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

Score Parties. Par BEETHOVEN LUDWIG VAN. When Beethoven wrote these three quartets he was 15 years old and a composition student of Christian Gottlob Neefe in Bonn. They reveal a strong Mozartian influence while the brilliant piano writing already gives a sense of the mature Beethoven. He may conceivably have written the works for the wealthy Mastiaux family in Bonn, as he gave piano lessons to one of the daughters and the other three siblings played violin, viola and violoncello. The sole source for the quartets is the autograph score which contains many overwritings that shed light on the works' original conception and possible alternative readings. Although Beethoven never published the pieces in his lifetime and is not known to have performed them, he reused their melodic and thematic material in later compositions. Beethoven preserved the autograph score to the end of his days ? perhaps an indication that the quartets meant a great deal to him. The first edition was published by Artaria in Vienna one year after his death, albeit with the pieces in a different order and with many errors in the musical text. Bärenreiter's scholarly performing edition of the Piano Quartets WoO 36 is edited by the Italian pianist Leonardo Miucci, a specialist in the performance practice of keyboard music from this period. The edition not only presents the correct readings, it also sheds light on the young Beethoven's expressive notation and provides a plausible explanation for the distinction he made between dots and strokes to indicate staccato./ Répertoire / Quatuor pour Piano, Violon, Alto et Violoncelle

for clarinet, violin, viola, cello, piano and percussion. Par PTASZYNSKA MARTA. Composition was written in 2008 on a commission from the University of Chicago for the celebration of the 100th anniversary of Olivier Messiaen's birth. This tree movement work attempts to refer to Messiaen's work, in particular to the beautiful sonorities of the Quatour pour la fin du temps. From ancient time the rainbow has been considered a symbol of reconciliation of man with God, literally, associated with a colourful spectrum of lights. In this work this colorful spectrum is audible in a multitude of sonorities and timbres which are gradually and continouously changing, similary to the spectral development of the colours in a rainbow. / Date parution : 2023-06-01/ Répertoire / Clarinette, Violon, Alto, Violoncelle, Piano et Pe

Si vous êtes un altiste et vous avez un couple d'amis qui jouent à un autre instrument à cordes, puis Trios pour cordes compatibles livre est fait pour vous! Cette collection contient 32 trios dans une variété de styles allant du classique à la musique folk de pièces originales qui sera amusant de jouer avec n'importe quelle combinaison de trois instruments à cordes.Trios sont un excellent moyen d'apprendre à jouer dans un cadre de musique de chambre et cette collection unique vous donne la possibilité de le faire avec quelqu'un d'autre qui joue d'un instrument à cordes - faire des combinaisons d'instruments qui peuvent être utilisés vaste.Trios pour cordes compatibles sont parfaits pour une utilisation en milieu scolaire où les élèves viennent dans le midi ou après l'école et qui veulent jouer pour le plaisir avec leurs amis. La flexibilité de ces trios en fait un must-have pour tout joueur de chaîne / Alto Et Cordes

Ce premier volume de Frottole regroupe les 22 unica à 2 et 3 voix d'un manuscrit italien de 1502 conservé à la Bibliothèque nationale de France. Il s'agit à l'origine de pièces vocales religieuses ou profanes. Les textes étant rédigés en italien ancien - probablement un idiome de la région de Mantoue ou Ferrare, où résidait le copiste Lodovico Milliare - il nous a malheureusement été impossible de les reconstituer. Néanmoins, et comme cela était implicitement admis à cette époque, les pièces présentées sont tout à fait adaptées au jeu instrumental. Conducteur + 3 parties de viole de gambe (1 dessus (ou alto ou ténor) et 2 basses) / Niveau : Facile / renaissance / Recueil / Consort de Violes de gambe

After Volumes IV and III of the series with Mozartâ??s complete string quartets appeared as Henle Urtext editions in early 2017 and 2019 respectively Mozart expert Wolf-Dieter Seiffert now presents Volume II â?? in full score and individual parts. Included are the â??Early Viennese Quartetsâ? from 1773 K. 168â??173. Entries in the autograph manuscript by the composerâ??s father Leopold however suggest that the ordering of the six works into a unified series of quartets was his doing. In his preface Wolf-Dieter Seiffert shares brand-new findings on the actual chronology of the genesis of these quartets. Moreover he succeeds in correcting what in prior editions were occasionalinaccuracies in dynamics and articulation thereby producing a new assured musical text. With artistic input from the Armida Quartet Volume II of the String Quartets also sets the benchmark in the Mozart Edition! After Volumes IV and III of the series with Mozartâ??s complete string quartets appeared as Henle Urtext editions in early 2017 and 2019 respectively Mozart expert Wolf-Dieter Seiffert now presents Volume II â?? in full score and individual parts. Included are the â??Early Viennese Quartetsâ? from 1773 K. 168â??173. Entries in the autograph manuscript by the composerâ??s father Leopold however suggest that the ordering of the six works into a unified series of quartets was his doing. In his preface Wolf-Dieter Seiffert shares brand-new findings on the actual chronology of the genesis of these quartets. Moreover he succeeds in correcting what in prior editions were occasionalinaccuracies in dynamics and articulation thereby producing a new assured musical text. With artistic input from the Armida Quartet Volume II of the String Quartets also sets the benchmark in the Mozart Edition!

12 Recital Pieces in First Position for Cello and Piano or Two Celli-Charming collections of easy pieces in first position. Each Cello part is supported by a Piano accompaniment for student performances. Alternately a second Cello part allows duo playing with the teacher during lessons. This early introduction to chamber music brings joy and satisfaction to the young cellist and teaches the student to hear the music as a whole. The two volumes are designed as companion publications to the Early Start on the Cello method. However they work equally well as a supplement to any other Cello method. A variety of rarely published works by well-known cellists and pedagogues such as Wilhelm Fitzenhagen HugoSchlemüller and August Nölck make these publications attractive to teachers and students. The Cello Recital Album Volume 1 can be used as a supplement to the Early Start on the Cello method Volumes 1 and 2 (BA 8996 and BA 8997). The 18 pieces in Volume 1 are structured to follow the same progression of finger patterns introduced in the Early Start method. This systematic progression helps the student to solidify the hand position and improve intonation. The basic bowing techniques do not require changes in bow speed or sounding point. The young performer can focus on a straight and beautifully placed bow that produces a pleasing and clear sound. The Cello Recital Album Volume 2 can be used as a supplement to the Early Start on the Cello method Volumes 2 and 3 (BA 8997 and BA 8998). The 12 pieces in Volume 2 are structured to follow the same progression of finger patterns introduced in the Early Start method Volumes 2 and 3. The later repertoire in this volume includes a careful introduction of downward and upward extensions.

20 Easy to Intermediate Pieces from four Centuries. Par NEUMANN EVA-MARIA (Arr.). Making music in a quartet uniquely nurtures young string players’ musical development, ensemble playing, listening to each other, and intonation. So, what could be more obvious than introducing the scoring of this genre, often referred to as chamber music’s supreme discipline, as early as possible. Indeed, composers have all along advised the classical string quartet’s outstanding compositions, but they are hardly easy to play for beginners. Here, with the present collection, is where Eva-Maria Neumann comes in. The two volumes include A total of 20 easy to intermediate arrangements of pieces from Bach to Bartók, together with specifically composed ones in string-quartet friendly keys - Reading scores and individual parts - additionally, individual part for violin III instead of viola - Tips on warming up, intonation, bowing, fingering, tempos, dynamics, and playing musically - Specific instructions for the individual pieces - Lists of supplementary original literature The pieces are also effective as scored for chorus./ Recueil / Quatuor à Cordes

The long awaited Sassmannshaus method ?Early Start on the Double Bass? is now here. At last students of the largest instrument in the string family can make use of this tried and tested method for beginners, developed by Egon Sassmannshaus for the other string instruments and applied here to the double bass by Holger Sassmannshaus and J. Peter Close. This method will meet the needs of the growing number of young bass students.?Early Start on the Double Bass? encompasses everything that one would expect from a Sassmannshaus method: an easy start, progression at a suitable rate, many cross-references to the other string instruments, songs and scales in different positions from early on, as well as many duets. Lively and colourful illustrations by Charlotte Panowsky complete the edition.For more than three decades ?The Sassmannshaus Tradition? has been the household name for excellence in beginner string methods in German-speaking countries. The English editions for violin, viola and violoncello, which were introduced to the international market in 2008, have proven to be very successful, particularly in the United States.Kids to the Bass!While children learning other string instruments can start as early as the age of four, the appropriate age to begin the double bass is approximately eight (possibly even six); this allows for a faster progression than on the other string instruments, and the method consists of only three volumes. The first volume will be published separately in an English and a German edition; the following two volumes will have German and English text in each book. Original compositions by Boguslaw Furtok enrich the volumes.- Based on the tried-and-tested Sassmannshaus methods for violin, viola and cello- Volume 1: Separate editions in German and English- Volumes 2 and 3: Bilingual, German/English editions- Moderate increase in difficulty- Position playing, duets- Includes new original compositions to B. Furtok- Volume 3 with piano accompaniments to 7 piecesThe authorsHolger Sassmannshaus is a double bass player with the Niederrheinische Sinfoniker in Mönchengladbach/Krefeld. He also teaches the double bass and performs with several other ensembles.J. Peter Close is a teacher for violoncello and double bass in Munich.

für Violine (Klarinette), Violoncello und Klavier. Par MENDELSSOHN-BARTHOLDY FELIX. Le titre' Songs Without Words ', choisi par Felix Mendelssohn Bartholdy pour sa fameuse collection de pièces pour piano essentiellement vocale, est devenu populaire extraordinaire. Peu de temps après sa publication, il a provoqué une vogue des arrangements de chansons populaires. centaines de chansons pour piano solo ont été composées, prétendant représenter des mélodies célèbres, sans pièces supplémentaires solo vocal-oder. D'autre part, les différents personnages de la trempe et la richesse inépuisable de mélodies '' Romances sans paroles '' semblent offrir une prolongation de la limitation sonore du piano par des instruments supplémentaires. Il est devenu évident dès lors que ces travaux qui (a) contient une seconde voix ou (b) une antienne en raison de la fréquente répétition de phrases, devrait être attribué à divers autres instruments. Le plus populaire d'entre eux, n 4 dans la présente publication, dans laquelle le dialogue entre la voix supérieure et inférieure est entouré d'un riche partie de piano était en droit DUETTO par le compositeur lui-même. ' / Répertoire / Clarinette, Violoncelle et Clavier

Born in South Africa but now an Irish citizen Kevin Volans? musical idiom has been shaped by an unusually diverse range of experiences including studies with Stockhausen in Cologne field trips to South Africa tostudy traditional music his own involvement with the New Simplicity movement his collection of contemporary art and African textiles friendships with composers like Morton Feldman and Gerald Barry as well as a love of virtuosopiano music which he performs broadcasts and records. While having an easily recognised unique voice Volans? music resists compartmentalisation. He is as comfortable working in conventional genres as embarking oninnovative collaborations with artists of other disciplines. String Quartet No.1 (White Man Sleeps) was written for the Kronos Quartet and was first performed by them in July 1986 London.The title?White Man Sleeps? comes from a moment in nyanga Panpipe music where the performers leave off playing their loud pipes for a few cycles and dance only to the sound of their ankle rattles to let the whitelandowner sleep for a minute or two.'In composing this piece I drew from the following sources: the first movement owes something to the style of Basotho concertina music; the second and fourth movements are drawnfrom traditional Nyungwe music played by Makina Chirenje and his Nyanga panpipe group at Nsava Tete Mozambique recorded and transcribed by Andrew Tracey (to be found in an article entitled ?The nyanga Panpipe dance? in AfricanMusic Vol.5 No.1 (1971); the third movement derives from the San bow music (recorded by Tony Traill of the University of Witwatersrand) and from Basotho lesiba music transcribed by myself; in the fifth movement I added my owninvented folklore. My approach to the original music was anything but purist it is played in Western tuning filtered slowed down by a few ?time-octaves? cast into non-African metres (like the 13-beat pattern of the first

String Quartet-A collection of 12 traditional carols for easy string quartet (Grade 2) from master arranger Bruce Healey. This group of delightful arrangements will become your most valuable resource of holiday music for years to come. Eachcarol is given a fresh creative treatment yet is expertly arranged with younger players in mind. Songs include: Away in a Manger ? We Wish You a Merry Christmas ? Deck the Halls ? Ding Dong Merrily on High? God Rest Ye Merry Gentlemen ? Greensleeves ? O Come All Ye Faithful ? Chanukah Oy Chanukah ? O Holy Night ? Pat-A-Pan ? Silent Night ? Three Holiday Songs (Medley including The DreydlSong Jingle Bells and Joy to the World).Also available for:00841986 Solo Violin and Piano 00842194 Solo Viola and Piano 00842195 Solo Cello and Piano String Orchestra:? 04490308 Conductor Score ? 04490309 Violin 1 part ? 04490310 Violin 2 part ? 04490311 Violin 3 part (Viola T.C.) ? 04490312 Viola part ? 04490313Cello part ? 04490314 String Bass part ? 04490315 Piano ? 04490316 Opt. Harp ? 04490317 Opt. Percussion

'Ma grand-tante s'appelait Valentine. Elle était née le 4 février 1888. A l'âge de 96 ans, elle se sentit fatiguée de vivre. Mais elle s'était fixée un but: devenir centenaire. A l'agonie peu avant ses 100 ans, elle revint à la vie pour demander: 'Combien de jours reste-t-il ?' Il restait six jours. Elle a murmuré: 'Je tiendrai. Je tiendrai'. Elle est morte le 4 février 1988. Pour son faire-part de décès, elle avait choisi ce verset de la bible: 'Elle a fait ce qu'elle a pu'. Avant de mourir elle avait brodé un drap à mes initiales. Je l'offris à mon ami Hervé, alors gravement malade, en souvenir de cette nuit, lointaine déjà, où il avait refusé de partager mon lit. Je l'invitai à dormir un peu avec moi. Et puis, j'aimais à croire qu'ayant été brodé par une femme devenue centenaire grâce à une volonté farouche, ce drap, auréolé de foi, lui transmettrait sa force' (Sophie Calle, Des Histoires vraies - Actes Sud).Le cri de l'étoffe n'est pas une illustration du texte de Sophie Calle. Mais il résonne en creux dans mon travail sur les étoffes. Cette pièce est dédiée à Gérard Pesson.Colin Roche2 exemplaires de cette partition constituent le matériel / Violon Et Violoncelle

Par LUCATO FABRICE / PLAYS JEAN-BERNARD. / Niveau : 1er Cycle / Répertoire / 2 Violons, Alto et Violoncelle