Anthology Of Music For Cello 1

Compositori Italiani del XX secolo Vol. 1-• New volume of the Ricordi Instrumental Library series dedicated to the instrumental repertoire of the Twentieth Century. The series includes publications for piano violin/piano guitar and now cello/piano.• This anthology fills an editorial void by re-proposing a series of pieces that would otherwise be difficult if not downright impossible to find and yet have played a special role in the evolution of music for cello and piano in Italy.• The criteria adopted in choosing these pieces are: their musical value their interest from a piano teacher’s point of view and their ability to represent a given period in the history of Italian music and culture.

Music through the Ages-The second book in a three-volume anthology providing a graded selection of well-crafted and idiomatic arrangements as well as some original pieces for cello and piano. For Grade 2-3 standard.

(3CD set) CDs only. (These orchestral recordings present the complete excerpt, and the specific instrument is not omitted.) For corresponding sheet music anthology see EP 8663 / Cor

editor: Bernard Thomas arranger: Bernard Thomas Dance Music Instrumentation: 3-5 recorders (SAT/SATB/SSAT/SAATB/SATTB) Edition: performance score The Schott Recorder Consort Anthology presents a wealth of music from the fifteenth to the seventeenth centuries. Although the bulk of the collection is laid out for a variety of four-part ensembles there are also duets and trios, as well as five- and six-part pieces. The repertoire includes both original instrumental works and transcriptions of vocal pieces. There are lively and stately dances, fantasias, and arrangements of expressive madrigals, catchy chansons and more restrained religious pieces; all are chosen for their effective realization by recorder consorts. 136 Renaissance pieces with notes on sources, editorial technique and interpretation. Volume I contains a valuable introduction to the series and to the art of consort playing. 2-6 recorders: Descant, Treble, Tenor, Bass in various combinations. Anonymous: La Danse de Cleves (SAT) Anonymous: Pavana in passo e mezzo (SATB) Anonymous: Saltarello La barca del mio amore (SATB) Anonymous: Pavana La fasane (SATB) T. Susato: Bergerette Dont vient cela (SATB) J. d'Estrées: Basse danse Bernadine (SSAT) E. du Tertre: Pavane & Gaillarde (SAATB) E. du Tertre: Branle de la guerre (SATB) E. du Tertre: Branle (simple) (SATB) E. du Tertre: Branle (simple) (SATB) P. + B. Hessen: Allemande Jamais n'aymeray masson (SATTB) C. Othmayr: Ein beurisch Tanz (SSAT) Anonymous: Polish Dance (ATTB) G. Mainerio: Putta nera ballo furlano (SATB) G. Mainerio: L'arboscello ballo furlano (SATB) Anonymous: Pavan with Divisions (SSATB) A. Holborne: Pavan (SAATB) A. Holborne: (Nowell's) Galliard (SATTB) C. Negri: Barriera (SATB) C. Negri: Bianca fiore (SATB) G. Zanetti: Passo e mezzo (SATB) G. Zanetti: Ballo de colla (SATB) G. Zanetti: Pavaniglia (SATB) G. Zanetti: La bella pedrina (SATB) P.F. Caroubel: Branle gay I (SAATB) P.F. Caroubel: Branle gay II (SAATB) P.F. Caroubel: Branle gay III (SAATB) M. Praetorius: Ballet (SATB) M. Praetorius: Ballet (SATB) M. Praetorius: Ballet des matelotz (SATB) M. Praetorius: Volte (SAATB) W. Brade: Courante (SSATB) after Playford: Grimstock (SATB) after Playford: Goddesses (SATB) after Playford: Heart's Ease (SATB)

Uhtceare for Flute Percussion Violin and Cello. Composed 2014 published 2016. Score included in UYMP's Firewheel Anthology (ISMN M-57036-615-6) recorded by Dark Inventions. Duration: 8'30'. Uhtceare is an Old English word meaning ‘anxiety before dawn’ surely a familiar experience to many not just the Anglo-Saxons. I particularly associate it with the half-awake early-morning asthma attacks that I had as a child. The piece starts in a nocturnal dreamlike state with chords that pulse gently like the rise and fall of breaths. These swelling patterns become increasingly fraught while soloists sporadically emerge witha sense of urgency and culminate in a loud chaotic passage where the percussionist moves from tuned Percussion to Drums. Following this the Flute plays agile looping figures that are soon mimicked by the Violin and then the Vibraphone. These figures are frenetic but harmonically static so that when all three instruments are playing them simultaneously there is a whirlwind of activity that paradoxically seems to remain stationary. I thought this was a fitting musical analogue for the fruitless but insistent circling of anxious early-morning thoughts. A dramatic Cello solo interrupts these imitative cycles and leads the ensemble in a cacophonous final crescendo. Commissioned by Dark Inventions and first performed by them on 8th May 2014 at The Engine House Manchester.

Martin Scheuregger's Death And The Lady for Voice Clarinet and Cello. Composed 2014 published 2016. Score included in UYMP's Firewheel Anthology (ISMN M-57036-615-6) recorded by Dark Inventions. Duration: 4 minutes. This is a simple arrangement of the traditional folksong for Voice Clarinet and Cello which aims to let the haunting melody take centre stage. The cautionary tale tells of a woman who meets Death earlier than she wishes. Commissioned by Dark Inventions first performed by them on 8th May 2014 at The Engine House Manchester.

The Four Last Things for Clarinet Percussion and Cello. Composed 2014 published 2016. Score included in UYMP's Firewheel Anthology (ISMN M-57036-615-6) recorded by Dark Inventions. Duration: 8 minutes. The Four Last Things takes its title from Hieronymus Bosch’s painting ‘The Seven Deadly Sins and The Four Last Things’ a work of art that depicts its religious subject matter in the visceral style associated with its artist. Bosch’s work has always fascinated me: its detail immediacy and sometimes grotesque subject matter keep me coming back to it. There is no direct parallel with the painting in this piece but inspiration has been taken from the manner in which Bosch juxtaposes images whilst creating consistency and continuity between individual parts. The simultaneous discreteness and dependency of separate elements is mirrored in the treatment here of instruments as both soloists and part of the group. Each player has moments of overt dominance but even whilst providing more of an accompanying role they still present material that is striving to be heard above the rest. Commissioned by Dark Inventions and first performed by them on 8th May 2014 at The Engine House Manchester.

Möbius Sticks for Clarinet Percussion and Cello. Composed 2014 published 2016. Score included in UYMP's Firewheel Anthology (ISMN M-57036-615-6) recorded by Dark Inventions. Duration: 5 minutes. Named after German mathematician August Ferdinand Möbius a Möbius strip has only one surface and one boundary. Inspired by this phenomenon Möbius Sticks is built around a constantly twisting but ultimately singular melodic line set in motion by the Percussion. The other instruments weave melodic strands and try to impose some sense of direction on proceedings but all they can do is merely shed a slightly differing light on theinfinitely repeating strip that runs through the centre of the piece. Commissioned by Dark Inventions and first performed by them on 8th May 2014 at The Engine House Manchester.

The Cruel Mother for Voice Flute Clarinet Violin and Cello. Composed 2014 published 2016. Score included in UYMP's Firewheel Anthology (ISMN M-57036-615-6) recorded by Dark Inventions. Duration: 6-7 minutes. The murderous tale of infanticide that is told in The Cruel Mother ballad is widely known in a number of forms. It has been performed and recorded by folk singers such as Martin Carthy Maddy Prior and Bella Hardy amongst many others and inspired Down by the Greenwood Side by Harrison Birtwistle. The particular melody used in this arrangement was collected by H.E.D. Hammond in Dorset in 1907. Thematter-of-fact representation of the terrible tale that characterizes the tune is augmented by the quintuple metre and cheerful instrumental refrain. Commissioned by Dark Inventions and first performed by them on 8th May 2014 at The Engine House Manchester.

Unsurpassed in his day as a lute virtuoso, John Dowland (1563–1626) today continues to delight singers, musicians, and music lovers alike. This collection of 45 songs includes all the works in Dowland's original third and fourth books of lute songs, the composer's contributions to his son's anthology of 1610, and a dance for solo guitar. Content : THE THRID AND LAST BOOKE I. Farewell too fair II. Time stands still III. Behold a wonder here IV. Daphne was not so chaste V. Me, me and none but me VI. When Phoebus first did Daphne love VII. Say Love if ever thou didst find VIII. Flow not so fast ye fountains IX. What if I never speed? X. Love stood amaz'd XI. Lend your ears to my sorrow XII. By a fountain where I lay XIII. Oh what hath overwrought XIV. Farewell unkind farewell XV. Weep you no more, sad fountains XVI. Fie on this feigning XVII. I must complain XVIII It was a time when silly bees could speak XIX. The lowest trees have tops XX. What poor astronomers are they XXI. Come when I call (for two voices and two lutes) A PILGRIMES SOLACE I. Disdain me still II. Sweet stay awhile III. To ask for all thy love IV. Love those beams V. Shall I strive with words to move (Mignarda, a galliard is Dowland's title for the solo lute version of the lyre Shall I strive with words to move. VI. Were every thought an eye VII. Stay Time awhile thy flying VIII. Tel me true Love (with chorus) The next three with treble and bass viols ofr violin and cello: IX. Go nightly cares X. From silent night XI. Lasso vita mia XII. In this trembling shadow XIII. If that a sinner's sighs A three-part work: XIV. Thou mighty God XV. When David's life XVI. When the poor cripple XVII. Where sin sore wounding XVIII. My heart and tongue were twins The next with chorus: XIX. Up merry mates XX. Welcome black night XXI. Cease these false sports THREE AYRES FROM A MUSICALL BANQUET Far from triumphing Court Lady if you so spite me In darkness let me dwell GALLIART TO LACHRIMAE A lute solo from A Pilgrimes Solace, transcribed for guitar