Par SUZUKI SHINICHI. 12 selected pieces for cello. / Niveau : Débutant à Intermédiaire / Méthode en anglais / Méthode / 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

Finnish composer Kaija Saariaho 's Bosun's Cheer , composed in 2014. Included here are the score and parts for the Modern Instrument Version , arranged for a speaker, Flute, Cello and Double Bass. Born in Helsinki and having studied composition there and in Freiburg and Paris, Kaija Saariaho and nbsp - has achieved a great level of critical and audience acclaim now mid-career. Her previous work was notable for including electronics alongside more traditional instruments before going on to compose much larger works, including the epic opera 'L'Amour de Loin' in 2000, a recording of which won the 2011 Grammy award for best opera recording. and nbsp - This piece, Bosun's Cheer, is an exhilarating work, including some inventive instrumental techniques as well as a hauntingly poetic voice.The version for period instruments can be found and nbsp - here . / Voix, Flûte, Violoncelle Et Contrebasse

Farewell to philosophy. Par BRYARS GAVIN. I have a great fondness for the lower string instruments: I am a bass player, my mother is a cellist, as are both my daughters; my own ensemble includes two violas, a cello and a bass, and for the instrumentation of my opera Medea I omit the entire violin section from the orchestra. As I have written a number of works for solo instrument or voice with orchestra I welcomed the opportunity to write a concerto for cello and orchestra and especially one which focuses particularly on the instrument’s lyrical qualities. Although the piece is in one continuous movement, and the soloist is playing almost without a break, it nevertheless falls into distinct sections which are recognisable by a shift of tempo as well as by a change in the music’s character. One of the early ideas Julian Lloyd Webber and I discussed was that it might form a companion piece to one of the Haydn concertos. Given my friendship with some members of the English Chamber Orchestra and my awareness of their repertoire, this suggested a number of particular musical references. The subtitle to the work, for example, combines the subtitles of two idiosyncratic Haydn symphonies and I allude to them in different ways but chiefly through orchestration: for The Philosopher by including a section in the concerto where the orchestration resembles that of the symphony’s first movement (pairs of English and French horns, muted violins and unmuted lower strings); for The Farewell, by the progressive reduction in the orchestration towards the end. Indeed, apart from the orchestral tutti in the last few bars, the last pages of the score are virtually for string quartet. The subtitle also refers to my own background as a philosophy graduate... The piece was commissioned by Philips Classics for Julian Lloyd Webber and is dedicated to him. The first performance was given by Julian Lloyd Webber and the English Chamber Orchestra conducted by James Judd, 21 November 1995, Barbican Hall, London. Gavin Bryars/ Répertoire / Violoncelle et Orchestre

Par HOSOKAWA TOSHIO. In my sixth work for a string quartet, there is a very simple melody concealed in the background. That melody (distant voices) is played within an extremely slow tempo, and the notes which form the melody gain different textures by becoming disassembled, and played by different techniques. In our daily lives, our inner voices become concealed by our daily customs. The act of composing, to me, is to find out that concealed distant voices, make those voices spatialized and construct them within the musical time. This work is dedicated to Alois Lageder. Toshio Hosokawa / Date parution : 2023-06-01/ Répertoire / Quatuor à Cordes

MANCA SOLLECITA PIÙ DELL' USATO [ SCHÜTZT MAN DIE FLAMME NICHT ] C-DUR -FÜR SINGSTIMME UND KLAVIER - AUSGABE FÜR MITTLERE STIMME- (METODO PRATICO - LEKTION 1: DIE TONLEITER) SEMPLICETTA TORTORELLA [ ARMES TÄUBCHEN, LAß DICH WARNEN ] F-DUR -FÜR SINGSTIMME UND KLAVIER - AUSGABE FÜR MITTLERE STIMME- (METODO PRATICO - LEKTION 1: TERZENSPRÜNGE) LASCIA IL LIDO, E IL MARE INFIDO [ WIEDER STÖßT VOM LAND DER SCHIFFER ] G-DUR -FÜR SINGSTIMME UND KLAVIER - AUSGABE FÜR MITTLERE STIMME- (METODO PRATICO - LEKTION 2: QUARTENSPRÜNGE) AVVEZZO A VIVERE SENZA CONFORTO [ LIEGT AUCH MEIN SCHIFF AM WEHR, SICHER GEBORGEN ] D-DUR -FÜR SINGSTIMME UND KLAVIER - AUSGABE FÜR MITTLERE STIMME- (METODO PRATICO - LEKTION 2: QUINTENSPRÜNGE) BELLA PROVA È D' ALMA FORTE [ DAS IST WAHRE SEELENGRÖßE ] B-DUR -FÜR SINGSTIMME UND KLAVIER - AUSGABE FÜR MITTLERE STIMME- (METODO PRATICO - LEKTION 3: SEXTENSPRÜNGE) FRA L' OMBRE UN LAMPO SOLO [ DER SCHIFFER DANKT DEM BLITZSTRAHL ] C-DUR -FÜR SINGSTIMME UND KLAVIER - AUSGABE FÜR MITTLERE STIMME- (METODO PRATICO - LEKTION 4: SEPTIMENSPRÜNGE) QUELL' ONDA CHE RUINA [ DIE WELLEN, DIE AM MORGEN ... ] C-DUR -FÜR SINGSTIMME UND KLAVIER - AUSGABE FÜR MITTLERE STIMME- (METODO PRATICO - LEKTION 4: OKTAVENSPRÜNGE) DELIRA DUBBIOSA [ WIR JAUCHZEN VOR FREUDE ] F-DUR -FÜR SINGSTIMME UND KLAVIER - AUSGABE FÜR MITTLERE STIMME- (METODO PRATICO - LEKTION 5: HALBTÖNE) NEL CONTRASTO AMOR S' ACCENDE [ NICHTS KANN LIEBE WIDERSTEHEN ] G-DUR -FÜR SINGSTIMME UND KLAVIER - AUSGABE FÜR MITTLERE STIMME- (METODO PRATICO - LEKTION 6: SYNKOPEN) COME IL CANDORE D' INTATTA NEVE [ NICHTS IST AUF ERDEN REINER UND KEUSCHER ] G-DUR -FÜR SINGSTIMME UND KLAVIER - AUSGABE FÜR MITTLERE STIMME- (METODO PRATICO - LEKTION 7: VORÜBUNG ZU LÄUFEN) SENZA L' AMABILE DIO DI CITERA [ OHNE DEN FREUNDLICHEN GOTT VON KYTHERA G-DUR -FÜR SINGSTIMME UND KLAVIER - AUSGABE FÜR MITTLERE STIMME- (METODO PRATICO - LEKTION 8: DER VORHALT VON OBEN UND UNTEN) BENCHÈ DI SENSO PRIVO [ UND FEHLT DEM BAUM AUCH SPRACHE ] E-DUR -FÜR SINGSTIMME UND KLAVIER - AUSGABE FÜR MITTLERE STIMME- (METODO PRATICO - LEKTION 8: DER KURZE VORSCHLAG) LA GIOJA VERACE, PER FARSI PALESE [ DAS WORT IST ES NIMMER, DAS FREUDE VERKÜNDET ] A-DUR -FÜR SINGSTIMME UND KLAVIER - AUSGABE FÜR MITTLERE STIMME- (METODO PRATICO - LEKTION 9: VORÜBUNG FÜR DEN MORD L' AUGELLETTO IN LACCI STRETTO [ WARUM SINGT IM BAU'R DER VOGEL ] F-DUR -FÜR SINGSTIMME UND KLAVIER - AUSGABE FÜR MITTLERE STIMME- (METODO PRATICO - LEKTION 9: DER MORDENT AUF VERSCHIEDENE ARTEN) QUANDO ACCENDE UN NOBIL PETTO [ FOLGT DAS VERLANGEN DEM HERZENSTRIEBE ] ES-DUR -FÜR SINGSTIMME UND KLAVIER - AUSGABE FÜR MITTLERE STIMME- (METODO PRATICO - LEKTION 10: VORÜBUNG FÜR DEN DOPPELSCHLAG) PIÙ NON SI TROVANO TRA MILLE AMANTI [ TRAU NICHT DEM LIEBESSCHWUR ] ES-DUR -FÜR SINGSTIMME UND KLAVIER - AUSGABE FÜR MITTLERE STIMME- (METODO PRATICO - LEKTION 10: DER DOPPELSCHLAG) SE POVERO IL RUSCELLO [ DES BÄCHLEINS KLARE WELLE ] F-DUR -FÜR SINGSTIMME UND KLAVIER - AUSGABE FÜR MITTLERE STIMME- (METODO PRATICO - LEKTION 11: VORÜBUNG FÜR DEN TRILLER) SIAM NAVI ALL' ONDE ALGENTI [ WIE SCHIFFE SIND WIR ] C-DUR -FÜR SINGSTIMME UND KLAVIER - AUSGABE FÜR MITTLERE STIMME- (METODO PRATICO - LEKTION 12: LÄUFE) VORREI SPIEGAR L' AFFANNO [ MÖCHT ALL MEIN LEID ERZÄHLEN ] A-MOLL -FÜR SINGSTIMME UND KLAVIER - AUSGABE FÜR MITTLERE STIMME- (METODO PRATICO - LEKTION 13: DAS PORTAMENTO DER STIMME) O PLACIDO IL MARE LUSINGHI LA SPONDA [ OB RUHIG DAS MEER MIT DEN UFERN LIEBKOSE ] G-DUR -FÜR SINGSTIMME UND KLAVIER - AUSGABE FÜR MITTLERE STIMME- (METODO PRATICO - LEKTION 13: DIE ANDERE ART DES PO LA PATRIA È UN TUTTO DI CUI SIAM PARTI [ VOM VATERLANDE SIND WIR NUR TEILE ] C-DUR -FÜR SINGSTIMME UND KLAVIER - AUSGABE FÜR MITTLERE STIMME- (METODO PRATICO - LEKTION 14: DAS REZITATIV) ALLA STAGION DE' FIORI [ FRÜHLING IST WIEDER KOMMEN ] G-DUR -FÜR SINGSTIMME UND KLAVIER - AUSGABE FÜR MITTLERE STIMME- (METODO PRATICO - LEKTION 15: REKAPITULATION)

A great collection of popular tunes arranged for cellists of Grade 2 to 3 standard to enjoy. There is an accompanying CD which contains inspiring demonstration and play-along backing tracks to aid practice and build confidence. A simple piano accompaniment is also included. Carefully arranged for Playalong cello, by David Gedge. / Niveau : Assez Facile / Rép International / Recueil / Violoncelle

3- und 4-stimmige Kanons. Par SCHMITZ MANFRED. Canons are fun and at the same time also help develop the ability to listen and play along, thus making them an important enhancement to musical training. With 109 pop style melodies in two volumes Manfred Schmitz work provides comprehensive and diversified material which can be flexibly implemented in teaching single pupils, for group lessons and for ensemble classes. The instruments violin, viola, violoncello and flute can thus stay „among themselves“ or play music together in all imaginable instrumental combinations. 3/4 part Particularly designed for performance in groups and ensembles, the demands grow with the addition of voices and the growing diversity of timbres. As withthe two-voiced canons, also the three and four-voiced canons can with the help of the universal versions be played in all thinkable combinations of instruments up to the various chamber music ensembles. / Niveau : Débutant à Intermédiaire / Contemporary - Solos / Recueil / Violoncelle

for voices and instruments. Par BRYARS GAVIN. Laude were short mediaeval devotional songs to the Virgin Mary, and Gavin Bryars has kept to the pure, lyrical style of the originals. Following the successful publication of Bryars’ first and second volume of laude, which singers around the world have added to their repertoire, this third volume for various combinations of soprano, tenor, viola, cello, double bass and bass clarinet provides new opportunities for performers and audiences to experience these devastatingly beautiful works./ Répertoire / Voix et Instruments

The poetry used in this setting of The Voices was presented to Dale Warland on the occasion of his final concert with the Dale Warland Singers by his friend, the poet Michael Dennis Browne. Dale writes, The art of choral singing has given my life great meaning and I hope to express that fulfillment through this music for mixed chorus and solo cello. The cello plays a leading role in the work, composed for a 2013 commission consortium of 23 choirs as a gift to Chorus America. / Choeur Mixte (SATB) Et Violoncelle

Par POULENC FRANCIS / GENDRON. Born in Paris in 1899, Francis Poulenc soon became a notable composer and pianist. His Serenade, originally composed in 1925-1926 for Voice and Piano, met much success as part of his Bawdy Songs. Therefore, it was well-received when Maurice Gendron transcribed it for Cello and Piano. Poulenc, as a member of Les Six, composed music in a style contrary to that of Richard Wagner and impressionists Claude Debussy and Maurice Ravel. Serenade reflects the composer's contrasting style, making use of a 6/8 time signature, double stops, variations in articulation and wide range on the Cello. Being an imaginative and evocative composition, Serenade, transcribed for Cello and Piano, is a pleasurable addition to the repertoire. / Répertoire d'Examen / Répertoire / Violoncelle et Piano