Thumb Position Violoncelle - Intermédiaire/avancé Schott
Duets and Exercises Introducing the Use of the Thumb on the Cello. Composed ...(+)
Duets and Exercises
Introducing the Use of
the
Thumb on the Cello.
Composed
by Gabriel Koeppen.
Edited by
Gabriel Koeppen. This
edition: Saddle
stitching.
Sheet music. String
Method.
Classical. Softcover. 72
pages. Schott Music
#ED22567.
Published by Schott Music
Cello SKU: HL.14028929 Composed by David Blake. Music Sales America. Clas...(+)
Cello
SKU:
HL.14028929
Composed
by David Blake. Music
Sales America. Classical.
Book [Softcover]. Music
Sales #NOV120425.
Published by Music Sales
(HL.14028929).
Written for
Moray Welsh whilst still
an undergraduate at York
University. This piece
was completed in
mid-September. Inspired
by Hermann Hesse's
Steppenwolf. A solo
'cello seemed an
appropriate medium for
music which might explore
the character of Harry
Haller, with his desire
for bourgeois comfort and
his strong misanthropic
and suicidal tendencies.
The opening theme
attempts to express this
- melancholy, nostalgic,
a bit Biedermeyer (cf.
Brahms Intermezzi). The
basic theme of the book,
at its simplest, is that
every human personality
consists of hundred of
different personalities -
within every man there
lurks a wolf. Accordingly
the tendency of my piece
is for all its musical
material to become
distorted, either by
thematic transformation
or by changes of timbre.
There are three movements
played without a break.
The first is a character
portrait of the
Steppenwolf. The second
is concerned in the most
general sort of way with
the dance elements in the
novel - Harry's being
taught to dance and
appreciate low 'popular'
music - a tango is
recapitulated in a waltz
and 'Yearning', a popular
song of the time (1927)
is hinted at. The third
movement concerns the
Masked Ball and the Magic
Theatre. Mozart is one of
Hesse's great loves and
he is repeatedly
mentioned in the book.
Inevitably some Mozart
quotes have been worked
in, the most significant
being a reference to The
Magic Flute 'fire and
water' flute theme in the
middle of the second
movement. Long before I
finished the piece, I was
disenchanted with the
work of Hesse. Much of
Steppenwolf I now find
rather embarrassing and
the claims currently made
for Hesse's greatness
seem to me exaggerated.
Since my piece is in no
important sense
programmatically
specific, this change of
heart doesn't really
matter. ~ David
Blake.
Emmelia Violoncelle [Conducteur] University Of York Music Press
Cello SKU: BT.MUSM570366453 Composed by Evis Sammoutis. Classical. Score ...(+)
Cello
SKU:
BT.MUSM570366453
Composed by Evis
Sammoutis. Classical.
Score Only. 10 pages.
University of York Music
Press #MUSM570366453.
Published by University
of York Music Press
(BT.MUSM570366453).
English.
'Brice
Catherin, a cellist and a
composer exploring the
notion of the
one-man-band concept,
commissioned this work;
this composition was
subsequently the result
of our collaboration. My
aim has been to create a
work where the cellist
produces sounds using his
full body: his hands
(employing a variety of
extended techniques on
the Cello and external
objects), his feet, his
mouth (singing and
playing the harmonica and
flexible tube) and even
his face on one occasion
to muffle the strings.
There are two central
themes in the work:
virtuosity and theatre,
both strong, frequent
features of my
compositional oeuvre.
After several meetings
and experimentation with
Brice, I chose asetup
that enhances the musical
scope without visually
cluttering the stage. I
am also using a rather
unusual scordatura that
not only changes the
timbre of the instrument
itself, but also helps
create unique soundscapes
that blend together with
the sounds from the
spring drums, the human
voice (whistling, groans
and other effects), a
singing bowl, a harmonica
and a flexible tube among
others. The work is
entitled Emmelia and
there are two reasons for
this: Emmelia derives
from the prefix en (in)
and the noun melos
(harmony), thus meaning
in harmony. The
composition is structured
and developed in clearly
defined sections (noisy,
harmonious, distorted,
etc.), based on
information revealed by a
spectral analysis of an
F1 spectrum on the cello
(tuned a fifth below low
C), played and recorded
using a variety of
attacks and triggering
objects and methods.
Emmelia is also the name
of my baby daughter, who
has been my constant
inspiration since she was
born.' - Evis
Sammoutis.
(Cello). For Cello. Book;
CD; Play-Along; String
Series. Instrumental
Solos
Series. Pop; Pop/Rock.
Grade
2; Grade 3. 52 pages.
Published by Alfred Music
Cello SKU: HL.14035889 Composed by Per Norgard. Music Sales America. Clas...(+)
Cello
SKU:
HL.14035889
Composed
by Per Norgard. Music
Sales America. Classical.
Book [Softcover]. 9
pages. Music Sales
#KP00672. Published by
Music Sales
(HL.14035889).
ISBN
9788759859285.
English-Danish.
I -
Lento II - Imposante
III - Andante
Programme Note
In my early
television remembrance I
recall a broadcast with
Samuel Beckett, one of
the fathers of the absurd
play and drama. At one
time Beckett looked the
viewer (the camera) in
the eye and said:'What! -
is the Word'. I have not
since been able to forget
it, obviously, having
borrowed this ambiguous
sentence as title for
this short cello sonata.
The fact that
it is conceived as a
unity is obvious from the
fact that the two outer
movements are closely
related. The long,
immediately recognizable
melodic line which
dominates the first
movement appears in the
third movement aswell,
first in an inverted
version and then almost
identical to its original
appearance, only shorter.
In contrast, the
middle movement is a fast
one, constantly and
intensely on the move,
with many changes of
pulse and meters, as well
as large melodic leaps.
And while the outer
movements each are
composed as a single
melodic line, the middle
movement makes extensive
use of the cello as a
polyphonic instrument
employing lots of chords,
double stops and
flageolet effects.
