6 Cello Suites For Flûte

SKU: BA.BVK02429

SKU: HL.48025289

ISBN 9783793144267. UPC: 196288172130. 9.0x12.0x0.045 inches.

I am Cello is one of several solo pieces by means of which the Australian-based composer remained in contact with her interpreters all over the world during the time of the coronavirus pandemic, composing and communicating via video and streaming. It was written for the cellist Benedict Kloeckner and produced by him at the SWR Studio Kaiserslautern in autumn 2020 and released on CD by Brilliant Classics the following year. The requirement to write something short to be played between the Bach Solo Suites alongside the music of other composers quickly gave rise to the idea of a piece that “is almost a song and tells almost a story. It is also almost a waltz, but a slow one. I see this piece like a flower bulb that opens up over the course of 2-3 minutes,” says Elena Kats-Chernin.

SKU: HL.48183349

UPC: 888680789831. 9.0x12.0x0.104 inches.

“The infamous Six Cello Suites by J. S. Bach are perfectly adapted for the Recorder by French wind specialist, Jean-Claude Veilhan. Bach originally composed the Cello Suites, some of the most frequently performed and recognised solo compositions ever written for the instrument, during the period 1717-1723, when he served as Kapellmeister in Köthen. The second volume of Veilhan's adaptions for Recorder contains suites four, five and six and includes phrase marks, dynamic markings, articulation, breath marks, and performance directions. Veilhan's adaptions are flawless, making the notorious Suites enjoyably accessible to the Recorder. ”.

SKU: CF.YAS13F

ISBN 9780825848339. UPC: 798408048334. 8.5 X 11 inches. Key: G major.

IApart from some of his Sonatinas, Opus 36, Clementi's life and music are hardly known to the piano teachers and students of today. For example, in addition to the above mentioned Sonatinas, Clementi wrote sixty sonatas for the piano, many of them unjustly neglected, although his friend Beethoven regarded some of them very highly. Clementi also wrote symphonies (some of which he arranged as piano sonatas), a substantial number of waltzes and other dances for the piano as well as sonatas and sonatinas for piano four-hands.In addition to composing, Clementi was a much sought after piano teacher, and included among his students John Field (Father of the 'Nocturne'), and Meyerbeer.In his later years, Clementi became a very successful music publisher, publishing among other works the first English edition of Beethoven's Violin Concerto, in the great composer's own arrangement for the piano, as well as some of his string quartets. Clementi was also one of the first English piano manufacturers to make pianos with a metal frame and string them with wire.The Sonatina in C, Opus 36, No. 1 was one of six such works Clementi wrote in 1797. He must have been partial to these little pieces (for which he also provided the fingerings), since they were reissued (without the fingering) by the composer shortly after 1801. About 1820, he issued ''the sixth edition, with considerable improvements by the author;· with fingerings added and several minor changes, among which were that many of them were written an octave higher.IIIt has often been said, generally by those unhampered by the facts, that composers of the past (and, dare we add, the present?), usually handled their financial affairs with their public and publishers with a poor sense of business acumen or common sense. As a result they frequently found themselves in financial straits.Contrary to popular opinion, this was the exception rather than the rule. With the exception of Mozart and perhaps a few other composers, the majority of composers then, as now, were quite successful in their dealings with the public and their publishers, as the following examples will show.It was not unusual for 18th- and 19th-century composers to arrange some of their more popular compositions for different combinations of instruments in order to increase their availability to a larger music-playing public. Telemann, in the introduction to his seventy-two cantatas for solo voice and one melody instrument (flute, oboe or violin, with the usual continua) Der Harmonische Gottesdienst, tor example, suggests that if a singer is not available to perform a cantata the voice part could be played by another instrument. And in the introduction to his Six Concertos and Six Suites for flute, violin and continua, he named four different instrumental combinations that could perform these pieces, and actually wrote out the notes for the different possibilities. Bach arranged his violin concertos for keyboard, and Beethoven not only arranged his Piano Sonata in E Major, Opus 14, No. 1 for string quartet, he also transposed it to the key of F. Brahm's well-known Quintet in F Minor for piano and strings was his own arrangement of his earlier sonata for two pianos, also in F Minor.IIIWe come now to Clementi. It is well known that some of his sixty piano sonatas were his own arrangements of some of his lost symphonies, and that some of his rondos for piano four-hands were originally the last movements of his solo sonatas or piano trios.In order to make the first movement of his delightful Sonatina in C, Opus 36, No. 1 accessible to young string players, I have followed the example established by the composer himself by arranging and transposing one of his piano compositions from one medium (the piano) to another. (string instruments). In order to simplify the work for young string players, in the process of adapting it to the new medium it was necessary to transpose it from the original key of C to G, thereby doing away with some of the difficulties they would have encountered in the original key. The first violin and cello parts are similar to the right- and left-hand parts of the original piano version. The few changes I have made in these parts have been for the convenience of the string players, but in no way do they change the nature of the music.Since the original implied a harmonic framework in many places, I have added a second violin and viola part in such a way that they not only have interesting music to play, but also fill in some of the implied harmony without in any way detracting from the composition's musical value. Occasionally, it has been necessary to raise or lower a few passages an octave or to modify others slightly to make them more accessible for young players.It is hoped that the musical value of the composition has not been too compromised, and that students and teachers will come to enjoy this little piece in its new setting as much as pianists have in the original one. This arrangement may also be performed by a solo string quartet. When performed by a string orchestra, the double bass part may be omitted.- Douglas TownsendString editing by Amy Rosen.

About Carl Fischer Young String Orchestra Series

Thi s series of Grade 2/Grade 2.5 pieces is designed for second and third year ensembles. The pieces in this series are characterized by:
--Occasionally extending to third position
--Keys carefully considered for appropriate difficulty
--Addition of separate 2nd violin and viola parts
--Viola T.C. part included
--Increase in independence of parts over beginning levels

SKU: AP.K04412

ISBN 9780769257563. UPC: 029156189230. 9x12 inches. English.

Six Suites for Cello Solo, written by Johann Sebastian Bach.

SKU: IS.VC6068EM

ISBN 9790365060689.

Char les Camilleri (1931 - 2009) was a Maltese composer. As a teenager, he composed a number of works based on folk music and legends of his native Malta. He moved from his early influences by Maltese folk music to a musical form in which nothing is fixed and his compositions evolve from themselves with a sense of fluency and inevitability. He composed over 100 works for orchestra, chamber ensemble, voice and solo instruments. Camilleri's work has been performed throughout the world and his research of folk music and improvisation, the influences of the sounds of Africa and Asia, together with the academic study of European music, helped him create a universal style. Camilleri is recognized in Malta as one of the major composers of his generation. He died on 3 January 2009 at the age of 77. His funeral took place two days later at Naxxar, his long-time town of residence. Flags across Malta were flown at half-mast in tribute to him. Just like Bach's 6 suites for cello solo, these 6 arabesques are composed of a number of distinct movements which follow the suite principle. The melodies in these 6 arabesques are influenced by Mediterranean folk music.

SKU: BA.BA08860-90

ISBN 9790006558148. 27 x 19 cm inches. Text Language: French. Preface: Sylvie Bouissou. Text: Louis Fuzelier.

A unique edition - all readings at a glance

This new edition, in contrast to the array of Bach Cello Suite publications available today, has made use of all the five sources which have come down to us. The basis for this edition is the most reliable of the sources, the manuscript copy in the hand of Anna Magdalena Bach. All variant readings from the four other sources are clearly laid out for performance. Cellists now have the possibility of rendering performances based on just one of the five sources as well as the option of combining the sources in a mixed version.

This flyer takes you through our various editions of Bach's Cello Suites.

SKU: FH.VC4

ISBN 978-1-55440-540-4.

This inaugural edition of the Cello Series offers a sound and progressive collection of Repertoire, Recordings, Etudes, Technique, and Orchestral Excerpts for the aspiring cellist. With an expansive representation of musical styles from all eras, this series addresses the need for a single collection of quality educational materials to foster musical development and instill appreciation of the richness and diversity of music written for cello. Supporting a balanced course of study, this series organizes repertoire into nine volumes from the Preparatory Level through Level 8. Each level offers music from a range of styles and compositional eras, including standard literature, new arrangements of familiar tunes, and music written for cellists, by cellists. These selections provide the flexibility to choose pedagogically appropriate material suited to each individual, and to motivate students to fully develop their musicianship and technique.
Concertos, Sonatas, and Suites:
Sonata in D Major - Caldara, Antonio arr. Gyoergy Orban
- First Movement: Adagio
- Second Movement: Allegro
Sonatina in D Minor, WoO 43a - Beethoven, Ludwig van
Sonatina in G Minor - Matz, Rudolf
- Second Movement
Sonata in F Major, op. 1, no. 1 - Marcello, Benedetto
- Third Movement: Largo
- Fourth Movement: Allegro
Concertino No. 3 in A Major - Breval, Jean-Baptiste arr. L.-R. Feuillard
Concert Repertoire:
The Easy Winners - Joplin, Scott arr. Forrest Kinney
Orientale, op. 50, no. 9 - Cui, Cesar
Bonjour tristesse - Hart, Paul
Hip Hip Bourree - Jacobson, Julian
Elfentanz - Jenkinson, Ezra arr. Carey Cheney
Chanson de matin, op. 15, no. 2 - Elgar, Edward
Cello Sonata in G Minor, op. 65 - Chopin, Frederic
- Third Movement: Largo
The Swan Sees his Reflection - Forsyth, Malcolm
Spanish Dance - Adorian, Andrew
Baby Blackbird, Fly Now - Silverman, Adam B.
Unaccompanied Repertoire:
Suite for Violoncello (Lights and Shadows) - Matz, Rudolf
- Second Movement: Cantabile
- Eighth Movement: Finale giocoso
Ricercar No. 1 - Gabrielli, Domenico
Suite NO. 1 in G Major, BWV 1007 - Bach, Johann Sebastian
- Seventh Movement: Gigue.

SKU: BT.CAZJSBCELL01

For more than a century guitarists have been irresistibly drawn to Bach’s remarkable cello suites. Here, for the first time, are the first four in the easiest and most resonant guitar keys. Suites I–IV must betransposed to work on the guitar, whereas Suite V is always played in A minor, in Bach’s own lute version, and the equally demanding Suite VI can only be played in its original key of D.

By adding as little aspossible, these arrangements preserve the integrity of the originals, in which melody, bass and harmony are woven effortlessly into a single fabric. They also, crucially, offer the guitarist Bach at a lower level of difficultythanhis music for lute or unaccompanied violin.

Another unique feature is the inclusion of optional ‘improvised’ divisions – suggestions for the additional ornamentation of passages to reflect typical18th-century performance practice.

This is an essential addition to any guitarist's library with selected movements featured in the 2009 ABRSM guitar syllabus (Grades 5-8).

&ldquo ;This publication beatsthe others hands down; no contest. I can’t see me needing any other edition of these four suites. They are that good. Buy with confidence.”Classical Guitar

SKU: HL.286931

0.244 inches.

For more than a century guitarists have been irresistibly drawn to Bach's remarkable cello suites. Here, for the first time, are thefirst four in the easiest and most resonant guitar keys. Suites I-IV must be transposed to work on the guitar, whereas Suite V is always played in A minor, in Bach's own lute version, and the equally demanding Suite VI can only be played in its original key of D. By adding as little as possible, these arrangements preserve the integrity of the originals, in which melody, bass and harmony are woven effortlessly into a single fabric. They also, crucially, offer the guitarist Bach at a lower level of difficulty than his music for lute or unaccompanied violin. Another unique feature is the inclusion of optional 'improvised' divisions - suggestions for the additional ornamentation of passages to reflect typical 18th-century performance practice. This is an essential addition to any guitarist's library with selected movements featured in the 2009 ABRSM guitar syllabus (Grades 5-8). This publication beats the others hands down; no contest. I can't see me needing any other edition of these four suites. They are that good. Buy with confidence. Classical Guitar.

SKU: HL.48185127

UPC: 888680866488. 9.0x12.0x0.239 inches.

The infamous Six Cello Suites by J. S. Bach are perfectly adapted for the Trumpet by American brass specialist, Robert King. Bach originally composed the Cello Suites, some of the most frequently performed and recognised solo compositions ever written for the instrument, during the period 1717-1723, when he served as Kapellmeister in Kothen. King's adaptions for Trumpet (1990) include phrase marks, dynamic markings, articulation and performance directions. King's adaptions are flawless, making the notorious Suites enjoyably accessible for the Trumpet. .