SKU: BT.EMBZ14636

ABRSM Syllabus title - Grades 5, 6, 8The two volumes contain a selection from 200 years of music. Eight Baroque sonatas are included, apart from the famous D minor one by Corelli there are some that are appearing in a modern edition for the first time in 300 years. In addition to cyclical works (Haydn: Sonatina, Mozart: Divertimento, Vivaldi: Concerto) and sets of variations (Beethoven, Tartini) there are many shorter pieces as well, not only the famous minuets by Boccherini, Mozart and Beethoven but also works published for the first time here. Virtuoso pieces are represented by Goltermann s Etude-caprice and Jenkinson s Dance of the sylphids, the lighter kind includeJoplin s Ragtime. This colourful, ample selection provides a good basis for a music-lover s library. ABRSM Cello Syllabus title - Grade 5, 6, 8.

Die zwei Bände präsentieren eine Auswahl an Musik aus zweihundert Jahren. Sie beinhalten acht Barocksonaten, neben der berühmten Corelli in d-Moll auch solche, die nach 300 Jahren erst jetzt in einer modernen Ausgabe erscheinen. Es kommen neben zyklischen (Haydn: Sonatine, Mozart: Divertimento, Vivaldi: Concerto) und Variationswerken (Beethoven, Tartini), auch mehrere kleinere Stücke wie die berühmten Mozart-, Boccherini- und Beethoven-Menuette sowie solche vor, die hier das erste Mal erscheinen. Die virtuosen Stücke werden durch Goltermanns Etüde-Caprice und Jenkinsons Tanz der Sylphiden, die leichtere Gattungen von Joplins Ragtime vertreten. Die reichhaltige, bunte Auswahlkann für Musikliebhaber zur Grundlage einer Notensammlung werden.

SKU: BR.OB-16104-30

ISBN 9790004339466. 10 x 12.5 inches.

The publishers Henle and Breitkopf & Hartel are continuing their collaboration, now with Brahms, by publishing the performance material of the double concerto. Brahms's last work with orchestra was published in the new Brahms Complete Edition in 2002, whereby the editor was able to base himself on newly accessible sources. Of particular interest are the additional performance instructions for the solo violin and solo cello, which were gathered from the first edition of the solo parts. These indications were supplied by the soloists of the first performance, Joseph Joachim and Robert Hausmann. No doubt authorized by Brahms, they communicate valuable insights into the performance practice of the time. The new material also contains a part in which the solo violin and cello are notated one above the other. The trio edition for violin, violoncello and piano (EB 6040), which was made by Brahms himself, has proven itself for chamber performances; it continues to be available.The full score is a conductor's dream: big, bold, and beautifully laid out on glare-free bluff paper. (Strings).

SKU: BR.OB-16104-23

ISBN 9790004339442. 10 x 12.5 inches.

The publishers Henle and Breitkopf & Hartel are continuing their collaboration, now with Brahms, by publishing the performance material of the double concerto. Brahms's last work with orchestra was published in the new Brahms Complete Edition in 2002, whereby the editor was able to base himself on newly accessible sources. Of particular interest are the additional performance instructions for the solo violin and solo cello, which were gathered from the first edition of the solo parts. These indications were supplied by the soloists of the first performance, Joseph Joachim and Robert Hausmann. No doubt authorized by Brahms, they communicate valuable insights into the performance practice of the time. The new material also contains a part in which the solo violin and cello are notated one above the other. The trio edition for violin, violoncello and piano (EB 6040), which was made by Brahms himself, has proven itself for chamber performances; it continues to be available.The full score is a conductor's dream: big, bold, and beautifully laid out on glare-free bluff paper. (Strings).

SKU: BT.EMBZ14779

The arranger of this work (a well-known Hungarian composer living in Romania) writes: This piece has always excited my imagination, from several points of view. First of all, its name. The German title, the obstinate one, may refer to its ostinato character. This is close to Liszt's programme concept, but the French word 'obstiné' is closer in meaning to stubborn. There is just a shade of difference, but to me it is important, because the latter suggests the description of a type of behaviour, the emotional state of a dancer's inner frame of mind abstracted into movements, expressed in dance movements, and this is a fascinating interpretation. The demonstration ofstubborn resistance and defiance to the point of exhaustion was not a frequently occurring phenomenon with Liszt. Secondly, at the beginning of the seventies Zoltán Kocsis played the piece in Transylvania. At that time, I asked the composer, Is the character of the continuous staccato in the left hand sharp, short, or an accompanying background like a constant shadow? Is it a weighty Brahmsian staccato, an ominous knocking? - and so on. Then there are the Bartókian false relations that keep recurring in the work, the B-E flat-G, etc. That foreshadows Debussy, creating harmonic thrills that, when I hear the work, keep my continuing interest alive for it. Finally, my immediate reason for arranging the work was of a family nature: in connection with Liszt's jubilee year, my daughter, who is a cellist, wanted a 'more energetic' piece to play at a bicentenary concert an addition to the existing slow, lyrical, or sombre works written by Liszt for the cello.

The arranger of this work, the well-known Romania-based Hungarian composer Cs ky Boldizsár writes: This piece has always excited my imagination, from several points of view. First of all, its name. The German title, the obstinateone, may refer to its ostinato character, this is close to Liszt's programme concept, but the French word 'obstiné' is closer in meaning to stubborn. There is just a shade of difference, but to me it is important, because the lattersuggests the description of a type of behaviour, the emotional state of a dancer's inner frame of mind abstracted into movements, expressed in dance movements, and this is a fascinating interpretation. The demonstration of stubbornresistance , defiance to the point of exhaustion, was not a frequently occurring phenomenon with Liszt. Secondly, at the beginning of the seventies Zoltán Kocsis played the piece here in Transylvania (Romania).

Der Bearbeiter des Werkes, der renommierte ungarische Komponist aus Rumänien, schreibt: Dieses Stück reizte immer schon meine Phantasie, sogar in vielerlei Hinsicht. Als erstes sein Name. Der deutsche Titel ‚Hartnäckiger' kann auf den ihm innewohnenden ostinativen Charakter hinweisen, was der Liszt'schen Programm-Konzeption näher kommt, das französische ,obstiné' steht jedoch eher dem Wort ‚dickköpfig' nah. Das sind nur geringfügige Unterschiede, mir ist das dennoch wichtig, weil aus Letzterem die Darstellung eines Verhaltens, der in Tanzgesten ausgedrückte, zur Bewegung abstrahierte innere emotionale Zustand eines Tänzers durchscheint, und das ist eine überaus beeindruckendeErklärung. Die Demonstration des bis zur Erschöpfung reichenden Trotzes, der störrischen Kraft erscheint bei Liszt selten. Der zweite Aspekt: Zu Beginn der 70er Jahre spielte bei uns Zoltán Kocsis das Stück. Schon damals (und seitdem) frage ich den Komponisten:.

SKU: PR.114414830

UPC: 680160598366. 9 x 12 inches.

Written in 1972, while Ewazen was pursuing undergraduate studies at Eastman, the Sonata No. 1 for Cello and Piano is his first foray into the 20th-century American tonal music that he first embraced at that time. Composed for a classmate and proficient cellist, Julie Charland, the Sonata is in three movements, the second of which is quite demanding of virtuosity. (Manuscript).

SKU: HL.49018923

ISBN 9790001176545. 9.0x12.0x0.078 inches.

Eduard Putz (1911-2000) studied with Heinrich Lemacher and Hermann Schroeder at the Cologne Musikhochschule and later worked as a music teacher at the grammar school in Rheinbach near Bonn as well as a composition teacher at the Rhenish Music School in Cologne. Overcoming the boundaries between serious and entertaining music was what mattered to him which is why he wrote many works which tried to combine jazz and new music. His 'Adagietto' for violoncello and piano (1990) was discovered within the composer's estate and published for the first time. Prof. Julius Berger arranged the piece for practical playing, adding appropriate fingerings. A short performance piece with interesting harmonies and arpeggios in the piano part and expressive cantilenas in the cello part.

SKU: HL.48025366

UPC: 196288194279.

Hans Winterberg, born in Prague in 1901, lived through almost the entire period of the 20th century and was influenced as a composer by its most important artistic innovations. Already a brilliant pianist as an adolescent, he studied with Alois Hába and Alexander von Zemlinsky in Prague. Both his life and his music reflect the Austrian-Czech-Jewish cultural symbiosis; he saw himself as a bridge builder between Western and Eastern, i.e. Slavic, cultures. Owing to his Jewish ancestry, he was deported to the Terezin concentration camp after the annexation of Czechoslovakia by Nazi Germany. He was the only Jewish representative of the Czech musical avant-garde of the 1920s and 1930s to survive the Shoah and, in 1947, followed his non-Jewish wife and their daughter to the FRG in the course of the expulsion of the German-speaking population from Czechoslovakia. Winterberg's fascinating oeuvre, which was kept under lock and key in a German music archive for years after his death, is now being made accessible in first editions due to a cooperation between the Exilarte Center for Banned Music at the University of Music in Vienna and Boosey & Hawkes. The first printed edition is Winterberg's Cello Sonata, composed in 1951, in which all the characteristics of his unmistakable personal style come to the fore: dance-like energy, polyrhythm, intimate yet unsentimental melos, subtle handling of folkloristic material, and an unerring sense of form and balance. This work is of medium technical and great interpretative difficulty.

SKU: BT.EMBZ6312

Hungarian-English-German-French.

ABRSM Syllabus title - Grade 2.This is a collection of popular classics and European folk tunes arranged for beginning cellists.The volumes 'Music for Beginners' series cover the entire music literature from the earliest centuries to our days. The contents of the individual volumes, comprising short, easy pieces to be played in the first three-four years of instrumental study, has been compiled by accomplished music teachers. The majority of the contemporary works included in the volumes have been published in this series for the first time.

Eine Sammlung von beliebten Klassikern und Volksmelodien aus Europa für Celloanfänger.