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FOR VIOLONCELLO - CELLO
Let Cello
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Beethoven • Ode to Joy | cello sheet music w/ piano accompaniment
Beethoven • Ode to Joy | cello sheet music w/ piano accompaniment
$4.99
#
Cello, Piano
#
purchasing our edition, you'll be able to download:
• Full score with all instruments of the arrangement
• Cello solo part
About 'Ode to Joy'
Ode to Joy, composed by Ludwig van Beethoven, is the final movement of his Ninth Symphony, completed in 1824
#
Ludwig van Beethoven
#
Benzaiten Editions
#
Benzaiten Editions
Let Me Call You Sweetheart (Violoncello Solo, Chords, Piano Accompaniment)
Let Me Call You Sweetheart (Violoncello Solo, Chords, Piano Accompaniment)
$4.99
#
Cello, Piano
#
Music by Leo Friedman and Words by Beth Slater Whitson
#
Cathy Stamegna
#
Cathy Stamegna
Let It Snow! Let It Snow! Let It Snow!
Let It Snow! Let It Snow! Let It Snow!
$9.99
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2 Cellos (duet)
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Jessica Simpson
#
Ygor Nunes
#
Ygor Nunes
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Leos Janacek: Streichquartet 2 Intime Briefe: String Quartet: Parts
String Quartet: 2 violins, viola, cello
[Set of Parts]
Barenreiter
Janá ek?s 2nd String Quartet Intimate Letters is regarded as a highlight of ...
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Janá ek?s 2nd String Quartet Intimate Letters is regarded as a highlight of the modern string quartet literature. It was written during the composer?s last year of life between 29 January and 19 February 1928 inspired by the ageing Janáèek?s exceptional love for Kamila Stösslová. The Moravian Quartet devoted themselves to this impressive work; Janá ek attended a total of three of their rehearsals in May and June 1928. This had several consequences including his abandoning his original idea of using a viola d?amore. After Janá ek?s unexpected death (12 August 1928) the uncertain genesis of the work became the greatest problem of the IntimateLetters : the surviving copies were not definitively authorised. The editors of this new edition have reverted to Janá ek?s autograph sketches as the main most reliable source and using these as a basis have reconstructed the work as it stood at the point of Janá ek?s death. The musical text taken from the Critical Complete Edition of the Works of Leo? Janá ek (Vol. E/4) therefore contains clear differences in comparison with older editions.
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Barry John - James Bond Collection + Cd - Cello And Piano
Cello, Piano
[Sheet music + CD]
-
Intermediate
Alfred Publishing
Category: String Series Format: Book & CD Instrument: Cello Instrumentation: Cel...
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Category: String Series Format: Book & CD Instrument: Cello Instrumentation: Cello (with Piano Acc.) Level: Level 2-3 The arrangements in this new series were written especially for violin, viola, and cello, taking into account the specific needs of each instrument. All the arrangements are completely compatible with each other and can be played in small ensembles or as solos. Each book features a specially designed piano accompaniment that can be easily played by a teacher or intermediate piano student, and a carefully crafted removable part, complete with bowings, articulations, and keys well suited for the Level 2-3 player. Each song on the fully orchestrated accompaniment CD includes a demo track, which features a live string performance, followed by the play-along track by itself. Titles are: Diamonds Are Forever * For Your Eyes Only * From Russia with Love * Goldfinger * The James Bond Theme * Live and Let Die * Nobody Does It Better * On Her Majesty's Secret Service * Thunderball * Tomorrow Never Dies * The World Is Not Enough * You Only Live Twice.
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Feuilles d’eau de Silvacane (PEPIN CAMILLE)
Français
String Quartet: 2 violins, viola, cello
[Sheet music]
Billaudot
Par PEPIN CAMILLE. Création du 25 août 2019, à l’abbaye de Silvacane dans l...
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Par PEPIN CAMILLE. Création du 25 août 2019, à l’abbaye de Silvacane dans le cadre du Festival de Quatuors du Lubéron, par le Quatuor Auryn. Feuilles d’eau de Silvacane est une œuvre pour quatuor à cordes dédiée au Quatuor Auryn. Créée durant l’été 2019 à l’Abbaye de Silvacane dans le sud de la France, la pièce fait tout d’abord écho aux motifs ornementaux typiques des abbayes cisterciennes du XIIè siècle appelés les « feuilles d’eau ». Il s’agit de feuilles qui s’évasent et se replient en volutes, décorant les chapiteaux de colonnes qui portent les retombées des voûtes. Ces sobres motifs m’inspiraient déjà un matériau musical à transformer durant toute la pièce. Mais le titre fait aussi référence au magnifique travail de Fabienne Verdier [1] dans ses Feuilles d’eau de Silvacane (2004) : une série de six toiles de 46 x 27,5cm réalisées avec de l’encre, des pigments et du vernis. Elle représente six feuilles d’eau à l’encre noire diluée sur fond gris (la pierre de Silvacane). Un petit carré rouge représente l’alchimie - le feu intérieur menant à la transcendance - sur chacune des toiles. Pour la coloriste et l’amoureuse des textures instrumentales que je suis, la technique de Fabienne Verdier est fascinante. Elle s’inspire du style calligraphique chinois intitulé l’herbe folle : impression fugitive, improvisation extravagante née d’une pulsion intérieure. Cette démarche artistique trouve résonance en moi car le « déclic » amenant l’idée qui va irriguer toute une pièce se fait toujours de manière surprenante. Je ne sais jamais véritablement comment cette idée abstraite a soudain pu devenir concrète et couchée sur le papier ! Pendant l’écriture de cette pièce, j’avais donc à l’esprit cette sobriété des abbayes cisterciennes et les images de cette encre diluée, liquide et diaphane, sur les toiles de Verdier. Mais j’ai bien sûr pensé à la feuille de la nature elle-même ! J’ai cherché diverses palettes de couleurs et de grains pour habiller la sonorité du quatuor à cordes et nourrir la matière comme la sève nourrit une plante. J’ai utilisé un matériau organique se régénérant et se renouvelant sans cesse. Il inonde toute la pièce au fil des images que j’avais. Tout d’abord, celle de l’aube fraîche et brumeuse et des gouttes de rosée qui perlent sur les feuilles (pizzicati du début) - des reflets irisés du soleil naissant sur les feuilles - des rayons de lumière faibles et instables qui tentent de percer à travers les feuillages (trémolos d’harmoniques). Ces derniers se font de plus en plus insistants pour émerger de ces aplats fondus à la texture bruissante et dont le reprises d’archet sont imperceptibles. Le grain change (sur le chevalet, sur la touche, flautando, ricochets) comme la lumière varie de couleur et d’intensité au cours d’une journée. Ce sont autant de touches impressionnistes qui se fondent et se diluent dans la matière. Elles laissent place à une partie centrale brillante et dansante à la pulse inépuisable, célébrant ainsi la force mystérieuse et vitale de la matière végétale toujours en transformation. La pièce se termine par l’éclat de la lune se levant sur les jardins de Silvacane, baignant ainsi les feuilles d’eau de cette lueur crépusculaire. Camille Pépin/ Répertoire / Quatuor à Cordes
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Le Chemin Du Violoncelle
Violin, Cello, Organ
Billaudot
De quoi s'agit-il ? D'une énième méthode arrivant sur un marché bien garni ?...
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De quoi s'agit-il ? D'une énième méthode arrivant sur un marché bien garni ? D'un livre traitant de l'histoire d'un instrument de musique ? Nous avons plutôt cherché à formuler quelques réflexions intéressant tous ceux qui sont concernés, de près ou de loin, par l'étude du violoncelle : élèves, professeurs, ou simples violoncellophiles, si nous pouvons nous permettre ce néologisme. De nombreux renvois serviront à orienter le lecteur dans la jungle des méthodes et des partitions. Des explications qui se veulent claires permettront de comprendre les principes d'une technique de jeu basée sur les lois de la physique, destinée à libérer le corps de l'instrumentiste de toute tension ou contrainte inutile. Enfin, une approche du répertoire modulée selon les grandes époques de l'histoire de la musique. Si, en feuilletant cet ouvrage, le lecteur éprouve le besoin de s'arrêter sur un chapitre répondant à une interrogation, notre but sera atteint ! / Violoncelle
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Gymnopédie #1
Cello, Piano
Schott
La scène musicale a pris connaissance d'Erik Satie (1866-1925) tout d'un coup: ...
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La scène musicale a pris connaissance d'Erik Satie (1866-1925) tout d'un coup: La première mondiale de 'Parade' son ballet le 18 mai 1917 [siehe dt. Texte!] Causé tout un scandale. La production qui a impliqué Serge de Diaghilev avec son 'Ballets Russes', Pablo Picasso (décors et costumes), Jean Cocteau (histoire) ainsi que Léonide Massine (chorégraphie) divisé la scène musicale de Paris, mais fait le compositeur bien connu. Satie qui avait à peine une solide formation musicale et a vécu à Paris pendant presque toute sa vie au point un nouveau style musical, le rejet délibéré de l''Wagnérisme de son époque. Modèles de forme classique, des harmonies nouvelles, la facilité stylistique, méditatives et des éléments fusionnés clownesques d'une manière originale, l'exemple parfait étant '3 ses Gymnopédies 'de 1888, le premier ayant été disposées ici pour instrument solo avec accompagnement de piano: Ainsi, il est désormais possible, même pour les non-pianistes, de jouer à ce célèbre miniature de Satie. Merci à sa jouabilité facile, il peut également être utilisé à des fins éducatives. / Violoncelle Et Piano
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Franz Joseph Haydn: London Trios For 2 Flutes & Cello Hob. IV: Flute & Cello:
2 Flutes, Violoncello
Barenreiter
The Flute trios which Joseph Haydn composed in London in 1794 are spirited piece...
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The Flute trios which Joseph Haydn composed in London in 1794 are spirited pieces similar to divertimenti. They first became known thanks to Leo Balet's carefully prepared edition of 1933. These trios which are of moderate difficulty and let both Flutes partake in the musical activity to an equal extent have won a permanent place in Flute teaching as well as in home music making.
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Antonín Dvo?ák: String Quartet: String Quartet: Miniature Score
String Quartet: 2 violins, viola, cello
Barenreiter
Of the works which Antonin Dvorak wrote during his three-year sojourn in America...
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Of the works which Antonin Dvorak wrote during his three-year sojourn in America the String Quartet In F Major ('American') is the best known after the New World Symphony.It was written essentially without interruption during the course of June 1893 and reflects happy times spent in the hamlet of Spillville over the summer holidays among Czech compatriots descendants of Czech immigrants where the composer surrounded by nature and friends had the ideal conditions for his composition work. The use of elements of American folk and popular music gives the piece its typical character.This pocket score is part of the firstComplete Critical Edition of Works by Antonin Dvorak.Also available set of parts (H1594)
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Disney Solos
Cello
Hal Leonard
12 Favoris de Disney avec un CD qui vous permet de jouent avec un groupe complet...
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12 Favoris de Disney avec un CD qui vous permet de jouent avec un groupe complet ! Les titres comprennent : être notre invité o Can You Feel Love Tonight o couleurs du vent o ami comme moi o Let's Get Together o sous la mer o vous avez un ami à moi o zéro au héros o et bien plus encore. / Violoncelle / 24 pages / Partition Cd
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The Spirit And The Maiden
Piano Trio: piano, violin, cello
Bote and Bock
Grundlage des 2004 für das australische Macquarie-Klaviertrio entstandenen Werk...
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Grundlage des 2004 für das australische Macquarie-Klaviertrio entstandenen Werks ist ein russisches Märchen: Eine junge Frau entdeckt beim Wasserholen im Brunnen einen verzauberten Mann. Die Musik schildert, wie die beiden sich ineinander verlieben, dann ihren immer leidenschaftlicheren Tanz. Doch der Wassermann kann an Land nicht überleben und verrinnt im Sand - einen letzten Tropfen kann die Frau auffangen und zurück in den Brunnen bringen, wo sie sich, selbst vom Wasser aufgenommen, schließlich in eine Lilie verwandelt wird.Die effektvolle, poetisch-lebhafte Komposition in drei Sätzen ist russisch koloriert und vor allem in der Geigenstimme vielfältig gestaltet mit Glissandi, Doppelgriffen, Pizzicati, Trillern und Flageoletts. / Violon, Violoncelle Et Piano
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Let's Play Together
2 Cellos (duet)
Schott
/ 2 Violoncelles
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Holiday Favorites (Medley): String Ensemble: Score & Parts
String Orchestra
Hal Leonard
Don't miss this medley of holiday favorites for choir band and opt. strings! In...
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Don't miss this medley of holiday favorites for choir band and opt. strings! Includes: Let It Snow! Let It Snow! Let It Snow! Rudolph the Red-Nosed Reindeer Jingle Bell Rock Silver Bells Frosty the Snowman. Available: SATB 3-Part Mixed 2-Part ShowTrax Cassette Concert Band Accompaniment (Gr. 2) and String Pak (compatible with Concert Band Accomp. Gr. 2).
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101 Christmas Songs: Cello Solo: Instrumental Album
Cello
Hal Leonard
Instrumentalists will love this jam-packed collection of 101 holiday favorites! ...
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Instrumentalists will love this jam-packed collection of 101 holiday favorites! Songs include: All I Want for Christmas Is You - Believe - Christmas Time Is Here - Dance of the Sugar Plum Fairy - Feliz Navidad - Grandma Got Run over by a Reindeer - Have Yourself a Merry Little Christmas - I Saw Three Ships - Jingle Bells - Let It Snow! Let It Snow! Let It Snow! - Merry Christmas, Darling - O Come, All Ye Faithful - Rockin' Around the Christmas Tree - Silent Night - The Twelve Days of Christmas - We Wish You a Merry Christmas - and more.
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Cassation (PESSON GERARD)
Français
Clarinette, Trio à Cordes et Piano
Lemoine, Henry
Par PESSON GERARD. Le terme, 'cassation' naguère été utilisé en musique qu'a...
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Par PESSON GERARD. Le terme, 'cassation' naguère été utilisé en musique qu'au XVIIIe siècle dans le sens assez vague de divertimento. Son étymologie est très controversée. La cassation est souvent donnée comme sérénade des adieux ou morceau qui devait achever un moment de musique - venant en cela peut-être du mot italien cassazione. Mais on le fait dériver aussi de l'expression allemande gassatim gehen, avec un sens de promenade nocturne et amoureuse (du mot Gasse : chemin, voie, ruelle). Le mot, et le genre qui en découle, combinent ainsi la dédicace, la notion d'envoi (aspect sérénade), mais aussi l'idée de promenade nocturne, de surprise offerte aux complices du moment ou de la solennité. Dans Cassation, un équipement pour la nudité - un 'nécessaire à sérénade' - équivaut à l'attirail pour s'adapter à la pénombre. Les musiciens du trio jouent le plus souvent quasi chitarra (avec ou sans plectre), ne prenant l'archet (le plus souvent con legno) que pour les dernières minutes de la musique. Le piano semble en travaux (bien que la musique continue). La clarinette, elle, fait souvent ce geste de réparation, chassant par un souffle blanc les impuretés qui pourraient compromettre le chant. Même si le chant, très embusqué, tarde en effet à venir. Traversée haptique, où l'avancée se fait plus souvent à tâtons. Dans cette sérénade-toccata où la vérification par le toucher est simultanée au lancer, j'ai voulu évoquer la vivacité tactile comme art suprême de la perception, telle que Diderot le décrivait chez Mélanie de Salignac (la plus belle 'aveugle des Lumières') dans son Addition à la Lettre aux aveugles. Un braille auditif, non surtitré. Le geste instrumental prenant appui sur ses propres vides reconstruit une énergie en cherchant son équilibre par la vitesse, ou dans l'empreinte d'un son révoqué par le geste même. Ce que Simon Hantaï a appelé la mutilation qualifiante. Cependant, cette course haletante doit garder, par-delà le saut d'obstacles, le caractère de son genre d'origine, le divertimento, même s'il confine ici, souvent furioso, à la sérénade - poursuite, par griffures, itérations, effacements, retournement du Geste qui va chercher la conséquence en son envers. Pas ici de réminiscence, mais ce qu'on pourrait appeler le référent au radoub (un premier titre de l'oeuvre était Wrack - 'épave' en allemand). Il se trouve cependant que certains éléments du matériau de Cassation croisent le beau thème-accord écrit par Wagner à l'époque de Tristan puis retouché à Palerme trente ans plus tard. C'est un fragment de quelques mesures, la dernière musique notée par lui, sérénade immobile offerte à Cosima pendant l'hiver de 1882 (et utilisée par Visconti pour le générique de fin de son film Ludwig.) / contemporain / Répertoire / Clarinette, Trio à Cordes et Piano
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STRING QUARTET NO. 1 OP. 7 (BARTOK BELA) (BARTOK BELA)
String Quartet: 2 violins, viola, cello
[Sheet music]
G. Henle
Par BARTOK BELA. Béla Bartók?s six string quartets, composed between 1908 and ...
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Par BARTOK BELA. Béla Bartók?s six string quartets, composed between 1908 and 1940, are 20th-century milestones of the genre. His First String Quartet is closely linked to his unhappy love for the violinist Stefi Geyer, to whom he sent the initial measures of its first movement in early 1908 with the remark: ?My song of death?. When he completed all three movements of the work a year later, he had, according to his friend and colleague Zoltán Kodály, written himself ?back into life?. In this First Quartet, Bartók combines late-Romantic sounds with elements of the folk music that had since 1905 been a source of increasing interest to him. This definitive edition, supervised by Bartók scholar László Somfai, is the first-ever Urtext edition of this work. It takes into account both manuscript and printed sources, as well as letters and notes by the composer in which he recorded matters such as modifications to tempo markings. The Henle edition thus offers a musical text edited to the highest scholarly standards, with fascinating information on the work?s compositional history and performance practice. Sensible page turns and cue notes help to make this edition a real ?must have?. / Date parution : 2023-05-06/ Répertoire / Quatuor à Cordes
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Gabriel Fauré: Quatuor à Cordes Op.121 - Study Score: Trumpet: Study Score
String Quartet: 2 violins, viola, cello
Barenreiter
Gabriel Fauré's only string quartet which was composed in 1923-24 is the compos...
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Gabriel Fauré's only string quartet which was composed in 1923-24 is the composer?s final work and was written at the suggestion of his publisher Jacques Durand.Until then Fauré had always put off writing a string quartet evidently because of Beethoven?s imposing shadow. When Fauré composed the quartet he was already extremely ill. He added dynamics and slurs only in some parts of the exposition of the first movement and then asked his former pupil Jean Roger-Ducasse to complete the work. Roger-Ducasse?s additions were however very extensive; he even altered and supplemented some of Fauré?s own markings in the exposition.Bärenreiter's first ever scholarlycritical edition of the quartet based on vol. V/3 of the edition 'Gabriel Fauré: ?vres complètes' begun in August 2010 utilises all sources including the composer?s letters which provide valuable insights into the origins of the composition. In particular Fauré?s penultimate work the Piano Trio op. 120 was used to guide the editor with his emendations.
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Gabriel Fauré: Quatuor à Cordes Op.121 - Parts: String Quartet: Parts
String Quartet: 2 violins, viola, cello
[Set of Parts]
Barenreiter
Gabriel Fauré's only string quartet which was composed in 1923-24 is the compos...
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Gabriel Fauré's only string quartet which was composed in 1923-24 is the composer?s final work and was written at the suggestion of his publisher Jacques Durand.Until then Fauré had always put off writing a string quartet evidently because of Beethoven?s imposing shadow. When Fauré composed the quartet he was already extremely ill. He added dynamics and slurs only in some parts of the exposition of the first movement and then asked his former pupil Jean Roger-Ducasse to complete the work. Roger-Ducasse?s additions were however very extensive; he even altered and supplemented some of Fauré?s own markings in the exposition.Bärenreiter's first ever scholarlycritical edition of the quartet based on vol. V/3 of the edition 'Gabriel Fauré: ?vres complètes' begun in August 2010 utilises all sources including the composer?s letters which provide valuable insights into the origins of the composition. In particular Fauré?s penultimate work the Piano Trio op. 120 was used to guide the editor with his emendations.
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STRING QUARTET NO. 1 OP. 7 (BARTOK BELA) (BARTOK BELA)
String Quartet: 2 violins, viola, cello
[Sheet music]
G. Henle
Par BARTOK BELA. Béla Bartók?s six string quartets, composed between 1908 and ...
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Par BARTOK BELA. Béla Bartók?s six string quartets, composed between 1908 and 1940, are 20th-century milestones of the genre. His First String Quartet is closely linked to his unhappy love for the violinist Stefi Geyer, to whom he sent the initial measures of its first movement in early 1908 with the remark: ?My song of death?. When he completed all three movements of the work a year later, he had, according to his friend and colleague Zoltán Kodály, written himself ?back into life?. In this First Quartet, Bartók combines late-Romantic sounds with elements of the folk music that had since 1905 been a source of increasing interest to him. This definitive edition, supervised by Bartók scholar László Somfai, is the first-ever Urtext edition of this work. It takes into account both manuscript and printed sources, as well as letters and notes by the composer in which he recorded matters such as modifications to tempo markings. The Henle edition thus offers a musical text edited to the highest scholarly standards, with fascinating information on the work?s compositional history and performance practice. Sensible page turns and cue notes help to make this edition a real ?must have?. / Date parution : 2023-05-06/ Répertoire / Quatuor à Cordes
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Tzigane
Cello
Barenreiter
In 1922 Maurice Ravel heard the young Hungarian violin virtuoso and niece of Jos...
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In 1922 Maurice Ravel heard the young Hungarian violin virtuoso and niece of Joseph Joachim, Jelly D'Aranyi, in concert in London. Following the performance, Ravel spent the remainder of the evening requesting D'Aranyi to play numerous gypsy tunes on her violin, probing her on the technical limits of the instrument. The result of this encounter is Ravel's virtuoso classic 'Tzigane?. Written originally for violin and piano or luthéal (a mechanism invented in 1919 that attaches to a piano, producing a sound similar to the rich overtones of the Cimbalon), the premiere took place in London in April 1924. The composer had finished the work only days beforehand. Ravel later orchestrated 'Tzigane? and both versions remain a 'must? for music-lovers and aspiring violinists today. Jelly D'Aranyi performed both versions regularly throughout her long career. This Urtext edition presents the first scholarly-critical edition of Ravel's masterpiece. It is published both in the orchestral version, complete with full score and performance material, as well as in the composer's earlier version for violin and piano. All known sources, including letters, have been drawn on for the new edition - one of the available sources, consulted for the first time, was a copy of 'Tzigane? from the estate of Jelly D'Aranyi, which is today part of a private collection. The version for piano and violin contains, besides the Urtext part, a second violin part as a facsimile with performance instructions by Jelly D'Aranyi. D'Aranyi's alterations and fingering reflect how Ravel must have heard the work in rehearsals and performance and as such are a document of early 20th century performance practice. The cooperation between Ravel and D'Aranyi is comparable to that of Brahms and Joachim working on the Brahms violin concerto.- First scholarly-critical Urtext edition of the work - Presented are both versions: for violin and orchestra and for violin and piano- Includes Jelly D'Aranyi's fingering / Violoncelle
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Bach Favourites Arranged For Solo Violoncello
Cello
Musicland
Peter Freyhan a pris cinq oeuvres, principalement de morceaux de clavier, par J....
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Peter Freyhan a pris cinq oeuvres, principalement de morceaux de clavier, par J.S. Bach et leur arrangé pour violoncelle non accompagné. Bach était lui-même un arrangeur invétéré de sa propre musique d'autres personnes, y compris les concertos pour violon Vivaldi dont il a organisé pour la harpe sichord - l'habileté est en rendant les arrangements aussi crédible que les originaux. Freyhan le fait avec son habileté - par exemple, son arrangement de Jesu joie de l'homme désirant donne l'impression de la mélodie de la chorale et de le oeuvre sont jouées simultanément. / Violoncelle
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Claude Bolling: Suite for Violoncello and Jazz Piano Trio: Chamber Ensemble:
[Sheet music + CD]
Music Minus One
Music Minus One Cello-The Suite is played two times on the CD. First as a comple...
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Music Minus One Cello-The Suite is played two times on the CD. First as a complete performance with the cello part on the right channel. The at-home player can listen and hear the part interpreted by Dorothy Lawson. Then the Trio sans cello (piano bass and drums) performs the work again and YOU become the soloist in this ground-breaking work. Cello music provided in the booklet.
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Antonín Dvo?ák: String Quartet In A Flat Op.105: String Quartet: Parts
String Quartet: 2 violins, viola, cello
G. Henle
During his time in America (1892-95) Dvorák suffered with homesickness. It was ...
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During his time in America (1892-95) Dvorák suffered with homesickness. It was whilst living in New York that he began his String Quartet In A Flat Major but he did not complete the piece until afterhis return to Bohemia in December 1895.There is no trace of the influence of Indian or African-American music in this his final chamber work; rather the piece is striking for the amount of cantabile themes and motives and their contrasting and artistic treatment. It seems that his relief at seeing his children and family again directly influenced the work. Dvorák himself wrote in a letter during its composition that 'Almighty God hasgranted us this cheerful moment and thus we all feel unutterably happy'.This Henle publication is the first Urtext edition of the Quartet since 1955.
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Antonín Dvo?ák: String Quartet In A Flat Op.105: String Quartet: Study Score
String Quartet: 2 violins, viola, cello
G. Henle
During his time in America (1892-95) Dvorák suffered with homesickness. It was ...
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During his time in America (1892-95) Dvorák suffered with homesickness. It was whilst living in New York that he began his String Quartet In A Flat Major but he did not complete the piece until afterhis return to Bohemia in December 1895.There is no trace of the influence of Indian or African-American music in this his final chamber work; rather the piece is striking for the amount of cantabile themes and motives and their contrasting and artistic treatment. It seems that his relief at seeing his children and family again directly influenced the work. Dvorák himself wrote in a letter during its composition that 'Almighty God hasgranted us this cheerful moment and thus we all feel unutterably happy'.This Henle publication is the first Urtext edition of the Quartet since 1955.
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3 Quartets op. 41 (SCHUMANN ROBERT)
String Quartet: 2 violins, viola, cello
Schott
for 2 Violins, Viola and Violoncello. Par SCHUMANN ROBERT. 'The next I'll do is ...
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for 2 Violins, Viola and Violoncello. Par SCHUMANN ROBERT. 'The next I'll do is 3 violin quartets' wrote Schumann to Clara Wieck in 1838, stating his reasons in a letter dated 17 March 1838: 'The thought of the quartets gives me pleasure. The piano is getting too narrow for me. In composing now I often hear a lot of things that I can barely suggest. For instance, it is remarkable how I invent almost everything canonically and never discover the imitating voices until afterward, very often in inversions, inverted rhythms.' The new urtext edition is based on the text of the Schumann Complete Edition./ Répertoire / Quatuor à Cordes
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Concerto Per Flauto Traversiere, Archi, Bc Rv 431A (VIVALDI ANTONIO)
Flûte Traversière Cordes et Basse Continue
-
Intermediate
Ricordi
a cura di Federico Maria Sardelli. Par VIVALDI ANTONIO. Among Vivaldi’s many f...
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a cura di Federico Maria Sardelli. Par VIVALDI ANTONIO. Among Vivaldi’s many flute and recorder concertos, two, both for transverse flute, were known until a few years ago only in incomplete form: RV 431 and 432. Both are written in the comfortable and expressive key of E minor, are transmitted inautograph manuscripts and lack their second movement (RV 432 also lacks its third movement). The seemingly enigmatic instruction “Grave sopra il libro” replacing the second movement has given rise to the most fanciful hypotheses. The discovery in Edinburgh, in 2010, of a concerto for transverse flute in D minor entitled “Il gran Mogol” suddenly shed light on the situation: this was an earlier version of RV 431, now complete with its middle movement, a “Larghetto” that is verypossibly identical with the one missing in RV 431. This “Gran Mogol”, which belonged to Robert Kerr, a Scottish nobleman and amateur flautist, was already known by name to scholars on account of its listing in an eighteenth-century catalogue as partof a set of Vivaldi concertos bearing geographical titles: more recently, there has come to light a letter written by Vivaldi three months before his death in which the composer describes this set in detail. It is very likely that RV 431 and RV 432belonged to this group of works, the last known collection of its kind in Vivaldi’s oeuvre. This critical edition places these closely related works side by side for the first time, placing them in their historical context and making them performable through its reconstruction of some lost parts. / Niveau : Intermédiaire / Date parution : 1905-07-09/ Répertoire / Flûte Traversière Cordes et Basse Continue
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4 Pièces Pour Quatuor A Cordes Bleu - Les Fées - L'IVresse - Bwv 1007 (MANTOVANI BRUNO)
Français
String Quartet: 2 violins, viola, cello
Lemoine, Henry
Par MANTOVANI BRUNO. Par le poids de sa riche histoire et l'immensité de son r...
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Par MANTOVANI BRUNO. Par le poids de sa riche histoire et l'immensité de son répertoire, le quatuor à cordes est devenu, au cours des temps, une formation mythique, abordée par les compositeurs avec un mélange d'enthousiasme et de méfiance. Mozart, Haydn, Beethoven, Schumann, Bartok, Shostakovitch, et tant d'autres ont écrit d'innombrables chefs d'oeuvre pour cet instrumentarium qui, parce qu'il réunit intimité, homogénéité, et virtuosité, est propice à l'expérimentation. Ecrire pour quatuor est aujourd'hui un exercice très délicat, et ce n'est pas sans crainte que j'ai décidé d'aborder le genre en 2000. Un cycle a commencé à naître à cette période, cycle toujours incomplet en 2005. Bleu (2002) est une courte pièce énergique, jouant sur une disposition spatiale singulière des musiciens (les instrumentistes se faisant face). Du déferlement au jeu d'échos, ce mouvement repose sur une conception 'démocratique' de l'ensemble, la matière musicale étant plus fondée sur un flux cohérent que sur la hiérarchie entre un soliste et des accompagnateurs. Les fées (2004, création mondiale): il s'agit là d'un véritable scherzo, laissant la part belle à une écriture procédurale. J'ai commencé à m'intéresser depuis peu à cette dimension de l'écriture (avec Le cycle des gris pour orchestre baroque, ou avec Da Roma pour trio), afin de sortir d'une conception du langage fondée systématiquement sur le conflit entre des idées contrastées. La transformation progressive d'un élément en un autre est ici le maître mot, alors que la matière musicale subit ou des procédés d'accumulation, ou de raréfaction. L'ivresse (2003): il s'agit d'une musique de ballet, violemment contrastée, aride, virtuose. Le discours s'articule autour de quelques idées facilement repérables à l'écoute (unisson dans l'aigu, homorythmies...). Au milieu de cet océan d'incertitude et d'imprévisibilité, une séquence plus procédurale vient établir une continuité, toujours dans l'énergie, qui donne à la matière un caractère encore plus abrupt. BWV 1007 (2001): première pièce du cycle sur le plan chronologique, ce mouvement est un hommage à la Première suite de violoncelle de Jean-Sébastien Bach. Le modèle est ici toujours présent, mais sans cesse déformé, développé, si bien qu'il est pratiquement impossible de le reconnaître. Ici, le quatuor est traité de façon plus orchestrale, non dans la masse sonore, mais dans les hiérarchies, chacun des instruments prenant à tour de rôle la parole de façon soliste. Malgré la présence permanente dans mon esprit des grands modèles de l'histoire, j'ai essayé de conserver une certaine spontanéité dans mon écriture. C'est l'intuition qui a élaboré le discours, non la prédétermination. La matière a pris l'ascendant sur l'artisanat, s'exprimant malgré moi, de façon quasi-autonome. Bruno Mantovani, novembre 2004 / contemporain / Répertoire / Quatuor à Cordes
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Petite Suite For Flute, Clarinet And Bassoon (DEBUSSY CLAUDE)
Flûte Traversière, Clarinette et Basson
[Score and Parts]
Alry Publications
Arrangeur: Timothy Bonenfant. Par DEBUSSY CLAUDE. All four movements of Claude D...
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Arrangeur: Timothy Bonenfant. Par DEBUSSY CLAUDE. All four movements of Claude Debussy's charming Petite Suite arranged for Flute, Clarinet (in A) and Bassoon: En Bateau, Cortege, Menuet, Ballet. Originally composed as a suite for four-hand piano, it is also well-known in its orchestral form, with the orchestration completed by Debussy's friend, Henri Büsser./ Répertoire / Flûte Traversière, Clarinette et Basson
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Wolfgang Amadeus Mozart: Three Movements For Piano Trio: Piano Trio
Piano Trio: piano, violin, cello
G. Henle
Fragments K. 442-Mozart often began work on a composition only to put it aside ...
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Fragments K. 442-Mozart often began work on a composition only to put it aside unfinished. Some of these fragments contain wonderful music as is proved by these three Piano trio fragments. Mozart composed them at different times as individual movements though the posthumous first edition brought them together as a supposedly new and unknown Piano trio by the composer and on this basis they were given the number ?442? in Köchel?s catalogue. The first edition used completions by Mozart?s friend Abbé Maximilian Stadler that were stylistically correct but possessed little originality. This Henle Urtext edition offers both these versions andnewly-composed highly rewarding completions by Robert D. Levin.
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Ellington Duke - Duke Ellington For Strings - Violin 1
String Quartet: 2 violins, viola, cello
[Solo Part]
Alfred Publishing
This quality folio contains 16 of the best from America's premier jazz band comp...
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This quality folio contains 16 of the best from America's premier jazz band composer, arranged for string quartet up to string orchestra. Great for recitals, concerts, receptions, parties, and encores. Contents: Caravan * Creole Love Song * Day Dream * Don't Get Around Much Anymore * Do Nothin' Till You Hear From Me * I Let a Song Go Out of My Heart * I Got It Bad (And That Ain't Good) * I'm Just a Lucky So and So * In a Sentimental Mood * It Don't Mean a Thing (If It Ain't Got That Swing) * Mood Indigo * Satin Doll * Solitude * Sophisticated Lady, Prelude to a Kiss, Take the A Train.
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Prairie Sky
String Orchestra
Hal Leonard
Par BUCKLEY ROBERT. Let your strings soar through the expanse of the Prairie Sky...
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Par BUCKLEY ROBERT. Let your strings soar through the expanse of the Prairie Sky by Robert Buckley. This energetic composition captures the beauty and majesty of open landscapes. With a contrasting slower middle section, lush harmonies, and sweeping syncopated melody, Prairie Sky transports performers and audiences alike to the heart of nature's splendor. Elevate your ensemble's repertoire with the captivating allure of Prairie Sky and create a memorable performance! / Date parution : 2023-10-31/ Répertoire / Orchestre à Cordes
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50 Pop Songs for Kids: Cello Solo: Instrumental Album
Cello
Hal Leonard
for Cello. When kids learn to play an instrument, they want to play the songs th...
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for Cello. When kids learn to play an instrument, they want to play the songs they know and love! This collection of 50 songs alongs them to do just that! It includes 50 contemporary favorites, including: Believer · Don't Stop Believin' · Happy · High Hopes · Let's Get It Started · Ocean Eyes · Perfect · Rewrite the Stars · A Thousand Miles · You Will Be Found · and more.
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