Instrumental Play-Along-15 solo arrangements of huge hits by the Lads from Liverpool are included in this collection perfect for budding instrumentalists. It features online access to audio demonstration tracks for download or streaming to help you hear how the song should sound. Songs include: All You Need Is Love Blackbird Day Tripper Eleanor Rigby Get Back Here There and Everywhere Hey Jude I Will Let It Be Lucy in the Sky with Diamonds Ob-La-Di Ob-La-Da Penny Lane Something Ticket to Ride Yesterday.

Par BARTOLOMEY MATTHIAS. A young cellist called Theresa inspired Bartolomey to write this composition: from a trill, a motive develops that quickly intensifies and varies. It leads into the main part of the work which is characterised by rhythmically distinct themes and percussive effects. Short repetitive passages create a groove that will immediately make audiences‘ feet tap. There‘s an exciting, interpretative challenge awaiting the player in the middle of the piece that shall not be revealed at this point. A “must have“ for all those who dare to try something new on the cello and want to look beyond the “bow“. / Date parution : 2023-03-21/ Répertoire / Violoncelle

Instrumental Play-Along-10 songs from the latest live action hit movie adaptation of the Disney classic Beauty and the Beast arranged for instrumentalists. Each book features online access to audio demonstration tracks for download or streaming to help you hear how the song should sound.Songs include Aria Be Our Guest Beauty and the Beast Belle Days in the Sun Evermore Gaston How Does a Moment Last Forever The Mob Song and Something There.

Cello & Piano book I and book II (Z14637) 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 thelighter kind include Joplin’s Ragtime. This colourful ample selection provides a good basis for a music-lover's library. Book I Contents: 1. Corelli Arcangelo: Sonate Op. 5 No.8 2. Scarlatti Domenico: Sonata 3. Jacchini G. M.: Sonata 4. Vivaldi Antonio: Concerto RV 411 5. Telemann Georg Philipp: Sonata aus ''Der getreue Musikmeister'' 6. Bach Johann Sebastian Marcello Alessandro: Adagio BWV 974 7. Haydn Joseph: Scherzando Hob. XI:70 8. Mozart Wolfgang Amadeus: Menuet KV 334 9. Cherubini Luigi: Ave Maria 10. Romberg Bernhard: Rondo Op. 38 No. 1 11. Beethoven Ludwig van: Menuet WoO 10 No. 212. Beethoven Ludwig van: Tema con variazioni Op. 105 No. 1 13. Rossini Gioacchino Antonio: Pour Album 14. Schubert Franz: Morgenständchen D 889 15. Schubert Franz: Grätzer Galopp D 925 16. Schumann Robert: Arabeske Op. 18 17. Bizet Georges: Agnus Dei 18. Tchaikovsky P. I.: Valse sentimentale Op. 51 No. 6 19. Dvo ák Antonín: Humoresque Op. 101 No. 7 20. Dvo ák Antonín: Gipsy Melody Op. 55 No. 4 21. Fauré Gabriel: Mandoline Op. 58 No. 4 22. Joplin Scott: The Strenuous

Favourtie French Melodies-In creating these dozen arrangements I am unashamedly cherry-picking from a long and rich seam of French music. I feel confident that younger players and those relatively new to the cello will enjoy my selection. Forgive my tongue-in-cheek title for the book French Baguettelles (I'm half French so I don't feel too guilty!) for the music herein has more than a hint of garlic about it. Although there are certainly serious overtones to one or two pieces there is a healthy dollop of silliness to lighten the mood. Apart from Sur la Pont d'Avignon which was reportedly written in the 15th century Frère Jacques which was a popular 18th century song and Tambourin which wasin all probability also written in the 18th century (Gossec did however live well into the 19th century) all of the pieces come from composers who lived in the Romantic period. Ravel and Debussy were of course known for their impressionistic colours though for the most part it is the accompaniments which reveal this characteristic most fully. I have endeavoured to keep the piano parts playable by mere mortals conscious of the fact that cello teachers may not possess a virtuosic piano facility but may nevertheless wish to turn their hand to accompanying pupils for concerts festivals exams etc. Many of the pieces were originally written for the piano either in its solo capacity (Ravel's Pavane Pour une Infante Défunte Chabrier's Idylle Satie's Gymnopedie 1 Debussy's La Fille aux Cheveux de Lin) or in duet form (Fauré's Berceuse from 'Dolly Suite'). Three orchestral pieces Bizet's L'Arlésienne Offenbach's Can-Can and Saint-Saëns's Danse Macabre lend a welcome dramatic overtone to the book while Franck's exquisite Panis Angelicus originally conceived as a choral piece rounds off the selection admirably. In the main it is the cello's capacity for lyricism that has steered my choice of music so really open up your sound and enjoy yourself with these ageless melodies.I wish you bonne chance!Baguette: a thin loaf of

for solo cello. Par LARCHER THOMAS. I do not compose my pieces for a certain voice range or orchestration, but for musicians, for people. It is almost impossible for me to produce a piece without having a particular person in mind or to hear him/her inwardly. No matter how standardized the interpretation of classical music is, and no matter how many coordinates have been fixed and defined, I do not want to have them seen (and therewith the notation) as determining and limiting signs, but rather as guideposts towards the creation of vital, organic music. In differentiated music, two participants are necessary in order for a piece to evolve-- the composer and the musician. Just as there is no one way for a composer to express himself or to notate music, etc., neither is there one way for a musician to read the notation, to interpret, or to live. We find ourselves, for this reason, in a network of meanings, gestures, and signs which have to be fathomed and expanded together. The tone, the breath, the gestures, the dedication, and the potentialities of a musician were also ultimately decisive for the form of this piece. It is music which pushes the expressive and technical possibilities of the instrument to its very limits. It is music in which the musician has to transport the contexts and expression over and above the notation. It was not necessary for me to find a new form for this piece; it is a work which can and should be performed in a ‘normal’ concert situation. I deliberately wanted to integrate the perhaps new and unusual content into a familiar form (thus the title ‘Sonata’) And I also wanted to embed the aforementioned extreme situations (in which the technical extremes are synonyms for tension, isolation, loss or tenderness) in an organic process in order for the listener to be able to empathize with and comprehend what is expressed in the piece. I would like to thank Natalie Clein, to whom the Sonata is dedicated, for inspiring this piece and for the path that led to the realization of the music. Thomas Larcher/ Répertoire / Violoncelle

Edward Elgar's Cello Concerto Op.85 arranged for Cello with Piano reduction by the composer and edited here by Eirian Griffiths.

A wonderful piece by Australian Composer Carl Vine for Cello and Tape. His aim was to focus on the amazing symbiosis between Musician and instrument and to create a sound world that attempts to reftect the internal processes involved ina truly musical performance. The CD for performance accompaniment that is included here contains backing sounds and tracks by David pereira whom the work was dedicated to and written for. This item includes the Score Cello Part and CD (That replaces the tape!).

Learn to play traditional Irish melodies on the cello. The Irish Cello Book covers traditional articulations concepts and practices of Irish music many traditionally for fiddle but here adapted to thecello. It includes technical lessons and a tune book of over 100 traditional Irish melodies. The demonstration and play-along tracks features a traditional Irish ensemble. You will learn to play Irish melodies usingtraditional articulations and performance nuances such as cuts pats rolls and slurs. You'll also learn to recognize distinguishing features of song forms adapt melodies to the cell play in a traditional Irish ensemble andmuch more.

Music Minus One Cello Deluxe 2-CD Set-Franz Josef haydn's beautiful Concerto in C major for Violoncello and orchestra is a treat as well as an absolute requirement for any serious cellist. Strangely though it lay dormant and unknown in a Prague library until it was dicovered in 1961 and brought to light after nearly two hundred years! Since its reintroduction it has become one of the most popular of all violoncello concerti and deservedly so. This concerto was most likely written in the mid-1760s while Haydn was Kapellmeister to Prince Esterhazy. Its splendid memorable themes perfectly showcase the solo instrument against a beautifully and sensitively orchestrated backdrop all of which come together toillustrate Papa Haydn's mastery of form melody and orchestration. Its lovely classical charm beautifully captured here by virtuoso roman Wiszniowski and the Plovdiv Philharmonic will enchant you from beginning to end. Then play it yourself with maestro Todorov and the Plovdiv Philharmonic as your accompanists! This MMO learning and performance edition of one of the great classical cello masterpieces is not to be missed!

Solos for Cello-Nine songs from the Andrew Lloyd Webber musical masterpiece The Phantom of the Opera arranged for solo Cello: All I Ask of You · Angel of Music · Masquerade · The Music of the Night · The Phantom of the Opera · The Point of No Return · Prima Donna · Think of Me · Wishing You Were Somehow Here Again

Dmitri Shostakovich's 1955 work Romance (The Gadfly Suite) has been arranged here by Colin Cowles for Cello and Piano. Set as part of the ABRSM Cello Syllabus.

A fantastic book of useful scales and arpeggios for the Cello. It is suitable for students preparing for all examinations of the Royal Aacadamy of Music and Royal College of Music. A.W. Benoy has supplied a large number of practical and technical scales here carefully split into three progressive section.