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Passings (LIEBMAN DAVID)
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Three Movements For Improvising Oboe, Soprano Sax, Viola, Cello. Par LIEBMAN DAV...
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Three Movements For Improvising Oboe, Soprano Sax, Viola, Cello. Par LIEBMAN DAVID. It is natural as we age to contemplate the finality of passing on, if not personally, then certainly as an effect from others around you whom have left this space. Having to endure the passing of family and friends is of course very trying. This is especially true when the perception is that someone 'passed before their time” though there are those of us who believe in fate implying that the Force works in its own mysterious way. In some ways I can subscribe to that concept, but for me when someone passes early, say in their fifth or sixth decade of life, it is 'before their time.” Composers often commemorate passings with music as a means to mourn and as well to celebrate the life of an individual who meant something to them. Such is the nature of this piece. Movement 1 - Past uses as source material themes I wrote for my mother Frances and father Leo when they passed - movement 2 - Present centers around a choral ('Prayer for Mike”) I wrote for my dear friend, saxophonist Michael Brecker when he passed a few years ago. This same period also saw the passing of other friends and associates whom I had known for years, all way too premature, beginning with JF Jenny Clarke and Bob Berg, Hans Gruber, Thomas Stowsand, David Baker, James Williams, Dennis Irwin, John Stubblefield. The final movement - Future is a requiem of sorts for all of us still here. With its improvisational character, it is meant to suggest the positive implications of living life to its fullest./ Recueil / Hautbois, Saxophone Soprano, Alto et Violoncelle
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Franz Joseph Haydn: Die Sieben Letze Worte Unseres Erlösers Am Kreuze: String
Quatuor à cordes: 2 violons, alto, violoncelle
[Set de Parties séparées]
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Joseph Haydn's Die Sieben Letze Worte Unseres Erlösers Am Kreuze. The Seven Las...
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Joseph Haydn's Die Sieben Letze Worte Unseres Erlösers Am Kreuze. The Seven Last Words of Our Savior on the Cross' Op.51 In 1785 or '86 Haydn received a commission from the Canon of Cadiz for what would serve essentially as 'incidental' music for a Good Friday service (akin to the one centering upon The Stations of the Cross although there are twelve of those) in which the celebrant recites in turn each of Christ's utterances on the way to Calvary then gives a 'reflection' thereupon followed by music to accompany a brief interval of silent congregational prayer. To this Haydn added an introductory movement and a conclusiondepicting the earthquake that followed the passing of Jesus. The structure of the work then is: Introduction -- 'Father forgive them for they know not what they do.' -- Sonata 1 -- 'Verily I say unto thee today shalt thou be with me in Paradise.' -- Sonata 2 -- 'Woman behold thy son.' -- Sonata 3 -- 'My God my God why hast thou forsaken me?' -- Sonata 4 -- 'I thirst.' -- Sonata 5 -- 'It is finished.' -- Sonata 6 -- 'Father into thy hands I commend my spirit.' -- Sonata 7 -- Conclusion (Earthquake)
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2 Flûtes A Bec Soprano Et Basse Continue
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A colourful piece culminating in an exciting sea battle between the English and ...
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A colourful piece culminating in an exciting sea battle between the English and the French at the time of Henry VIII. / Ensemble A Cordes
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Gioachino Rossini: Duetto for cello and double bass: Trombone: Instrumental
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Gioachino Rossini: Duetto for cello and double bass: Trombone: Instrumental
Violoncelle, Basse continue
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It was a chance visit to a second hand bookshop in Nottingham that set me on the...
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It was a chance visit to a second hand bookshop in Nottingham that set me on the trail of Rossini's now well-known Duetto for cello and double bass. But the story begins earlier than that. In the 1960s I was studying the double bass at the Royal College of Music with Adrian Beers who was at that time principal of the English Chamber Orchestra on the front desk of the Philharmonia Orchestra and a member of the Melos Ensemble of London (then one of the leading ensembles of the world). I was working on the 'Dragonetti Concerto' as most young players do and I wanted to find out a bit about it. My teacher said he thought the autograph manuscript might be in the British Library which was all the encouragement I needed to secure a pass to the Reading Room so I could go and see for myself. There sure enough I found a large collection of Dragonetti's autograph manuscripts together with other bound volumes relating to his life. The papers had been lovingly collated and annotated by Vincent Novello one of Dragonetti's closest friends then deposited in the library before his departure to Italy in 1848 two years after Dragonetti's death. One of the volumes included a lot of letters about various engagements and music festivals copies of orders for strings Dragonetti wanted from Italy details about paintings he wanted to buy and numerous invitations to private functions. The manuscript of the 'Dragonetti Concerto' of course wasn't among the papers we now know it to have been written by Edouard Nanny a century or so later. One name that came up regularly in the documents was that of Sir George Smart. Smart had been a violinist in Salomon's orchestra and had played for Haydn at his London concerts in the 1790s. As a child he had learnt much about music from his father who had in turn been present at many of Handel's rehearsals when he was preparing some of his major works for the first time. Smart was also a fine keyboard player becoming organist of the Chapel Royal in 1822. As a conductor
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Piano Trios on Stage (AUTEURS DIVERS / BROOKER DAVID (Arr)
23.25
Piano Trios on Stage (AUTEURS DIVERS / BROOKER DAVID (Arr)
Violon Ou Flûte, Violoncelle Et Piano
[Partition]
Universal Edition
Intermediate-level arrangements of well-known Classical and Romantic works. Par ...
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Intermediate-level arrangements of well-known Classical and Romantic works. Par AUTEURS DIVERS / BROOKER DAVID (Arr.). In his preface to 'Piano Trios on Stage”, the arranger, David Brooker, reminds us that, just as the string quartet, the piano trio has always been one of the pillars of chamber music. In the 19th and early 20th century, it was almost like the later invention of the gramophone record, allowing larger works, in arrangement, as well as lighter pieces to be presented to small audiences, often as background music. David comments that string players have plenty of easy material to introduce them to the pleasure of making music with other instrumentalists but when it comes to piano parts these are usually written or arranged with a teacher or more advanced student in mind. David sets out to rectify that imbalance and his arrangements aim to put all three players on an equal footing. Of easy to intermediate standard, they are ideal for violinists, cellists and pianists who are now ready to try their hand at proper chamber music. The music is fun and instantly recognizable, drawing on Grieg's 'Peer Gynt”, Tchaikovsky's 'Nutcracker” and Leopold Mozart's 'Musical Sleigh Ride”./ Recueil / Violon Ou Flûte, Violoncelle Et Piano
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John McCabe: String Quartet No.7 - Summer Eves: String Quartet: Score
24.99
John McCabe: String Quartet No.7 - Summer Eves: String Quartet: Score
Quatuor à cordes: 2 violons, alto, violoncelle
[Partition]
Novello & Co Ltd.
Commissioned by the Presteigne Festival of Music and the Arts Limited with fund...
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Commissioned by the Presteigne Festival of Music and the Arts Limited with funds provided by the Arts Council of Wales for premiere in August 2012 by the Carducci String Quartet in St. Andrew?s Church Presteigne.Composer's Note'Some years ago I noted down the opening theme of what I anticipated would be a relatively Classical string quartet ?Classical? in the sense of the forms adopted plus perhaps a predominantly lyrical tone of voice. The commission for this work from the Presteigne Festival for their 30th anniversary in 2012 gave me the opportunity of putting into practice this long-held idea. It isdedicated to the Festival and to the Carducci Quartet whose career as much-admired friends and colleagues I have greatly enjoyed.The only break with ?classical? tradition is that there are five movements instead of four with two Scherzi as the second and third though both these are very short and contrasting. I found myself listening to Haydn?s string quartets a lot before and during the composition of this work and I hope the spirit of his delight in writing for this medium is echoed in my own music. The opening movement is in sonata form unusually for me and lyricism is I hope the basis of it though there is a good deal of activity at times. The Scherzo light and marked by frequently-changing rhythms is followed by an equally short but ferocious Perpetuum mobile marked Wild und rasch (one of my favourite German tempo markings). The fourth movement is an intense Adagio in which a single phrase uttered strongly in unison is gradually transformed into gentle diatonic chords before the close intermingled with cadenzas for cello for viola and for the two violins together. The finale (a Rondo) resumes the classical tone of the first movement but apart from one dance-like episode it builds up a fair head of steam towards a final Presto which however ascends slows and quietens towards a gentle summer sky at dusk.'
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John McCabe: String Quartet No.7 - Summer Eves (Parts): String Quartet: Parts
29.99
John McCabe: String Quartet No.7 - Summer Eves (Parts): String Quartet: Parts
Quatuor à cordes: 2 violons, alto, violoncelle
[Partition]
Novello & Co Ltd.
Commissioned by the Presteigne Festival of Music and the Arts Limited with fund...
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Commissioned by the Presteigne Festival of Music and the Arts Limited with funds provided by the Arts Council of Wales for premiere in August 2012 by the Carducci String Quartet in St. Andrew?s Church Presteigne.Composer's Note.'Some years ago I noted down the opening theme of what I anticipated would be a relatively Classical string quartet ?Classical? in the sense of the forms adopted plus perhaps a predominantly lyrical tone of voice. The commission for this work from the Presteigne Festival for their 30th anniversary in 2012 gave me the opportunity of putting into practice this long-held idea. It isdedicated to the Festival and to the Carducci Quartet whose career as much-admired friends and colleagues I have greatly enjoyed.The only break with ?classical? tradition is that there are five movements instead of four with two Scherzi as the second and third though both these are very short and contrasting. I found myself listening to Haydn?s string quartets a lot before and during the composition of this work and I hope the spirit of his delight in writing for this medium is echoed in my own music. The opening movement is in sonata form unusually for me and lyricism is I hope the basis of it though there is a good deal of activity at times. The Scherzo light and marked by frequently-changing rhythms is followed by an equally short but ferocious Perpetuum mobile marked Wild und rasch (one of my favourite German tempo markings). The fourth movement is an intense Adagio in which a single phrase uttered strongly in unison is gradually transformed into gentle diatonic chords before the close intermingled with cadenzas for cello for viola and for the two violins together. The finale (a Rondo) resumes the classical tone of the first movement but apart from one dance-like episode it builds up a fair head of steam towards a final Presto which however ascends slows and quietens towards a gentle summer sky at dusk.'
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John Joubert: String Quartet No.2 Op.91 (Parts): String Quartet: Instrumental
44.99
John Joubert: String Quartet No.2 Op.91 (Parts): String Quartet: Instrumental
Quatuor à cordes: 2 violons, alto, violoncelle
[Partition]
Novello & Co Ltd.
Though conceived as four separate movements my second string quartet has a sing...
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Though conceived as four separate movements my second string quartet has a single motif which is common to them all. This is the three-note 'Muss es sein?' from Beethoven's last quartet Op. 135. But whereas Beethoven's theme is notated G E A flat thus giving it an F minor connotation I have sued an alternative spelling - G E G sharp - which suggests an ambiguous E minor-major. This ambiguity in fact becomes the tonal basis of the whole work only to be resolved at the end of the final movement.Each movement begins with a variant of the basic motif on the cello. The first has the original form of the theme while the second has a 'majorised' version which is alsoexpressed as a chord. The third movement with its 'scherzoid' middle section reverts to the major-minor ambiguity of the first and the finale begins with the 'majorised' version as an ostinato accompaniment on pizzicato cello.The slow movement is sub-titled 'In memoriam DSCH' and concludes with a quotation of Shostakovich's motto - D E flat C B - which is basically the same as Beethoven's with the addition of one note.This is not to imply that the work contains no other thematic material. One important theme a rising fifth and a second is also common to three of the movements and is ultimately derived from my first quartet Op. 1 of 27 years earlier to which this second contribution to the form is in many ways like a sequel. Like the earlier work too this quartet is dedicated to my wife.
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kammersymphonie Op, 9 (SCHOENBERG ARNOLD)
65.43
kammersymphonie Op, 9 (SCHOENBERG ARNOLD)
Orchestre de chambre
[Conducteur d'étude / Miniature]
Universal Edition
Par SCHOENBERG ARNOLD. Here the fourths, springing from an entirely different ex...
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Par SCHOENBERG ARNOLD. Here the fourths, springing from an entirely different expressive urge, shape themselves into a defi nite horn theme, spread themselves out architectonically over the whole piece, and place their stamp on everything that happens. Thus it turns out that they do not appear here merely as melody or as a purely impressionistic chord effect; their character permeates the total harmonic structure, and they are chords like all others.' (Arnold Schoenberg, Theory of Harmony, 1911) The Chamber Symphony Op.9 heralded a breakthrough in Schoenberg's compositional style. While the work did not go hand in hand with the complete destruction of the old tonal system it does show an extension in chordal and melodic constructions. It's focus on the interval of the fourth rather than the third is stated right at the start with the horn fanfare and this leads into the use of the whole tone scale soon after. These two elements open up a new sound space which he would explore further in the works to follow. Certainly not a work to be missing from any library where contemporary music is one of the main focuses./ Répertoire / Ensemble de Musique de Chambre
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Movie and TV Music for Cello: Cello Solo: Instrumental Album
13.99
Movie and TV Music for Cello: Cello Solo: Instrumental Album
Violoncelle
[Partition + Accès audio]
Hal Leonard
Instrumental Play-Along-Solo arrangements for 13 iconic themes from popular TV s...
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Instrumental Play-Along-Solo arrangements for 13 iconic themes from popular TV shows and movies are featured in this collection perfect for budding instrumentalists.It features online access to audio demonstration and backing tracks for download or streaming to help you hear how the song should sound and then to play-along and sound like a pro!Includes themes from The Avengers ? Doctor Who XI ? Downton Abbey ? Game of Thrones ? Guardians of the Galaxy ? Hawaii Five-O ? Rey's Theme (from Star Wars: The Force Awakens) ? The X-Files and more.
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The Cello Playlist
17.76
The Cello Playlist
Violoncelle
-
Facile
Schott
This new collection presents the 50 most popular classical pieces in easy arrang...
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This new collection presents the 50 most popular classical pieces in easy arrangements for violin or cello with piano accompaniment. Taking the concept of the 'playlist' from the world of digital music streaming, this book presents a carefully chosen collection of the world's favourite classical pieces for today's student and amateur musicians.With many of the most popular works from the classic repertoire, including The Blue Danube, the Flower Duet, Elgar's Nimrod and the Toreador Song from Bizet's Carmen, there are hours of enjoyable music making to be found here.Separate piano accompaniments and MP3 accompaniment tracks are available to download for free. / Violoncelle Et Piano
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Ballads of Britain: String Quartet: Instrumental Album
6.95
Ballads of Britain: String Quartet: Instrumental Album
Quatuor à cordes: 2 violons, alto, violoncelle
-
Intermédiaire/avancé
Spartan Press
A selection of folk ballads from England Ireland Scotland and Wales.A ballad ...
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A selection of folk ballads from England Ireland Scotland and Wales.A ballad is the blending of words the beauty of melody tone rhythm and expression. They reflect the history of a people their legends religion love and work. British ballads are renouned for their verse melodic construction and for the enormous range of expression.1 The Lass of Richmond Hill is a poem by Leonard McNally a barrister about a lass who became his wife in 1787. The music is by James Hook (1746 1827).2 Sally in our Alley. The words are by Henry Carey who also wrote the original music but this was replaced by the tune we now know an English traditionalmelody in 1790.3 Caller Herrin'. The poem is by Lady Nairne (1766 1845). Nathaniel Gow the famous Scottish violinist wrote the music in 1798 as a harpsichord piece combining the traditional Edinburgh fish wives cry Caller Herrin' with the bells of St Andrew's Church Edinburgh.4 Men of Harlech. The music is traditionally Welsh and the ballad probably originated from North Wales where the native princes had ruled the longest.5 David of the White Rock (Dafydd y Garres Wen). Sir Walter Scott (1771-1832) wrote the words to this ballad The Dying Bard. David Owen the Welsh bard of the ballad composed the tune on his death-bed on awakening from a trance in which be believed himself to have heard the tune in heaven.6 Oft in the Stilly Night. The words describe an old man's memories of the smiles the tears of boyhood years. The eyes that shone now dimmed and gone and how oft in the stilly night he remembers other days. The ballad is by the Irish poet Thomas Moore (1779 1852) who set the words to a traditional air.7- The Meeting of the Waters. Written by Thomas Moore music Irish traditional.The Meeting of the Waters is the confluence of the rivers Avonmore and Avonberg in a beautiful valley near Avoca County Wicklow.8 Oh! Charlie is my Darlin'. The
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Mozart: Triosonaten Kv 10-15 (MOZART WOLFGANG AMADEUS)
46.60
Mozart: Triosonaten Kv 10-15 (MOZART WOLFGANG AMADEUS)
Piano Trio: piano, violon, violoncelle
[Partition]
Carus Verlag
Par MOZART WOLFGANG AMADEUS. Since their publication in the New Mozart Edition, ...
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Par MOZART WOLFGANG AMADEUS. Since their publication in the New Mozart Edition, Mozart's sonatas K. 10–15 count as piano trios. Furthermore, the title of the first edition, published by father and son Mozart in 1765 reads 'Six Sonates pour le Clavecin qui puevent se jouer avec l'accompagnement de Violon ou Flaute Traversiere”. In other words, these pieces are harpsichord sonatas that may be accompanied at will by a violin or a transverse flute. In a partial press run of the first edition a cello part was included. Our new edition is the first to take these conflicting formats into account by presenting two separate versions, one being the unaltered harpsichord part, the other a full score with separateinstrumental parts for violin/flute and cello. The harpsichord part [CV 51. 010/10] is indeed capable of standing by itself and requires no instrumental expansion. The melody instrument, in contrast, merely function as an accompaniment or contribute brief interjections, or, in the case of the cello, reinforce the left hand of the keyboard. In other words, K. 10–15 are not only Mozart's earliest piano trios, they are also his earliest keyboard sonatas to survive intact./ Répertoire / Violon, Violoncelle et Piano
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Sonata (LARCHER THOMAS)
17.76
Sonata (LARCHER THOMAS)
Violoncelle
Schott
for solo cello. Par LARCHER THOMAS. I do not compose my pieces for a certain voi...
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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
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The Great Western, Violin 1 Part
2 Flûtes A Bec Soprano Et Basse Continue
Musicland
The Great Western is as title suggests, an evocation of trains. It is another fu...
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The Great Western is as title suggests, an evocation of trains. It is another fun piece, with much emphasis on triplets and chromatics: Music Teacher Magazine / Ensemble A Cordes
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100 Christmas Carols And Hymns
26.13
100 Christmas Carols And Hymns
Violoncelle , Guitare (duo)
-
Intermédiaire
Mel Bay
Through the centuries, the Christmas season has inspired composers, poets, lyric...
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Through the centuries, the Christmas season has inspired composers, poets, lyricists and hymn writers to apply their craft in devotion to this event. This book presents 100 arrangements of favorite Christmas carols and advent hymns for cello solo with guitar accompaniment. Suggested chordal accompaniment is included for each solo so that any chordal instrument can accompany the cello. Where appropriate, capo chords are shown.The author has also indicated whether the guitarist should use fingerstyle or strum accompaniment. The music in this book spans centuries and represents a wonderful assortment of solos which may be used as preludes or offertories throughout the various seasons in the church year. / Niveau : Intermédiaire / Musique religieuse / Date parution : 2018-05-04/ Recueil / Violoncelle et Guitare
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Sonate F-Dur (STRAUSS RICHARD)
42.18
Sonate F-Dur (STRAUSS RICHARD)
Violoncelle, Piano
Schott
Arrangeur: Florence Eller. Par STRAUSS RICHARD. The Cello Sonata Op. 6 was compo...
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Arrangeur: Florence Eller. Par STRAUSS RICHARD. The Cello Sonata Op. 6 was composed over an apparently frequently interrupted period of three years, an extraordinarily long time for Strauss's early creative phase. The compositional process spawned two independent versions of the work, the first of which is published for the first time on the basis of the text in the Critical Edition of the Works of Richard Strauss in the current edition as a practical musical text. The genesis of the two versions and the reasons for revision can only be reconstructed in part: only one of the surviving autographs bears a date and the second version only survives in printed form. What is more, Strauss did not communicate in greater detail on this composition in correspondence with his family and friends. There are enormous differences between the two versions of the Sonata: Strauss deleted the entire second and third movements Larghetto and Allegro vivace, replacing them with a newly composed Andante and Finale. In the first movement, Allegro con brio, Strauss retained the thematic-motivic material and compositionally complex passages such as the three-voice fugue in the development section (from bar 241 in the first version and bar 275 in the second version) almost intact in the new version of the sonata, but also undertook extensive alterations, particularly in the structure of the piano part, the motivic-thematic development of the movement and its harmony which became far more ambitious.12 Particular attention should be drawn to the repetitive accompaniment of the con espressione theme beginning in bar 32 and the significantly shorter development in the first version. The current printed edition of the first version of Richard Strauss's Cello Sonata now makes it possible to follow Strauss's compositional development during this period. The significance of the differences between the versions also mean that two sonata compositions for violoncello and piano by Richard Strauss with fundamental disparities in their underlying character are now available for performance. (from the foreword by the editors)/ Répertoire / Violoncelle et Piano
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Quartetstart Level 2 (COHEN MARY / SPEARING ROBERT)
21.19
Quartetstart Level 2 (COHEN MARY / SPEARING ROBERT)
Trio à Cordes: violon, alto, violoncelle
[Partition]
Faber Music Limited
Par COHEN MARY / SPEARING ROBERT. Masterful duo Mary Cohen and Robert Spearing t...
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Par COHEN MARY / SPEARING ROBERT. Masterful duo Mary Cohen and Robert Spearing team up once again in this wonderful collection of original pieces for established beginner string quartet. Quartetstart Level 2 is full of stimulating and enjoyable repertoire which has been carefully devised for string players of around ABRSM Grade 2?3. Building on the skills and ideas first introduced in Quartetstart Level 1, this truly original collection explores a wide range of musical styles as well as many interesting string effects (including simple harmonics, collegno, pizzicato and tremolo). Containing invaluable rehearsal tips throughout, these imaginative pieces will give string players the opportunity to discover the joys of ensemble playing right from the early stages of learning. A violin 3 alternative to the viola part is provided. / Ensemble Music, Methods and Tutors / Recueil / Violon, Violoncelle et Alto
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11 Oblique Strategies
19.42
11 Oblique Strategies
Violoncelle
Bote and Bock
The composer states:'The term 'oblique strategies? was coined jointly by British...
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The composer states:'The term 'oblique strategies? was coined jointly by British musician Brian Eno and German-born British visual artist Peter Schmidt to describe a series of printed cards they developed throughout the 1970's. The cards had their origins in sets of uncannily similar working principles that both artists had established independently, and featured aphorisms intended as a means of triggering inspiration or providing useful stimulus during the creative process, particularly when encountering difficulties of fatigue or time constraint.As Eno and Schmidt wrote in their introduction to the first edition in 1975: 'They can be used as a pack (a set of possibilities being continuously reviewed in the mind) or by drawing a single card from the shuffled pack when a dilemma occurs in a working situation. In this case, the card is trusted even if its appropriateness is quite unclear. They are not final, as new ideas will present themselves, and others will become self-evident?.I chose eleven of Eno and Schmidt's strategies, ordering them in a way that revealed to me a logic and potential inter-relatedness within a hitherto disparate set of single ideas I had assembled for solo cello, each of them in turn a reflection upon the commission's initial purpose of creating a test piece for the 2014 Emanuel Feuermann cello competition.It's my hope then that the resultant composition may provide not only an interesting test of the competitors' talents but also offer the interpreter an opportunity to reflect upon the delights and pitfalls of creativity as he or she comes to terms with the various musical and technical challenges to be found within these ten minutes of music for solo cello.? / Violoncelle
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Melodies For Robert (PANN CARTER)
26.10
Melodies For Robert (PANN CARTER)
Flûte, Violoncelle, Piano (trio)
[Conducteur et Parties séparées]
Theodore Presser Co.
Celebrating the Life of Flutist Robert Vincent Jones (1920-2016). Par PANN CARTE...
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Celebrating the Life of Flutist Robert Vincent Jones (1920-2016). Par PANN CARTER. Following their world premiere, The Heare Ensemble proclaimed: 'Melodies for Robert contains rich harmonies, soaring melodies, and unexpected twists, but beyond the musical elements, it also has incredible depth of soul. Like so much of Carter's music, it paints the heart of the American landscape and makes you yearn for more.' MELODIES FOR ROBERT was commissioned by the SDG Music Foundation in memory of flutist Robert Vincent Jones: it consists of two movements, titled 'Sing,' and 'Listen.'/ Répertoire / Flûte Traversière, Violoncelle et Piano
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Best Of Musical
20.70
Best Of Musical
Violoncelle
[Partition + CD]
-
Facile
De Haske Publications
Now solo instrumentalists can play play along with 14 intermediate-level tunes f...
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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)Supercalifragilisticexpialidocious (MARY POPPINS)That Face (THE PRODUCERS)We Are The Champions (WE WILL ROCK YOU) / Violoncelle
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Franz Joseph Haydn: The 6 String Quartets Op.64: String Quartet: Score and Parts
66.00
Franz Joseph Haydn: The 6 String Quartets Op.64: String Quartet: Score and Parts
Quatuor à cordes: 2 violons, alto, violoncelle
[Partition]
Peters
Introducing his new player-friendly edition of the Haydn Quartets Simon Rowland...
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Introducing his new player-friendly edition of the Haydn Quartets Simon Rowland-Jones writes: 'There can be no such thing as a final perfect version; Haydn left too many questions open.'The new Peters Edition is founded upon this honest assessment. By heightening our awareness of the questions that remain 'open' this edition liberates the interpretative inspiration of performers as never before. As a result the new edition is likely to become indispensable for all who perform or study these masterpieces.Each volume includes:Full Score – included with the parts for the first time – invaluable for performancepreparationFold-out Pages – as required in the separate parts eliminating all page-turns within movementsGuidance for Performers – as well as giving historical background to the quartets the prefaces to each volume contain a treasure trove of information about all aspects of performance practiceCritical Commentary – in the extensive Critical Commentary to each volume the most authoritative early sources for Haydn's quartets are carefully evaluated and full details of their variant readings given for comparison.Naturally the composer's autograph where extant assumes pre-eminence but alternative primary sources are also considered and secondary sources drawn upon where appropriate.
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Cheryl Frances-Hoad: Excelsus: Cello: Instrumental Work
8.99
Cheryl Frances-Hoad: Excelsus: Cello: Instrumental Work
Violoncelle
Cadenza Music
Cheryl Frances-Hoad's Excelsus for solo Cello. 'Excelsus takes the form of a sui...
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Cheryl Frances-Hoad's Excelsus for solo Cello. 'Excelsus takes the form of a suite each movement being based on a passage from the Requiem mass text. Although I spent many hours refining my interpretation of the words the work is ultimately a more instinctive reaction to the evocative language of the excerpts. However my stance was always totally atheistic and this infiltrates everything from the mood through the disregard for the text’s order to the instrumentation (the use of a lone figure which I viewed as a musical equivalent to the ‘first person’ offending against the liturgical norms which areconcerned with people as a community). Musically the entire work is based on two themes one melodic (the Rex Tremendae or ‘King of Awful Majesty’ theme which is heard at the very opening) and one chordal (the Lux Aeternum (Light eternal) chords not revealed in their pure form until the pizzicato passage that concludes the suite). The order ofthe movements is as follows: Requiem Aeternum (Grant them eternal rest)Kyrie (Lord have mercy)Tuba Mirum (Hark the Trumpet)Sanctus (Holy holy)Dies Irae (Day of Wrath)Agnus Dei (Lamb of God)Quid Sum Miser (What shall I a wretch say then?)' - Cheryl Frances-Hoad
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Beginner Cello Theory For Children, Book 3
37.67
Beginner Cello Theory For Children, Book 3
Violoncelle
[Partition]
Bill's Music Shelf
Beginning level. Book 3 in the Beginner Cello Theory for Children series is an e...
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Beginning level. Book 3 in the Beginner Cello Theory for Children series is an engaging resource that allows students to develop a deeper understanding of important theory concepts. Key signatures, enharmonic, diatonic and chromatic semitones, whole tones, major scales, musical terms and symbols and how to write music are all covered in this workbook. Unique to this book are detailed, fill-in-the-blank diagrams of each major scale played on the cello. These diagrams allow students to visualize their scale and its theoretical structure in an easy-to-understand format. With this book, there will be no complaints about theory homework. / Violoncelle / 174 pages / niveau : Débutant / Partition - Format: 11 X 8,5
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Concerto Per Flauto Traversiere, Archi, Bc Rv 431A (VIVALDI ANTONIO)
39.43
Concerto Per Flauto Traversiere, Archi, Bc Rv 431A (VIVALDI ANTONIO)
Flûte Traversière Cordes et Basse Continue
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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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Klar/Obskur (SCHWEITZER BENJAMIN)
35.52
Klar/Obskur (SCHWEITZER BENJAMIN)
Hautbois, Basson et Piano
[Conducteur]
Schott
Par SCHWEITZER BENJAMIN. The chiaroscuro-technique developed by painters of the ...
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Par SCHWEITZER BENJAMIN. The chiaroscuro-technique developed by painters of the Italian renaissance served to intensify contrasts and effects of optical depth. In Klar/Obskur, I tried to transfer the general idea of this technique on the rather unusual instrumentation of two double-reed woodwinds and piano. On the one hand, a clear, well articulated playing is characteristic for these instruments, on the other hand, they have an often underestimated potential of „twilight“: air-sounds and fragile, shady colours have a especially attractive when being produced by double-reed instruments (which are often, and superficially regarded as being less capable of differentiated sounds than flute or clarinet). The piano, too, has a broad bandwidth of possibilities between percussive and delicate playing to complement the woodwinds which, in return, can absorb and continue the fading piano sounds. The beginning introduces the two contrasting elements that form the basic material for the piece: a clear, sharp chord, followed by fragile, dim sounds. The changes between these elements as well as their combination and amalgamation produce an enormous spectrum of colours and gesture. After this „motto-like“ opening follow four quite clearly separated short sections, each of them being characterised by a well-defined texture: a partly almost imperceptible air-sound passage, a short sequence of microintervallic notes, a burst of virtuosity and a recourse to the fragile sounds of the beginning. The second, longer main part consists of three sections merging subtly into each other: a short unisono-passage, marked elastic [federnd], is being dissolved into its basic elements; from these remainders, a confrontation of low, ‚arcane‘ bassoon and piano sounds and a strongly ornamented melodic line of the oboe emerges, leading to a short but powerful climax. The piece is concluded by an extended, relaxed epilogue, containing a short piano solo and a duet of oboe and bassoon and, finally, a quotation of the „elastic“ character of the middle section. Benjamin Schweitzer / Date parution : 2007-11-20/ Répertoire / Hautbois, Basson et Piano
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John Tavener: Prayer Of The Heart (Parts): String Ensemble: Parts
Quatuor à cordes: 2 violons, alto, violoncelle
[Partition]
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Intermédiaire/avancé
Chester
Prayer of the Heart was inspired by The Chain of Hope. This charitable organisat...
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Prayer of the Heart was inspired by The Chain of Hope. This charitable organisation raises money for the treatment of heart disorders in children including Marfan’s Syndrome of which John Tavener is a sufferer. Thesinger should sit on a low stool bowing towards the heart. This facilitates the soul’s concentration and its unification in ecstasy. The Prayer of the Heart is prayed ceaselessly day and night awake or sleeping becauseit has become at one with the beating of the heart... Silence peace sweetness of union with God... The Prayer is not usually sounded with the voice at all it is silent. Therefore the music must be played and sungintensely quietly with no physical effort. The Byzantine bell and large Tibetan temple bowl may be played by the singer. Prayer of the Heart should be sung in subdued lighting perhaps by candlelight. The recording of theheartbeat should sound very tenderly and quietly throughout.
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Suite Op. 28 (CALLIGARIS SERGIO)
21.68
Suite Op. 28 (CALLIGARIS SERGIO)
Violoncelle
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Per Violoncello Solo. Par CALLIGARIS SERGIO. Sergio Calligaris was born in Rosar...
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Per Violoncello Solo. Par CALLIGARIS SERGIO. Sergio Calligaris was born in Rosario (1941), Argentina. He is one of the last musicians to incarnate the traditional 19th century figure of pianist, teacher and composer, inaugurated at the beginning of the 19th century by Muzio Clementi and carriedon after that by a sequence of famous names that the history of music has handed down to us. As a pianist, he began to give public performances at the age of 13, making his debut in his home town Rosario. Following this success, he embarked upon an extremely busy career as a soloist, giving numerous recitals in Buenos Aires and other citiesin Argentina. He continued to take advanced lessons with eminent exponents of the most prestigious international piano schools. In 1974 he became an Italian citizen and settled in Rome, teaching piano as principal instrument at the S. Pietro a Majella StateConservatory in Naples, the Luisa DAnnunzio Conservatory in Pescara and the Alfredo Casella Conservatory in Aquila. As a composer, he began - at just 9 years of age - to study in the rigorous school of Paul Hindemith, under the guidance of Father Luis Machado, from whom he inherited a love of counterpoint and a strong taste for harmony. He took a diploma incomposition, counterpoint and fugue at the age of 16 at the Amigos del Arte Society in Rosario, going on in 1964 to do an advanced course in 12-tone counterpoint at the Cleveland Institute of Music. The catalogue of his compositions, which has nowreached Op. 55, encompasses a huge range of instrumental/vocal chamber music and symphonic works: a vast and articulated catalogue, in which Sergio Calligaris’s composition expresses its inspiration through the dramatic development of a dialecticalcontrast between the two natures of the composer’s personality - the elegiac and the dithyrambic - which confront and interact with each other giving rise to artistic outcomes of a deeply moving nature. / Niveau : Intermédiaire / Date parution : 1905-06-13/ Répertoire / Violoncelle
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Tema E Variazioni Op. 5B (CALLIGARIS SERGIO)
44.36
Tema E Variazioni Op. 5B (CALLIGARIS SERGIO)
Piano Trio: piano, violon, violoncelle
[Conducteur et Parties séparées]
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Per Violino, Violoncello E Pianoforte. Par CALLIGARIS SERGIO. Sergio Calligaris ...
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Per Violino, Violoncello E Pianoforte. Par CALLIGARIS SERGIO. Sergio Calligaris was born in Rosario (1941), Argentina. He is one of the last musicians to incarnate the traditional 19th century figure of pianist, teacher and composer, inaugurated at the beginning of the 19th century by Muzio Clementi and carriedon after that by a sequence of famous names that the history of music has handed down to us. As a pianist, he began to give public performances at the age of 13, making his debut in his home town Rosario. Following this success, he embarked upon an extremely busy career as a soloist, giving numerous recitals in Buenos Aires and other citiesin Argentina. He continued to take advanced lessons with eminent exponents of the most prestigious international piano schools. In 1974 he became an Italian citizen and settled in Rome, teaching piano as principal instrument at the S. Pietro a Majella StateConservatory in Naples, the Luisa DAnnunzio Conservatory in Pescara and the Alfredo Casella Conservatory in Aquila. As a composer, he began - at just 9 years of age - to study in the rigorous school of Paul Hindemith, under the guidance of Father Luis Machado, from whom he inherited a love of counterpoint and a strong taste for harmony. He took a diploma incomposition, counterpoint and fugue at the age of 16 at the Amigos del Arte Society in Rosario, going on in 1964 to do an advanced course in 12-tone counterpoint at the Cleveland Institute of Music. The catalogue of his compositions, which has nowreached Op. 55, encompasses a huge range of instrumental/vocal chamber music and symphonic works: a vast and articulated catalogue, in which Sergio Calligaris’s composition expresses its inspiration through the dramatic development of a dialecticalcontrast between the two natures of the composer’s personality - the elegiac and the dithyrambic - which confront and interact with each other giving rise to artistic outcomes of a deeply moving nature. / Niveau : Intermédiaire / Répertoire / Violon, Violoncelle et Piano
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Tema E Variazioni Op. 5A (CALLIGARIS SERGIO)
44.36
Tema E Variazioni Op. 5A (CALLIGARIS SERGIO)
Clarinette, Violoncelle et Piano
[Conducteur et Parties séparées]
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Per Clarinetto, Violoncello E Pianoforte. Par CALLIGARIS SERGIO. Sergio Calligar...
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Per Clarinetto, Violoncello E Pianoforte. Par CALLIGARIS SERGIO. Sergio Calligaris was born in Rosario (1941), Argentina. He is one of the last musicians to incarnate the traditional 19th century figure of pianist, teacher and composer, inaugurated at the beginning of the 19th century by Muzio Clementi and carriedon after that by a sequence of famous names that the history of music has handed down to us. As a pianist, he began to give public performances at the age of 13, making his debut in his home town Rosario. Following this success, he embarked upon an extremely busy career as a soloist, giving numerous recitals in Buenos Aires and other citiesin Argentina. He continued to take advanced lessons with eminent exponents of the most prestigious international piano schools. In 1974 he became an Italian citizen and settled in Rome, teaching piano as principal instrument at the S. Pietro a Majella StateConservatory in Naples, the Luisa DAnnunzio Conservatory in Pescara and the Alfredo Casella Conservatory in Aquila. As a composer, he began - at just 9 years of age - to study in the rigorous school of Paul Hindemith, under the guidance of Father Luis Machado, from whom he inherited a love of counterpoint and a strong taste for harmony. He took a diploma incomposition, counterpoint and fugue at the age of 16 at the Amigos del Arte Society in Rosario, going on in 1964 to do an advanced course in 12-tone counterpoint at the Cleveland Institute of Music. The catalogue of his compositions, which has nowreached Op. 55, encompasses a huge range of instrumental/vocal chamber music and symphonic works: a vast and articulated catalogue, in which Sergio Calligaris’s composition expresses its inspiration through the dramatic development of a dialecticalcontrast between the two natures of the composer’s personality - the elegiac and the dithyrambic - which confront and interact with each other giving rise to artistic outcomes of a deeply moving nature. / Niveau : Intermédiaire / Répertoire / Clarinette, Violoncelle et Piano
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