Fleeting Shadows, Still Reflections (Vc,Pf) Violoncelle, Piano Peters
By Chihara P. For cello and piano. Violoncello and Piano version. Duration ca. 9...(+)
By Chihara P. For cello
and piano. Violoncello
and Piano version.
Duration ca. 9 minutes.
Published by C.F. Peters.
$24.50 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Blue Shadows Fall Violoncelle, Piano Schott
Cello; Piano Accompaniment (Score and Solo Part) SKU: HL.49045162 For ...(+)
Cello; Piano
Accompaniment (Score and
Solo Part) SKU:
HL.49045162 For
Cello and Piano
Reduction. Composed
by Huw Watkins. This
edition: Saddle
stitching. Sheet music.
String. Classical.
Softcover. Composed
2012-2013. 44 pages.
Duration 12'. Schott
Music #ED13556. Published
by Schott Music
(HL.49045162). ISBN
9790220134104. UPC:
196288107330.
9.0x12.0x0.155
inches. $22.99 - Voir plus => Acheter | | |
| Casken Piano Trio Violoncelle, Piano Schott
Violin, cello and piano (P/ST) - difficult SKU: HL.49030480 Composed by J...(+)
Violin, cello and piano
(P/ST) - difficult
SKU: HL.49030480
Composed by John Casken.
This edition: Saddle
stitching. Sheet music.
Edition Schott. Score and
Parts. Composed
2000-2002. 68 pages.
Duration 20'. Schott
Music #ED 12775.
Published by Schott Music
(HL.49030480). ISBN
9790220122415. $53.00 - Voir plus => Acheter | | |
| My First Concertinos Volume 10 Violoncelle, Piano - Intermédiaire Editions Marc Reift (Swiss import)
Violoncello & Piano or CD Play Back / Play Along - Grade 3 SKU: MA.EMR-54756<...(+)
Violoncello & Piano or CD
Play Back / Play Along -
Grade 3 SKU:
MA.EMR-54756 Composed
by Karel Chudy. Score and
parts. Duration 21'41.
Editions Marc Reift #EMR
54756. Published by
Editions Marc Reift
(MA.EMR-54756).
1. In The Our
Yard / 2. Four Elements /
3. Four Seasons / 4.
Shadows Of Light / 5.
Glamour Of The Old
Castle. $21.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Sonata In D Minor Op. 9 Violoncelle, Piano PWM (Polskie Wydawnictwo Muzyczne)
Cello and Piano SKU: BT.PWM8613 Transcription for Cello and Piano....(+)
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. $20.95 - Voir plus => AcheterDélais: 4 to 6 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 | | |
| 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 | | |
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