A practice guide for the modern cellist. Par SHERRY FRED. A Grand Tour of Cello Technique is a thought-provoking practice guide, enabling cellists at all levels to develop their own style through an exploration of different ways of fingering and bowing. The book not only helps cellists improve their playing, but also promotes an understanding of musical art, through nine stimulating chapters. With a particular emphasis on music of the 20th and 21st centuries, and its connections with earlier music, Fred Sherry takes the reader on a voyage of discovery of the art and science of cello technique, informed by music ranging from Bach all the way through to Berio.Fred Sherry has introduced audiences on five continents and all fifty UnitedStates to the music of our time for more than five decades. He has had close working relationships with Charles Wuorinen, Lukas Foss, Oliver Knussen, Elliott Carter, Milton Babbitt, Toru Takemitsu, Chick Corea, Pierre Boulez, Mario Davidovsky and others whose works he has premiered and recorded. He has been soloist and 'sideman' on hundreds of commercial and esoteric recordings: his discography ranges from Schütz, Bach, Mozart, Beethoven and Brahms through Schoenberg and Stravinsky to the 20th and 21st century works written for him. He is a member of the cello faculty of The Juilliard School, the Mannes College of Music and the Manhattan School of Music. A Grand Tour of Cello Technique is a thought-provoking practice guide, enabling cellists at all levels to develop their own style through an exploration of different ways of fingering and bowing. The book not only helps cellists improve their playing, but also promotes an understanding of musical art, through nine stimulating chapters. With a particular emphasis on music of the 20th and 21st centuries, and its connections with earlier music, Fred Sherry takes the reader on a voyage of discovery of the art and science of cello technique, informed by music ranging from Bach all the way through to Berio. Fred Sherry has introduced audiences on fivecontinents and all fifty United States to the music of our time for more than five decades. He has had close working relationships with Charles Wuorinen, Lukas Foss, Oliver Knussen, Elliott Carter, Milton Babbitt, Toru Takemitsu, Chick Corea, Pierre Boulez, Mario Davidovsky and others whose works he has premiered and recorded. He has been soloist and and lsquo - sideman and rsquo - on hundreds of commercial and esoteric recordings - his discography ranges from Sch and uuml - tz, Bach, Mozart, Beethoven and Brahms through Schoenberg and Stravinsky to the 20th and 21st century works written for him. He is a member of the cello faculty of The Juilliard School, the Mannes College of Music and the Manhattan School of Music. / Pédagogie / Etude / Violoncelle

Par SCULTHORPE PETER. Sculthorpe uses the Plainsong Requiem Mass as the source material for this work for Solo Cello, using the music to reflect the words of the Latin text. This is a most interesting concept, particularly so as the timbral and expressive qualities of the cello seem appropriate for this type of work (or influenced-type of work, at least). The cello has a very rich and warm tonal quality to it, which Sculthopre exploits in this adventurous composition. This piece will present an enjoyable and most interesting challenge to both advancing and accomplished cellists alike. '. . .draws its inspiration from plainsong and maintains a wonderful sense of space and stillness.' Helen Wallace, BBC Music Magazine, October 1995 / Niveau : Elémentaire / Répertoire / Violoncelle

The composer states:'The term 'oblique strategies? was coined jointly by British musician Brian Eno and German-born British visual artist Peter Schmidt to describe a series of printed cards they developed throughout the 1970's. The cards had their origins in sets of uncannily similar working principles that both artists had established independently, and featured aphorisms intended as a means of triggering inspiration or providing useful stimulus during the creative process, particularly when encountering difficulties of fatigue or time constraint.As Eno and Schmidt wrote in their introduction to the first edition in 1975: 'They can be used as a pack (a set of possibilities being continuously reviewed in the mind) or by drawing a single card from the shuffled pack when a dilemma occurs in a working situation. In this case, the card is trusted even if its appropriateness is quite unclear. They are not final, as new ideas will present themselves, and others will become self-evident?.I chose eleven of Eno and Schmidt's strategies, ordering them in a way that revealed to me a logic and potential inter-relatedness within a hitherto disparate set of single ideas I had assembled for solo cello, each of them in turn a reflection upon the commission's initial purpose of creating a test piece for the 2014 Emanuel Feuermann cello competition.It's my hope then that the resultant composition may provide not only an interesting test of the competitors' talents but also offer the interpreter an opportunity to reflect upon the delights and pitfalls of creativity as he or she comes to terms with the various musical and technical challenges to be found within these ten minutes of music for solo cello.? / Violoncelle

Etudes - Sight-reading sont une des compétences plus importants encore négligées pour tout musicien et une composante importante du Conseil associés et autres examens de la musique. (Piano accompagnements par Anita Hew-tt-Jones) / Violoncelle

Etudes - Sight-reading sont une des compétences plus importants encore négligées pour tout musicien et une composante importante du Conseil associés et autres examens de la musique. (Piano accompagnements par Anita Hew-tt-Jones) / Violoncelle

This volume contains all Fauré's single-movement cello pieces, two of them published here for the first time. Also included as an appendix is a little-known sight-reading etude for two cellos. / Violoncelle Et Piano

Sonate pour violoncelle en Fa majeur op. 6
Peter Jost (Editeur)
Michael Korstick (Doigtés)
Johannes Moser (Doigtés violoncelle)
Edition Urtext, reliure paperback
partie de corde avec ou sans indications de doigté
Outre le Quatuor avec piano op. 13 et la Sonate pour violon op. 18, la Sonate pour violoncelle op. 6 fait partie des œuvres de musique de chambre les plus accomplies parmi l’œuvre de jeunesse de Strauss. Les influences de Mendelssohn, Schumann et Brahms se font sentir, mais laissent cependant assez de place à un langage sonore bien spécifique comportant souvent de surprenantes tournures rythmiques et mélodiques. La première version établie au printemps 1881 fut soumise par Strauss à une révision en profondeur au cours de l’hiver 1882/83: le mouvement initial fut fondamentalement retravaillé et les deux mouvements suivants furent intégralement composés à neuf.
Cela en valait apparemment la peine, car, après la première exécution à Dresde, le compositeur écrivit à sa mère: «Ma Sonate a extraordinairement plu, elle a obtenu des applaudissements colossaux, j’ai été félicité de toute part.» / Partitions classique / Cordes / Violoncelle / HENLE VERLAG

Description An exciting collection of classical tunes arranged for cellists of Grade 2 to 3 standard to enjoy. There are simple piano accompaniments and the CD contains inspiring demonstration and play-along backing tracks. Songlist 1st Movement - Rondo (Piano Concerto No.4) [Beethoven, Ludwig Van] Andante (Symphony No.94 'The Surprise') [Haydn, Franz Joseph] Ave Maria [Bach, Johann Sebastian] [Gounod, Charles] Finale (Symphony No.1) [Brahms. Johannes] Gymnopedie No.1 [Satie, Erik] Hallelujah Chorus (Messiah) [Handel, George Frideric] Minuet (Anna Magdalena Notebook) [Bach, Johann Sebastian] Minuet (Eine Kleine Nachtmusik) [Mozart, Wolfgang Amadeus] Ode To Joy (Symphony No.9 'Choral') [Beethoven, Ludwig Van] Pieds-en-l'air (Capriol Suite) [Warlock, Peter] To A Wild Rose (Woodland Sketches Op.51) [Macdowell, Edward] Trumpet Tune [Purcell, Henry]