| Instrumental Solotrax, Vol. 10: Trombone/Cello Lillenas Publishing Co.
(Sacred Solos for Trombone and Cello). By Ed Hogan. Brass solo. For trombone (ce...(+)
(Sacred Solos for
Trombone and Cello). By
Ed Hogan. Brass solo. For
trombone (cello), piano.
Published by Lillenas
Publishing Company
$19.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Best of Musical (Cello) Violoncelle [Partition + CD] - Intermédiaire De Haske Publications
Cello - intermediate SKU: BT.DHP-1135449-400 Solo Arrangements of 14 C...(+)
Cello - intermediate
SKU:
BT.DHP-1135449-400
Solo Arrangements of
14 Classic Songs with CD
Accompaniment.
Composed by Various. De
Haske Instrumental
Play-along.
TV-Film-Musical-Show.
Book with CD. Composed
2013. 28 pages. De Haske
Publications #DHP
1135449-400. Published by
De Haske Publications
(BT.DHP-1135449-400).
ISBN 9789043138444.
9x12 inches.
International. Now
solo instrumentalists can
play play along with 14
intermediate-level tunes
from Musicals like The
Sound of Music, Mary
Poppins and Beauty and
the Beast.These books
include CDs with
orchestral accompaniment
tracks. ABC (THRILLER
- The Musical) Always
Look on the Bright Side
(SPAMALOT) Beauty And
The Beast (BEAUTY AND THE
BEAST) Belle (BEAUTY
AND THE BEAST) Circle
of Life (THE LION
KING) Defying Gravity
(WICKED) Good Morning
Baltimore
(HAIRSPRAY) I Just
Cant Wait To Be King (THE
LION KING) My
Favourite Things (THE
SOUND OF MUSIC) One
Short Day
(WICKED) Sixteen Going
On Seventeen (THE SOUND
OF
MUSIC) Supercalifragil
isticexpialidocious (MARY
POPPINS) That Face
(THE PRODUCERS) We Are
The Champions (WE WILL
ROCK YOU)
Wem
BEST OF FILM and TV
gefällt, wird auch
Freude an BEST OF MUSICAL
haben. Die 14
mittelschweren
Solostücke aus
bekannten Musicals
können zur
Orchesterbegleitung der
CD gespielt werden. Das
macht richtig Laune!
Inhalt: ABC (THRILLER
- The Musical) Always
Look on the Bright Side
(SPAMALOT) Beauty And
The Beast (BEAUTY AND THE
BEAST) Belle (BEAUTY
AND THE BEAST) Circle
of Life (THE LION
KING) Defying Gravity
(WICKED) Good Morning
Baltimore
(HAIRSPRAY) I Just
Cant Wait To Be King (THE
LION KING) My
Favourite Things (THE
SOUND OF MUSIC) One
Short Day
(WICKED) Sixteen Going
On Seventeen (THE SOUND
OF
MUSIC) Supercalifragil
isticexpialidocious (MARY
POPPINS) That Face
(THE PRODUCERS) We Are
The Champions (WE WILL
ROCK YOU)
$22.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| String Quartet No. 2, Op. 15 Quatuor à cordes: 2 violons, alto, violoncelle G. Henle
String Quartet (Parts) SKU: HL.51481272 Set of Parts. Composed by ...(+)
String Quartet (Parts)
SKU: HL.51481272
Set of Parts.
Composed by Alexander
Zemlinsky. Edited by
Dominik Rahmer. Henle
Music Folios. Classical.
Softcover. G. Henle
#HN1272. Published by G.
Henle (HL.51481272).
UPC: 840126989250.
9.0x12.0x0.348
inches. Alexander
Zemlinsky's music was
long unjustly
overshadowed by what was
regarded as the
“more
progressive†Second
Viennese School. Although
Zemlinsky was close
friends with its
protagonist Arnold
Schönberg, he never
did take the latter's
radical step into
dodecaphony. At the same
time, he composed works
that were no less
original or fully
fledged. Composed between
1913 and 1915, his Second
String Quartet in
particular pushed the
contemporaneous
understanding of form and
tonality to its limits.
With just one movement
but spanning over 1,200
measures, this
multi-faceted work
numbers among the most
significant contributions
to the genre of the time
and has long merited a
critical new edition. The
Urtext edition by G.
Henle Publishers corrects
many errors and
inaccuracies in the first
edition that came to
light after careful
comparison with the
autograph sources in
Vienna and Washington.
For the first time, too,
the metronome markings
that survive only in one
of Zemlinsky's letters
have been incorporated.
Editorial work was kindly
supported by the
Alexander Zemlinsky
Endowment Fund in
Vienna.
About Henle
Urtext
What I can expect from
Henle Urtext
editions:
- error-free, reliable
musical texts based on
meticulous musicological
research - fingerings and
bowings by famous artists
and pedagogues
- preface in 3
languages with
information on the
genesis and history of
the work
- Critical Commentary
in 1 – 3 languages
with a description and
evaluation of the sources
and explaining all source
discrepancies and
editorial
decisions
- most beautiful music
engraving
- page-turns, fold-out
pages, and cues where you
need them
- excellent print
quality and
binding
- largest Urtext
catalogue
world-wide
- longest Urtext
experience (founded 1948
exclusively for Urtext
editions)
$59.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| String Quartet No. 2, Op. 15 Quatuor à cordes: 2 violons, alto, violoncelle G. Henle
String Quartet (Study Score) SKU: HL.51487272 Study Score. Compose...(+)
String Quartet (Study
Score) SKU:
HL.51487272 Study
Score. Composed by
Alexander Zemlinsky.
Edited by Dominik Rahmer.
Henle Music Folios.
Classical. Softcover. G.
Henle #HN7272. Published
by G. Henle
(HL.51487272). UPC:
840126989366.
6.75x9.5x0.245
inches. Alexander
Zemlinsky's music was
long unjustly
overshadowed by what was
regarded as the
“more
progressive†Second
Viennese School. Although
Zemlinsky was close
friends with its
protagonist Arnold
Schönberg, he never
did take the latter's
radical step into
dodecaphony. At the same
time, he composed works
that were no less
original or fully
fledged. Composed between
1913 and 1915, his Second
String Quartet in
particular pushed the
contemporaneous
understanding of form and
tonality to its limits.
With just one movement
but spanning over 1,200
measures, this
multi-faceted work
numbers among the most
significant contributions
to the genre of the time
and has long merited a
critical new edition. The
Urtext edition by G.
Henle Publishers corrects
many errors and
inaccuracies in the first
edition that came to
light after careful
comparison with the
autograph sources in
Vienna and Washington.
For the first time, too,
the metronome markings
that survive only in one
of Zemlinsky's letters
have been incorporated.
Editorial work was kindly
supported by the
Alexander Zemlinsky
Endowment Fund in
Vienna.
About Henle
Urtext
What I can expect from
Henle Urtext
editions:
- error-free, reliable
musical texts based on
meticulous musicological
research - fingerings and
bowings by famous artists
and pedagogues
- preface in 3
languages with
information on the
genesis and history of
the work
- Critical Commentary
in 1 – 3 languages
with a description and
evaluation of the sources
and explaining all source
discrepancies and
editorial
decisions
- most beautiful music
engraving
- page-turns, fold-out
pages, and cues where you
need them
- excellent print
quality and
binding
- largest Urtext
catalogue
world-wide
- longest Urtext
experience (founded 1948
exclusively for Urtext
editions)
$24.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| 101 Popular Songs Violoncelle Hal Leonard
Cello SKU: HL.224731 For Cello. By Various. Instrumental Folio. Po...(+)
Cello SKU:
HL.224731 For
Cello. By Various.
Instrumental Folio. Pop.
Softcover. 128 pages.
Published by Hal Leonard
(HL.224731). ISBN
9781495090325. UPC:
888680671761.
9.0x12.0x0.312
inches. Instrumenta
lists will love this
jam-packed collection of
101 timeless pop songs!
Songs include: Another
Brick in the Wall •
Billie Jean • Dust
in the Wind • Easy
• Free Bird •
Girls Just Want to Have
Fun • Hey Jude
• I'm a Believer
• Jessie's Girl
• Lean on Me
• The Lion Sleeps
Tonight • Livin' on
a Prayer • My Girl
• Piano Man •
Pour Some Sugar on Me
• Reeling in the
Years • Stand by Me
• Sweet Home
Alabama • Take Me
Home, Country Roads
• With or Without
You • You Really
Got Me • and
more. $19.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| String Quartet No. 3 Quatuor à cordes: 2 violons, alto, violoncelle [Conducteur] Theodore Presser Co.
String quartet String Quartet SKU: PR.16400272S Cassatt. Composed ...(+)
String quartet String
Quartet SKU:
PR.16400272S
Cassatt. Composed
by Dan Welcher. Premiere:
Cassatt Quartet,
Northeastern Illinois
University, Chicago, IL.
Contemporary. Full score.
With Standard notation.
Composed 2007. WRT11142.
52 pages. Duration 24
minutes. Theodore Presser
Company #164-00272S.
Published by Theodore
Presser Company
(PR.16400272S). UPC:
680160588442. 8.5 x 11
inches. My third
quartet is laid out in a
three-movement structure,
with each movement based
on an early, middle, and
late work of the great
American impressionist
painter Mary Cassatt.
Although the movements
are separate, with
full-stop endings, the
music is connected by a
common scale-form,
derived from the name
MARY CASSATT, and by a
recurring theme that
introduces all three
movements. I see this
theme as Mary's Theme, a
personality that stays
intact while undergoing
gradual change. I
The Bacchante (1876)
[Pennsylvania Academy of
Fine Arts, Philadelphia,
Pennsylvania] The
painting shows a young
girl of Italian or
Spanish origin, playing a
small pair of cymbals.
Since Cassatt was trying
very hard to fit in at
the French Academy at the
time, she painted a lot
of these subjects, which
were considered typical
and universal. The style
of the painting doesn't
yet show Cassatt's
originality, except
perhaps for certain
details in the face.
Accordingly the music for
this movement is
Spanish/Italian, in a
similar period-style but
using the musical
signature described
above. The music begins
with Mary's Theme,
ruminative and slow, then
abruptly changes to an
alla Spagnola-type fast
3/4 - 6/8 meter. It
evokes the
Spanish-influenced music
of Ravel and Falla.
Midway through,
there's an accompanied
recitative for the viola,
which figures large in
this particular movement,
then back to a truncated
recapitulation of the
fast music. The overall
feeling is of a
well-made, rather
conventional movement in
a contemporary
Spanish/Italian style.
Cassatt's painting, too,
is rather conventional.
II At the Opera
(1880) [Museum of Fine
Arts, Boston,
Massachusetts]
This painting is one of
Cassatt's most well known
works, and it hangs in
the Museum of Fine Arts
in Boston. The painting
shows a woman alone in a
box at the opera house,
completely dressed
(including gloves) and
looking through opera
glasses at someone or
something that is NOT on
the stage. Across the
auditorium from her, but
exactly at eye level, is
a gentleman with opera
glasses intently watching
her - though it is not
him that she's looking
at. It's an intriguing
picture. This
movement is far less
conventional than the
first movement, as the
painting is far less
conventional. The music
begins with a rapid,
Shostakovich-type
mini-overture lasting
less than a minute, based
on Mary's Theme. My
conjecture is that the
woman in the painting has
arrived late to the
opera, busily stumbling
into her box. What
happens next is a kind of
collage, a kind of
surrealistic overlaying
of two different
elements: the foreground
music, at first is a
direct quotation of
Soldier's Chorus from
Gounod's FAUST (an opera
Cassatt would certainly
have heard in the
brand-new Paris Opera
House at that time),
played by Violin II,
Viola, and Cello. This
music is played sul
ponticello in the melody
and col legno in the
marching accompaniment.
On top of this, the first
violin hovers at first on
a high harmonic, then
descends into a slow
melody, completely
separate from the Gounod.
It's as if the woman in
the painting is hearing
the opera onstage but is
not really interested in
it. Then the cello joins
the first violin in a
kind of love-duet (just
the two of them, at
first). This music isn't
at all Gounod-derived;
it's entirely from the
same scale patterns as
the first movement and
derives from Mary's Theme
and its scale. The music
stays in a kind of
dichotomy feeling,
usually
three-against-one, until
the end of the movement,
when another Gounod
melody, Valentin's aria
Avant de quitter ce lieux
reappears in a kind of
coda for all four
players. It ends
atmospherically and
emotionally disconnected,
however. The overall
feeling is a kind of
schizophrenic,
opera-inspired dream.
III Young Woman in
Green, Outdoors in the
Sun (1909) [Worcester Art
Museum, Massachusetts]
The painting, one
of Cassatt's last, is
very simple: just a
figure, looking sideways
out of the picture. The
colors are pastel and yet
bold - and the woman is
likewise very
self-assured and not in
the least demure. It is
eight minutes long, and
is all about melody -
three melodies, to be
exact (Young Woman,
Green, and Sunlight). No
angst, no choppy rhythms,
just ever-unfolding
melody and lush
harmonies. I quote one
other French composer
here, too: Debussy's song
Green, from Ariettes
Oubliees. 1909 would have
been Debussy's heyday in
Paris, and it makes
perfect sense musically
as well as visually to do
this. Mary Cassatt
lived her last several
years in near-total
blindness, and as she
lost visual acuity, her
work became less sharply
defined - something akin
to late water lilies of
Monet, who suffered
similar vision loss. My
idea of making this
movement entirely melodic
was compounded by having
each of the three
melodies appear twice,
once in a pure form, and
the second time in a more
diffuse setting. This
makes an interesting two
ways form:
A-B-C-A1-B1-C1.
String Quartet No.3
(Cassatt) is dedicated,
with great affection and
respect, to the Cassatt
String Quartet, whose
members have dedicated
themselves in large
measure to the furthering
of the contemporary
repertoire for
quartet. $38.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| String Quartet No. 3 Quatuor à cordes: 2 violons, alto, violoncelle Theodore Presser Co.
Chamber Music String Quartet SKU: PR.164002720 Cassatt. Composed b...(+)
Chamber Music String
Quartet SKU:
PR.164002720
Cassatt. Composed
by Dan Welcher. Spiral
and Saddle. Premiere:
Cassatt Quartet,
Northeastern Illinois
University, Chicago, IL.
Contemporary. Set of
Score and Parts. With
Standard notation.
Composed 2007. WRT11142.
52+16+16+16+16 pages.
Duration 24 minutes.
Theodore Presser Company
#164-00272. Published by
Theodore Presser Company
(PR.164002720). UPC:
680160573042. 8.5 x 11
inches. My third
quartet is laid out in a
three-movement structure,
with each movement based
on an early, middle, and
late work of the great
American impressionist
painter Mary Cassatt.
Although the movements
are separate, with
full-stop endings, the
music is connected by a
common scale-form,
derived from the name
MARY CASSATT, and by a
recurring theme that
introduces all three
movements. I see this
theme as Mary's Theme, a
personality that stays
intact while undergoing
gradual change. I
The Bacchante (1876)
[Pennsylvania Academy of
Fine Arts, Philadelphia,
Pennsylvania] The
painting shows a young
girl of Italian or
Spanish origin, playing a
small pair of cymbals.
Since Cassatt was trying
very hard to fit in at
the French Academy at the
time, she painted a lot
of these subjects, which
were considered typical
and universal. The style
of the painting doesn't
yet show Cassatt's
originality, except
perhaps for certain
details in the face.
Accordingly the music for
this movement is
Spanish/Italian, in a
similar period-style but
using the musical
signature described
above. The music begins
with Mary's Theme,
ruminative and slow, then
abruptly changes to an
alla Spagnola-type fast
3/4 - 6/8 meter. It
evokes the
Spanish-influenced music
of Ravel and Falla.
Midway through,
there's an accompanied
recitative for the viola,
which figures large in
this particular movement,
then back to a truncated
recapitulation of the
fast music. The overall
feeling is of a
well-made, rather
conventional movement in
a contemporary
Spanish/Italian style.
Cassatt's painting, too,
is rather conventional.
II At the Opera
(1880) [Museum of Fine
Arts, Boston,
Massachusetts]
This painting is one of
Cassatt's most well known
works, and it hangs in
the Museum of Fine Arts
in Boston. The painting
shows a woman alone in a
box at the opera house,
completely dressed
(including gloves) and
looking through opera
glasses at someone or
something that is NOT on
the stage. Across the
auditorium from her, but
exactly at eye level, is
a gentleman with opera
glasses intently watching
her - though it is not
him that she's looking
at. It's an intriguing
picture. This
movement is far less
conventional than the
first movement, as the
painting is far less
conventional. The music
begins with a rapid,
Shostakovich-type
mini-overture lasting
less than a minute, based
on Mary's Theme. My
conjecture is that the
woman in the painting has
arrived late to the
opera, busily stumbling
into her box. What
happens next is a kind of
collage, a kind of
surrealistic overlaying
of two different
elements: the foreground
music, at first is a
direct quotation of
Soldier's Chorus from
Gounod's FAUST (an opera
Cassatt would certainly
have heard in the
brand-new Paris Opera
House at that time),
played by Violin II,
Viola, and Cello. This
music is played sul
ponticello in the melody
and col legno in the
marching accompaniment.
On top of this, the first
violin hovers at first on
a high harmonic, then
descends into a slow
melody, completely
separate from the Gounod.
It's as if the woman in
the painting is hearing
the opera onstage but is
not really interested in
it. Then the cello joins
the first violin in a
kind of love-duet (just
the two of them, at
first). This music isn't
at all Gounod-derived;
it's entirely from the
same scale patterns as
the first movement and
derives from Mary's Theme
and its scale. The music
stays in a kind of
dichotomy feeling,
usually
three-against-one, until
the end of the movement,
when another Gounod
melody, Valentin's aria
Avant de quitter ce lieux
reappears in a kind of
coda for all four
players. It ends
atmospherically and
emotionally disconnected,
however. The overall
feeling is a kind of
schizophrenic,
opera-inspired dream.
III Young Woman in
Green, Outdoors in the
Sun (1909) [Worcester Art
Museum, Massachusetts]
The painting, one
of Cassatt's last, is
very simple: just a
figure, looking sideways
out of the picture. The
colors are pastel and yet
bold - and the woman is
likewise very
self-assured and not in
the least demure. It is
eight minutes long, and
is all about melody -
three melodies, to be
exact (Young Woman,
Green, and Sunlight). No
angst, no choppy rhythms,
just ever-unfolding
melody and lush
harmonies. I quote one
other French composer
here, too: Debussy's song
Green, from Ariettes
Oubliees. 1909 would have
been Debussy's heyday in
Paris, and it makes
perfect sense musically
as well as visually to do
this. Mary Cassatt
lived her last several
years in near-total
blindness, and as she
lost visual acuity, her
work became less sharply
defined - something akin
to late water lilies of
Monet, who suffered
similar vision loss. My
idea of making this
movement entirely melodic
was compounded by having
each of the three
melodies appear twice,
once in a pure form, and
the second time in a more
diffuse setting. This
makes an interesting two
ways form:
A-B-C-A1-B1-C1.
String Quartet No.3
(Cassatt) is dedicated,
with great affection and
respect, to the Cassatt
String Quartet, whose
members have dedicated
themselves in large
measure to the furthering
of the contemporary
repertoire for
quartet. $53.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Just The Facts for Cello - Book 3 Violoncelle Music Bag Press
| | |
Plus de résultats boutique >> |