Souvenirs Violoncelle, Piano - Intermédiaire Salabert
Cello and Piano - intermediate SKU: BT.SLB-00595900 Extrait de la musi...(+)
Cello and Piano -
intermediate
SKU:
BT.SLB-00595900
Extrait de la musique
de scène pour « Le
Voyageur sans bagages
». Composed by
Francis Poulenc.
Classical. Book and
Part(s). Composed 2016. 5
pages. Editions Salabert
#SLB 00595900. Published
by Editions Salabert
(BT.SLB-00595900).
INSSTR inches.
French.
A
previously unreleased
piece by Francis Poulenc,
published with permission
from the Bibliothèque
Historique de la Ville de
Paris and Benoît
Seringe, secretary of the
Association des amis
de Francis Poulenc
[Association of the
Friends ofFrancis
Poulenc]. Le Voyageur
sans bagage [The
Traveller Without
Luggage], which had been
premiered in 1937 with
music by Darius Milhaud,
was reprised on 1 April
1944 at the Thé tre de
la Michodière; Francis
Poulenc was asked to
compose new stage music.
Theentire unpublished
score lay undiscovered
until Bérengère de
l’Épine, a librarian
at the Bibliothèque
Historique de la Ville de
Paris, announced the
existence of a manuscript
in the Association de la
Régie Thé trale
collection.Poulenc
finalised the score
between 19 and 21 March
1944. It contains nine
songs, all written for a
small instrumental
ensemble including oboe,
clarinet, cello and
piano. However, at the
end of the manuscript,
the composer echoes the
second song Lent
[Slow] and creates
another version for cello
and piano; curiously, the
original version of the
song has not been erased
in the manuscript.
Poulenc seems to suggest
that we consider the
piece for cello and
piano, that we have
publishedhere, as a
different piece of music.
It was premiered on
Wednesday 23 January 2013
by Marc Coppey,
accompanied by
Jean-François Heisser,
in the organ auditorium
of the Conservatoire
National Supérieur de
Musique et Danse de Paris
(CNSMDP), during
thesymposium for the
fiftieth anniversary of
Poulenc’s death.Given
in a dramatic context,
some elements allow us to
get an idea of the
character of the piece,
which Benoît Seringe,
Poulenc’s beneficiary,
judiciously chose to name
Souvenirs.The
main character of
Anouilh’s play, Gaston,
is suffering from amnesia
at the end of World War
One. Several families try
to claim him; they want
him to be their missing
relative. The Renaud
family prove to be
particularly stubborn,
but Gaston doesnot
recognize himself in the
child and young man they
depict: a ruthless and
violent person. In Act 1
Scene 3, left alone for a
moment, overwhelmed by
the story of the “old
Gaston” that is
gradually coming to
light, and outraged by
the desire ofthose around
him to appropriate him
(to the detriment of the
person he would like to
be from now on), he
whispers these words:
“You all have proof,
photographs that look
like me, memories as
clear as day… I’ve
listened to you all and
it’s slowlycausing a
hybrid person to rise up
in me; a person in which
there is a piece of each
of your sons and nothing
of me.” Poulenc chose
to place the second piece
from his stage music
score as these words are
spoken.He borrowed part
of the material, as he
often did, from an
earlier composition. In
this particular case, the
beginning is a recycled
version of the “slow
and melancholic”
section from
L’Histoire de Babar
, composed between
1940 and 1945,
andpremiered in 1946
(unless it is Babar
that reuses the
musical idea from
Voyageur ).The
eponymous elephant
decides to leave in
search of the great
forest. He embraces the
old lady, promises her he
will return and reassures
her that he will never
forget her. Left alone,
the old lady, feeling sad
and pensive, wonders when
she’ll seeher friend
Babar again. The
situation is similar to
that in Voyageur sans
bagage: solitude,
sadness, a distressing
and introspective time,
fear of oblivion, the
presence of
memories…
Pièce
inédite de Francis
Poulenc, publiée avec
l’autorisation de la
Bibliothèque historique
de la ville de Paris et
de Benoît Seringe,
secrétaire de
l’Association des Amis
de Francis Poulenc.Le 1er
avril 1944, Le Voyageur
sans bagage d’Anouilh,
qui avait été créé en
1937 avec de la musique
de Darius Milhaud, est
repris au Thé tre de la
Michodière. Francis
Poulenc a été
sollicité afin
d’écrire une nouvelle
musique de scène. On
ignoraittout de cette
partition inédite,
jusqu’au jour où
Bérengère de
l’Épine, conservateur
la Bibliothèque
historique de la ville de
Paris, nous signala
l’existence d’un
manuscrit dans le fonds
de l’Association de la
Régie thé trale.Poulenc
mit au point sa partition
entre le 19 et le 21 mars
1944. Elle comprend neuf
numéros, tous écrits
pour un petit effectif
instrumental réunissant
un hautbois, une
clarinette, un
violoncelle et un
piano.Cependant, la fin
de son manuscrit, le
compositeur reprend le no
2 Lent et en donne une
seconde version, pour
violoncelle et piano.
Curieusement, la version
originale de ce numéro
n’est pas biffée dans
le manuscrit.Poulenc
semble nous inviter
considérer comme un
morceau distinct cette
pièce pour violoncelle
et piano dont nous
proposons ici
l’édition. Elle a
été créée par Marc
Coppey, accompagné de
Jean-François Heisser,
lors du concert donné
durant lecolloque
organisé pour le
cinquantenaire du décès
de Poulenc, le mercredi
23 janvier 2013, salle
d’orgue du
Conservatoire National
Supérieur de Musique et
de Danse de Paris
(CNSMDP).Quelques
éléments sur le
contexte dramatique
permettront de se faire
une idée du caractère
du morceau, que Benoît
Seringe, ayant droit
Poulenc, a judicieusement
choisi d’intituler
Souvenirs.Le personnage
principal de la pièce
d’Anouilh, Gaston, a
été retrouvé
amnésique la fin de la
Première Guerre
Mondiale. Plusieurs
familles le réclament.
On veut voir en lui un
parent disparu. Les
Renaud se montrent
particulièrement tenaces
; maisGaston ne parvient
se reconnaître dans
l’enfant et le jeune
homme dont on lui trace
le portrait : un être
violent et sans scrupule.
Au tableau 3 de l’acte
I, resté seul un moment,
écrasé par l’histoire
de cet autre lui-même
qu’il découvre peu
peu, indigné par le
désir des personnes qui
l’entourent de le
ramener elles au
détriment de celui
qu’il voudrait être
désormais, il se murmure
ces paroles : « Vous
avez tous des preuves,
des photographies
ressemblantes, des
souvenirs précis
commedes crimes… je
vous écoute tous et je
sens surgir peu peu
derrière moi un être
hybride où il y a un peu
de chacun de vos fils et
rien de moi »…C’est
sur ces mots que Poulenc
a choisi de placer le no
2 de sa partition de
musique de scène.Comme
il le fait souvent, il
emprunte une composition
antérieure une part de
son matériau. Dans ce
cas précis, il
réutilise pour le début
du morceau la section «
Lent et mélancolique »
de l’Histoire de Babar,
composée entre 1940 et
1945, créée en1946 (
moins que ce ne soit
Babar qui réutilise
l’idée musicale du
Voyageur). Le
héros-éléphant s’est
décidé partir pour
retrouver la grande
forêt. Il a embrassé la
vieille dame, lui a
promis de revenir, l’a
rassurée : jamais il ne
l’oubliera.Restée
seule, la vieille dame,
triste et pensive, se
demande quand elle
reverra son ami Babar. La
situation est similaire
celle du Voyageur sans
bagage : solitude,
tristesse, instantde
trouble et de retour sur
soi, crainte de
l’oubli, présence des
souvenirs….
Score & Parts Cello SKU: HL.51481132 For Violoncello and Piano. Co...(+)
Score & Parts Cello
SKU: HL.51481132
For Violoncello and
Piano. Composed by
Jean-Louis Duport. Edited
by Norbert Gertsch. Henle
Music Folios. Classical.
Softcover. 42 pages. G.
Henle #HN1132. Published
by G. Henle
(HL.51481132).
UPC:
840126989656.
9.0x12.0x0.35
inches.
“More
than 20 years ago I was
called upon by friends,
artists, and aficionados
to write about fingerings
for the violoncello,”
then-famous Berlin
cellist Jean-Louis Duport
thus opens his
“Essai” from 1806,
dedicated to
“Professeurs de
Violoncelle.” His
methodology
revolutionized cello
technique, and the 21
etudes printed in its
appendix are still
regarded today as perhaps
the most important set of
studies for all budding
cellists. Modelled after
the volumes of etudes for
violin, Henle is also
issuing the Urtext here,
together with all
original fingerings and
bowings, while also
offering alternatives by
the famous cellist and
teacher Wolfgang Emanuel
Schmidt. This edition
also offers a second
cello part provided by
Duport for
accompaniment.
About Henle
Urtext
What I can expect from
Henle Urtext
editions:
error-free, reliable
musical texts based on
meticulous musicological
research - fingerings and
bowings by famous artists
and pedagogues
preface in 3
languages with
information on the
genesis and history of
the work
Critical Commentary
in 1 – 3 languages
with a description and
evaluation of the sources
and explaining all source
discrepancies and
editorial
decisions
most beautiful music
engraving
page-turns, fold-out
pages, and cues where you
need them
excellent print
quality and
binding
largest Urtext
catalogue
world-wide
longest Urtext
experience (founded 1948
exclusively for Urtext
editions)
Violin, Viola, Cello and Piano SKU: HL.14029171 Composed by Gerard Schurm...(+)
Violin, Viola, Cello and
Piano
SKU:
HL.14029171
Composed
by Gerard Schurmann.
Music Sales America. 20th
Century. Set. Music Sales
#NOV120877. Published by
Music Sales
(HL.14029171).
ISBN
9781844492718.
This
work was commissioned by
the Arizona Friends of
Chamber Music for their
50th Music season, and
5th Tucson Winter Chamber
Music Festival. The first
performance was given by
the Los Angeles Piano
Quartet in Tucson,
Arizona in March
1998.
Cello; Piano Accompaniment (Cello Part And Piano Score) SKU: HL.49046442 ...(+)
Cello; Piano
Accompaniment (Cello Part
And Piano Score)
SKU:
HL.49046442
Cello
and Piano. Composed
by Richard Strauss.
String Solo. Classical.
Softcover. 80 pages.
Duration 1560 seconds.
Schott Music #CB301.
Published by Schott Music
(HL.49046442).
ISBN
9781540094780. UPC:
842819113003.
The
Cello Sonata Op. 6 was
composed over an
apparently frequently
interrupted period of
three years, an
extraordinarily long time
for Strauss's early
creative phase. The
compositional process
spawned two independent
versions of the work, the
first of which is
published for the first
time on the basis of the
text in the Critical
Edition of the Works of
Richard Strauss in the
current editionas a
practical musical text.
The genesis of the two
versions and the reasons
for revision can only be
reconstructed in part:
only one of the surviving
autographs bears a date
and the second version
only survives in printed
form. What is more,
Strauss did not
communicate in greater
detail on this
composition in
correspondence with his
family and friends. There
are enormous differences
between the two versions
of the Sonata: Strauss
deleted the entire second
and third movements
Larghetto and Allegro
vivace, replacing them
with a newly composed
Andante and Finale. In
the first movement,
Allegro con brio, Strauss
retained the
thematic-motivic material
and compositionally
complex passages such as
the three-voice fugue in
the developmentsection
(from bar 241 in the
first version and bar 275
in the second version)
almost intact in the new
version of the sonata,
but also undertook
extensive alterations,
particularly in the
structure of the piano
part, the
motivic-thematic
development of the
movement and its harmony
which became far more
ambitious.12 Particular
attention should be drawn
to the repetitive
accompaniment of the con
espressione theme
beginning in bar 32 and
the significantly shorter
development in the first
version. The current
printed edition of the
first version of Richard
Strauss's Cello Sonata
now makes it possible to
follow Strauss's
compositional development
during this period. The
significance of the
differences between the
versions also mean that
two sonata compositions
for violoncello and piano
by Richard Strauss with
fundamental disparities
in their underlying
character are now
available for
performance.
For Cello and Piano. Composed by Francis Poulenc (1899-1963). String. Cla...(+)
For Cello and
Piano. Composed by
Francis Poulenc
(1899-1963). String.
Classical. Softcover. 4
pages. Editions Salabert
#SLB5959. Published by
Editions Salabert
(HL.50600845).