Es-Dur-Andante for Tuba or Trombone and Piano accompaniment by Alexander Tcherepnin.

Russian-born composer pianist and conductor Alexander Tcherepnin was particularly known for his cosmopolitan style that included influences from France and the Far East. This piece composed in 1932 is no exception and provides a lively and challenging addition to conventional repertoire.

One of Tcherepnin?s favourite instruments was the cello for which he wrote about ten works (for example the Georgian Rhapsody other works for violoncello and orchestra and several ensemble and solo pieces). He worked together with cellists such as Paul Grümmer Paul Tortelier Pierre Fournier and Gregor Piatigorsky and for this reason his cello works seem to be especially well suited to the instrument. Although Tcherepnin liked to point out the similarity between the cello and a baritone voice he always did justice to the whole range of the instrument even in the highest thumb positions. Georgian Tatar Russian and Kazakh folk music provided the inspiration for Songsand Dances op. 84.

Tcherepnin composed these five pieces during a sojourn in Shanghai were he was honorary professor at the conservatory and also worked as a consultant for the Chinese ministry of education. The studies were inspired by Chinese folk music and are based on pentatonic scales.

The Contemporary Piano Literature series includes a selection of music written for children by Bartók Gretchaninov Kabalevsky Prokofiev Scott Shostakovich and Stravinsky. In addition the books contain pieces composed specifically for this series by Ross Lee Finney David Kraehenbuehl Douglas Moore Elie Siegmeister Alexandre Tansman and Alexander Tcherepnin. Short biographies and portraits help make composers come alive for the student. None of the music is so far in the vanguard that it is difficult to enjoy or understand.

Les douze Préludes (Chicago, 1952-53) montrent avec clarté vive le génie expressif multilatérale de leur compositeur. Chaque Prélude est une entité musicale, chacun a son propre ' raison d'être, son propre message musical. Dans l'ensemble, les douze forme un travail avec une gamme exhaustive d'expression exécutant la gamme complète des idées musicales - idées qui sont, selon les termes de Alfred Frankenstein, se référant à ces pièces, ' piquante, lyriques et musico-philosophiques '. Tous les préludes sont construits sous diverses formes de compositionnels - certains sous forme de ' strict ', d'autres dans une libre, sans bornes, ou par l'intermédiaire de forme composée. Tout au long des douze pièces se trouvent des nombreuses utilisations astucieuse de stylistiques rythmiques et de dispositifs qui caractérisent la musique de Tcherepnin. Les pièces de la tige de la période de composition du Tcherepnin qui est désignée par beaucoup comme sa période neo-romantique et sont riches en chantant, lyrisme mélodique - et pourtant ils sont essentiellement fraîches et complètement contemporain dans le style et le contenu. / Piano

Un des instruments préférés du Tcherepnin était le violoncelle, pour lequel il a écrit environ dix oeuvres (par exemple, la Rhapsodie géorgien, autres oeuvres pour violoncelle et orchestre et plusieurs ensemble et pièces solos). Il a travaillé avec les violoncellistes tels que Paul Grümmer, Paul Tortelier, Pierre Fournier et Gregor Piatigorsky et pour cette raison, que ses oeuvres violoncelles semblent être particulièrement bien adaptés à l'instrument. Bien que Tcherepnine soulignaient la similitude entre le violoncelle et une voix de baryton, il a toujours fait justice à toute la gamme de l'instrument, même dans les positions de pouce plus élevées. Géorgienne, folk Tatar, russe et Kazakh a fourni l'inspiration de chants et danses opus 84. / Violoncelle Et Piano

Selected Pieces For Piano-“That’s all my neighbour ever plays!” Like Anne Sylvestre are you tormented by endless repetitions of Für Elise? Why not widen the repertoire of your budding musician with this collection of 38 whimsical pieces for Piano? Enhanced with an audio version accessible through a download card this anthology presents an array of pieces for students with 3 to 5 years of lessons under their belt. The warm miniatures from Accueil amical op. 326 by Darius Milhaud reflect his close ties with Paul Claudel’s family who hosted him often in New York during the war. Alexander Gretchaninov cheerfully cultivates “the art of beinga grandpa” (G. Sacre) enchanting pianists with his Historiettes and Promenade au bois. In Le coin de Claudinet Henri Tomasi offers some irresistible little tableaux such as the Réveil du petit soldat. Excerpts from Koechlin’s Douze petites pièces faciles and Tcherepnin’s Bagatelles as well as many other treasures composed by Hahn Bozza Albéniz and Borodin complete this fabulous collection.

As the title suggests this Sonatine by Alexandre Tchérepnin attempts to adapt the music to the surprise elements of sports. The Pianist in the first movement is portrayed as being 'defensive' while the Bassoon soloist is considered to be attacking the Piano much like Boxing. Movement two named Half-Time represents the rest that two players would be taking in the midst of a competition. Finally movement three - Race is in the form of a canon. The Bassoonist leads the race while the Pianist gradually closes the gap.