and 10 Grand Etudes of Moderate Difficulty Op. 76. Par POPPER DAVID. These two new editions (BA 6978 BA 6979) of David Popper's cello studies are the first modern publications of these standard compositions. The Austrian born Popper composed these studies during his tenure at the Royal Conservatory in Budapest in the late 1890s and they were first published between 1901-05. The 40 etudes found in op. 73 focus on a wide range of techniques found in the major works in the cello literature. The 15 easy etudes are designed for the first years of lessons which lead to the 10 grand etudes which in turn lead to the op. 73 etudes. Martin Rummel's editions offer new bowings and fingerings to reflect modern playing. The 40 Etudes op. 73 also includes a German / English brochure containing technical tips and information by Rummel as well as references to the cello literature where the individual techniques are found. - First modern edition of these standard studies - With bowings and fingerings for today's cellists - Additional brochure to the 40 etudes with playing tips and references to where the techniques are found in the standard cello literature/ Etude / Violoncelle

Symphoniae Sex Senaeque Sonatae. Par WERNER GREGOR JOSEPH. Symphoniae sex senaeque Sonatae (Richard Moder). Jeweils eine dreisätzige Symphonia und eine viersätzige Kirchensonate bilden ein Paar, die beiden Stücke stehen einander meist tonartlich nahe, sind aber in . . . / Niveau : 2/2/2 - 3/2 / Répertoire / Musique de Chambre

Symphoniae Sex Senaeque Sonatae. Par WERNER GREGOR JOSEPH. Symphoniae sex senaeque Sonatae (Richard Moder). Jeweils eine dreisätzige Symphonia und eine viersätzige Kirchensonate bilden ein Paar, die beiden Stücke stehen einander meist tonartlich nahe, sind aber in . . . / Niveau : 2 - 3/2 - 3/2/2 - 3 / Répertoire / Musique de Chambre

Singen und Musizieren gehört zur Weihnachtszeit wie Baum, Geschenke und Plätzchen.Der Band Fröhliche Weihnachtszeit enthält Weihnachtslieder für jede Stimmung und für jeden adventlichen Anlass. Die Stücke für 1-2 Celli klingen solistisch oder im Duett. Durch die sehr leichten Bearbeitungen, können die Weihnachtslieder bereits von Anfängern gut bewältigt werden. Die Auswahl der Lieder reicht vom traditionellen deutschen Weihnachtslied bis zu internationalen Melodien. Aus dem Inhalt: Alle Jahre wieder, Fröhliche Weihnacht überall, Leise rieselt der Schnee, Stille Nacht, Wir sagen euch an, Jingle Bells, Rudolph the red-nosed reindeer, Winter Wonderland u.v.m. / 1 Ou 2 Violoncelle(s)

Brahms completed his Cello Sonata op. 99 during the productive summer of 1886. The first public performance took place in Vienna on 24 November of the same year. Robert Hausmann played the cello part and the composer himself was his partner at the piano. Even though the work was generally received positively, it took some years until it was fully appreciated and gained its irrevocable place in the cello repertoire.Of particular value to the editors were the two early performance editions of the Cello Sonata op. 99 by Hugo Becker and Carl Friedberg, as well as by Julius Klengel. Both cellists, Becker and Klengel, had a connection to Brahms who very much admired and trusted Becker's playing and who performed together with Klengel. This edition not only incorporates Becker's and Klengel's performance markings but also Hausmann's for whom the piece was written. As such, the Barenreiter edition comes with a cello part marked with fingering and bowing by the editors which are based on the practices of Brahms' contemporaries. We also provide an unmarked Urtext part.An important part of this edition is the extensive Preface. Firstly it informs about the work's origin, early performances, its publication as well as early reception. Truly remarkable is the unique Performance Practice Commentary. Here the editors take the premise that already a few decades after Brahms' death, a widening gulf developed between the composer's expectations and the performance practices of the early 20th century. In a very concrete and practical way, the editors summarize some of the key issues in understanding Brahms' notation with regard to rhythm and timing, dynamics and accentuation, dots and strokes, slurring and non legato, piano pedalling and overholding, piano arpeggiation and dislocation, string instrument fingering, string instrument harmonics and vibrato. In this way, the edition offers an exciting and often surprising insight into Romantic musical interpretation.- A pioneering Urtext edition- With an unmarked Urtext part- With a second part including fingering and bowing based on the practices of contemporaries of Brahms- With an extensive Performance Practice Commentary- For further information on Romantic performance practice we recommend the text booklet: 'Performance Practices in Johannes Brahms' Chamber Music?, BA 9600 / Violoncelle Et Piano

En 1826, Weber a écrit des arrangements musicaux de dix mélodies traditionnelles écossaises. Certains des textes de l'édition allemande de suivre les textes originaux en anglais, d'autres sont des textes totalement indépendants. / Violoncelle

Intermediate level arrangements with piano accompaniment, in a range flattering to each instrument. The music has been edited with added dynamics, - articulations and phrasing, making it appropriate for lessons or performances. The accompaniments have been recorded on an acoustic grand piano and are available online for download or streaming. Selections include: Ave Maria (Bach/Gounod) ? Ave Maria (Schubert) ? Bridal Chorus from Lohengrin (Wagner) ? Bist du Bei Mir (Stölzel) ? Canon (Pachelbel) ? Gymnopédie No. 1 (Satie) ? Hornpipe (Handel) ? Jesu, Joy of Man's Desiring (Bach) ? Minuet (Boccherini) ? Wedding March (Mendelssohn) ? and more.

for String Orchestra Score and Parts. Par NISHIMURA YUKIKO. Mimosa Shower was written with a sense of anticipation for spring. The brightness of D Major is perfect for string orchestra, and the yellow color of the mimosa flower reminds me of this key. Mimosa Shower opens with a vivid impressionistic introduction, followed by a gently flowing theme. Every instrument plays the melody which flows side to side. Yukiko Nishimura creates a dialogue between the sections of the orchestra, asking each part to have awareness of the conversation and to respond musically. The orchestra creates harmonies which ebb and flow as the wind blows through the mimosas. This level 4 piece is expressive, legato, intricate, with minimal time signature changes, and a memorable expression of the expectancy of mimosa blossoms in spring. / Date parution : 2022-07-30/ Répertoire / Orchestre à Cordes

This celebratory 70th Anniversary instrumental edition of one of the most famous MGM movie musicals features an historical essay and colour and black and white movie photos.Included are classic titles Over the Rainbow We're Off to See the Wizard as well as the song deleted from the movie The Jitterbug and more all arranged and edited for the Level 2-3 instrumental player.Also included is a CD which features live demonstration performances of the instrument tracks.

Streicheleinheiten, Heft 1, F. Streicher (Solistisch Oder Chorisch) 3 Vl Oder 2 Vl U Va Möglich. Par SCHWERTBERGER GERALD. Daß man im Streichquartett nicht nur “klassische” Musik spielen kann, beweisen das Kronos-Quartett oder das österreichische Motus-Quartett. Daß diese Musik auch solchen Ensembles zugänglich ist, die (noch) nicht aus lauter Virtuosen bestehen, beweist die . . . / Niveau : 1 - 2/1 - 2/1 - 2/1 - 2 / Eröffnungs-Rag - Csarda-Tschok - Eine langweilige / Répertoire / Musique de Chambre

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

Streicheleinheiten, Heft 2, F. Streicher (Solistisch Oder Chorisch) 3 Vl Oder 2 Vl U Va Möglich. Par SCHWERTBERGER GERALD. Die Musik Lateinamerikas zeigt, daß die Begegnung von spanisch-europäischer Musik mit afrikanischen und diversen indianischen Einflüssen zu Resultaten subtiler regionaler Charakteristik geführt hat. In Venezuela vertraute 'Ohrwürmer” gesehen vom europäischen ... / Niveau : 1 - 2/1 - 2/1 - 2/1 - 2 / Répertoire / Musique de Chambre

Für Oboe (Klarinette), Fagott Und Klavier. Par GERNOT WOLFGANG. Die Komposition verbindet aufs Neue die zwei Lieblingsbereiche des Komponisten: die 'E'-Musik des 20. Jh. sowie den Jazz. Vom Jazz kommen die rhythmischen Elemente, während die die Einflüsse der 'E'-Musik in der kompositorischen Entwicklung sowie in den formalen Aspekten hörbar sind. In harmonischer Hinsischt fühlt sich der in L. A. /USA lebende Komponist von beiden musikalischen Welten gleichermaßen inspiriert. Endlich wurde das Repertoire in der klassischen Poulenc-Trio Besetzung um ein zeitgemäßes Werk erweitert./ Répertoire / Musique de Chambre