Bags of Folk for cello by Mary Cohen. For cello. Book; Method/Instruction; Strin...(+)
Bags of Folk for cello by
Mary Cohen. For cello.
Book; Method/Instruction;
String - Cello Studies or
Collection. Faber
Edition: Bags Of. Folk.
Elementary. 16 pages.
Published by Faber Music
Cello solo SKU: BR.EB-9074 (Plainte sur la perte de la reflexion music...(+)
Cello solo
SKU:
BR.EB-9074
(Plainte sur la perte
de la reflexion
musicale). Composed
by Klaus Huber. Edited by
Michael Bach. Arranged by
Michael Bach. Solo
instruments; stapled.
Edition Breitkopf. You
will need a copy of BG
1002 for each player to
perform the version for
variable instrumentation
(BG 1004). Music
post-1945; New music
(post-2000). Score.
Composed 1972. 12 pages.
Duration 20'. Breitkopf
and Haertel #EB 9074.
Published by Breitkopf
and Haertel (BR.EB-9074).
ISBN 9790004179499. 9
x 12 inches.
World
premieres:I version for
flute: Wiesbaden, 1972II
version for piano: Nyon,
1972III version for var.
insts.: Cologne, May 29,
1976VI version for
accordeon: Fribourg, June
25, 1987VIII version for
violoncello Tokyo:
October 14, 1989X version
for organ: Stuttgart,
March 28, 2018This work
(A Breath of the
Untimely) was first
written for solo Flute
and dedicated to Aurele
Nicolet. Its bears the
subtitle Lament on the
Loss of Musical Thought -
some Madrigals for Solo
Flute or Flute with any
other Instruments. This
serves as a playing
instruction but doubles
at the same time as an
outmoded programme: it
refers back to the
musical origin of the
opening lamenting motif,
a tradition which was
once of its time but is
not of our time - namely
the Lamento genre which
gave the title to the
Chaconne in Purcell's
opera Dido and Aeneas.
Almost simultaneously I
wrote a second version
for Piano (for Piano
one-and-a-half hands),
which already formulates
possible approaches for
the performer, in some
detail, to the indicated,
quasi-canonic version of
the piece in the
programme. The multiple
version Ein Hauch von
Unzeit III realizes a
concrete version of a
formal state which floats
between strict canon and
aleatoric principles:
each of the musicians who
are spread throughout the
hall introduces their own
idiomatic translation of
the flute part. And so
the music exists,
omnipresent, not only
spatially throughout the
hall, but also formally
in a sort of fluctuating
simultaneity. For that
reason, it was my express
wish to any potential
interpreter that they
should construct entirely
their own version of the
piece. A healthy number
of musicians have
responded to my
suggestion - versions of
the piece have now been
made for guitar
(Cornelius Schwehr,
Gunther Schneider),
accordion (Hugo Noth),
double bass (Fernando
Grillo), violin
(Hansheinz Schneeberger),
viola, violoncello, and
double bass (trio basso,
Koln), violoncello
(Michael Bach), trombone
(Andrew Digby) and,
created by myself, a sung
version for voice (to
words by Georg Wilhelm
Friedrich Hegel und Max
Bense), and for viola.The
most important
requirement for the whole
piece is absolute
stillness, which should
as far as possible
emanate from the
performer. The pauses are
occasionally in this
respect the most
important element. These
may, if one can find the
necessary stillness,
become very long.Ein
Hauch von Unzeit (A
Breath of the Untimely) -
time almost
dissolves!(Klaus Huber,
1989/2014 - translation:
David
Alberman)CD:Jean-Luc
Menet (Bass flute)CD
Traversieres
120.270Jean-Luc Menet
(fl)CD STR
37039Bibliography:Zimmerm
ann, Heidy:
Zeitgestaltung im
Kompositionsprozess bei
Klaus Huber - dargestellt
anhand von Skizzen, in:
Mnemosyne. Zeit und
Gedachtnis in der
europaischen Musik des
ausgehenden 20.
Jahrhunderts, hrsg. von
Dorothea Redepenning und
Joachim Steinheuer,
Saarbrucken: Pfau 2006,
S. 90-109
World
premiere: VIII version
for violoncello Tokyo:
October 14, 1989.
(A Comprehensive String Method) Written by Brenda Mitchell, Joanne Erwin, Kathle...(+)
(A Comprehensive String
Method) Written by Brenda
Mitchell, Joanne Erwin,
Kathleen Horvath, Robert
D McCashin. Instructional
book and accompaniment CD
for cello. Series: New
Directions for Strings.
56 pages. Published by
The FJH Music Company
Inc.
(Cello). For Cello. Book; CD; Play-Along; String Series. Ultimate Pop Instrument...(+)
(Cello). For Cello. Book;
CD; Play-Along; String
Series. Ultimate Pop
Instrumental Solos
Series. Movie. Grade 2;
Grade 3. 84 pages.
Published by Alfred Music
Publishing
Cello - Intermediate-Advanced SKU: HL.14017469 Composed by Kaija Saariaho...(+)
Cello -
Intermediate-Advanced
SKU: HL.14017469
Composed by Kaija
Saariaho. Music Sales
America. Post-1900. Sheet
Music, Score. With Text
language: English.
Chester Music #CH61806.
Published by Chester
Music (HL.14017469).
UPC: 884088812041.
8.5x11.0x0.419
inches.
Composer's
Note When I considered
the ensemble of eight
cellos, I first thought
of matt and dark
textures. I also wanted
to go back to some ideas
on symmetry. While I was
pondering all that, I saw
snow flakes falling from
the dark sky of the
Finnish autumn. Focusing
on the snow, the idea of
writing variations on it
and its various forms
became clearer in my
mind.Nuages de neige is a
uniform and linear
texture in which I
realise my first
impressions of that
ensemble. The two Etoiles
de neige are based on the
idea of symmetry and
repetition: the first one
develops up to a certain
point where it doubles
back as in a mirror
image, the second one
consists of eight
sections in which the
harmonic structure is
repeated, as well as a
linear gesture that
becomes ever more
present. Aguilles de
glace focuses on
different pizzicati and
superimposed ostinati.
With Fleurs de neige I
sought to recall the
texture of those harmonic
trills at the end of the
first section, although
more airy and diversified
here. Kaija Saariaho.
Violoncelle [Partition + CD] - Facile Alfred Publishing
By John Williams. For cello. String Series. Pop Instrumental Solo Series. Play A...(+)
By John Williams. For
cello. String Series. Pop
Instrumental Solo Series.
Play Along. Level: Level
2-3 (grade 2-3). Book and
CD. 104 pages. Published
by Alfred Publishing.
Cello solo SKU: GH.GE-10986 Concert Fantasy - for solo cello. Comp...(+)
Cello solo
SKU:
GH.GE-10986
Concert Fantasy - for
solo cello. Composed
by Rolf Martinsson.
Konsertant fantasi for
cello. Op. 69b. Duration
9 minutes. Gehrmans
Musikforlag #GE 10986.
Published by Gehrmans
Musikforlag
(GH.GE-10986).
ISBN
979-0-070-10986-4. 255 x
350 mm
inches.
Verkkomment
ar av
tonsattaren: Under
2004-2005 komponerade jag
en cellokonsert for Mats
Lidstrom. Samarbetet
kring solostamman var
intensivt i langa
perioder vilket gav manga
ideer och infallsvinklar
samt god insikt i
strakinstrumentens
klangvarld och tekniska
mojligheter. Det var
darfor helt naturligt att
med utgangspunkt fran de
tva solokadenserna i
cellokonserten aven
komponera ett soloverk
for Mats. Expose ar
skrivet i en sats men har
klart urskiljbara delar.
Fran den langsamma
inledningen arbetar sig
stamman igenom alltmer
dramatiska och animerade
partier for att till slut
explodera i den snabba
slutdelen.
Violoncello - Level 5 SKU: BA.BA11071 Composed by Matthias Pintscher. In ...(+)
Violoncello - Level 5
SKU: BA.BA11071
Composed by Matthias
Pintscher. In a folder.
Part II of the cycle
Profiles of Light.
Performance score.
Composed 2015. 4 pages.
Baerenreiter Verlag
#BA11071_00. Published by
Baerenreiter Verlag
(BA.BA11071).
ISBN
9790006562015. 42 x 29.7
cm
inches.
“Now
II†is the second
part of a triptych of
chamber pieces entitled
“Profiles of
Lightâ€. The first
part is written for solo
piano (Now I, BA 11073),
the second for
unaccompanied cello. The
two instruments are then
combined in the
concluding third part,
Uriel (BA
11013).
All three
pieces were inspired by
the Abstract
Expressionist paintings
of the American artist
Barnett Newman. Newman's
work has had a formative
impact on Matthias
Pintscher's artistic
philosophy: what does it
mean to reduce things to
essentials while seeking
maximum immediacy of
expression? Several of
Newman's paintings have a
radiant light of uncommon
intensity, yet resembling
a dark illumination. The
same sort of thing is
found in the late works
of Franz Schubert, where
a comparable profundity
and retrospective
yearning likewise shine
through the surface of
even the brightest
tonalities.
This
is a piece about
resonances, about the
inward and outward givens
of existence, about life
itself: 'I find the cello
a highly suitable
instrument for depicting
such existential
conditions'.