SKU: TM.00689SET
Solo/pf.
SKU: HL.49019605
ISBN 9790001191272. UPC: 841886019607. 9.0x12.0x0.155 inches.
The genre of the violoncello concerto was born in 17th-century Italy. Thanks to the Venetian composer Antonio Vivaldi (1678-1741), there exists today not only a wealth of magnificent violin concertos but also quite a number of cello concertos to whose development he contributed considerably. More than two dozen of his concertos are dedicated to the violoncello, including probably the most famous double concerto: the Concerto for two violoncellos, string orchestra and basso continuo in G minor (RV 531) written after 1770. The sonorous work with its playful outer movements and expressive largo is published in this critical new edition on the basis of the sources. Arrangement: Suzanne Richter, Basso Continuo: Marcus Stein.
SKU: HL.49019635
ISBN 9790001191302. UPC: 841886019638. 9.25x12.0x0.111 inches.
The genre of the violoncello concerto was born in 17th-century Italy. Thanks to the Venetian composer Antonio Vivaldi (1678-1741), there exists today not only a wealth of magnificent violin concertos but also quite a number of cello concertos to whose development he contributed considerably. More than two dozens of his concertos are dedicated to the violoncello, including the probably most famous double concerto: the Concerto for two violoncellos, string orchestra and basso continuo in G minor (RV 531) written after 1770. The sonorous work with its playful outer movements and expressive largo is published in this critical new edition on the basis of the sources.
SKU: HL.49019633
ISBN 9790001191289. UPC: 841886019614. 9.25x12.0x0.13 inches.
The genre of the violoncello concerto was born in 17th-century Italy. Thanks to the Venetian composer Antonio Vivaldi (1678-1741), there exists today not only a wealth of magnificent violin concertos but also quite a number of cello concertos to whose development he contributed considerably. More than two dozens of his concertos are dedicated to the violoncello, including the probably most famous double concerto: the 'Concerto for Two Violoncellos, String Orchestra and Basso continuo in G minor (RV 531)' written after 1770. The sonorous work with its playful outer movements and expressive largo is published in this critical new edition on the basis of the sources.
SKU: HL.49019634
ISBN 9790001191296. UPC: 888680913090. 9.0x12.0x0.26 inches.
SKU: HL.14020990
ISBN 9780711923904. 5.5x7.5x0.283 inches.
If Davies's Cello Concerto has already evoked comparisons with Elgar's, that is perhaps an indication not only of its wealth of solo melody (there is hardly a page where the cello is not singing, or if not that, then dancing), and of its predominantly slow tempos, but also of its musical stature. This second Strathclyde concerto is a virtuoso piece for the entire ensemble, which is used almost throughout as a clutch of soloists rather than as a tutti block. The general tone is one of passionate but interior dialogue, especially in the opening Moderato and the slow movement; and though the finale is more extrovert, the work ends back in quietness and rumination.
SKU: HL.48188488
UPC: 888680866952. 8.5x11.75x0.543 inches.
“Composed in 1978 by Henri Dutilleux, Timbres, Space, Movement is a work for Orchestra, also named ?The starry night? after a painting by Van Gogh. It was commisioned by Mstislav Rostropovich for the National Symphony Orchestra of Washington and is dedicated to Charles Münch. This great orchestral work lasts approximately 20 minutes and depicts the content of the painting. It is written for a full orchestra without Violins or Violas. A sketch of the placement of the instruments is given in the book as its disposition differs from a full orchestra: The Cellos placed in a half-circle in front of the conductor. The Cellos represents the space with twirling solos and more stagnant sections while the lack of Violins and Violas is for the quiet and motionless part of the painting. The solo of the Winds and Drums characterizes the clouds and the light of the moon and the stars. It is divided in two parts: 1. Nébuleuse (Nebula) and 2.Constellations, which are divided by a Cello interlude. Henri Dutilleux was internationally acclaimed for his work winning prizes such as the Gold Medal of the Royal Philharmonic Society and the UNESCO's International Rostrum of Composers, amongst many others. His work also includes a Piano sonata, two symphonies, the Violin concerto 'L'arbre des songes' (The tree of dreams) and the Cello concerto 'Tout un monde lointain' (A whole distant word).â€.
SKU: BT.EMBZ14832
The source of this publication was issued in London in 1745 by John Walsh Jr. Walsh s publication contains six four-movement works, originally written for violin, solo cello, a keyboard instrument and a second cello to reinforce the bass of the latter, but the role of the violin is insignificant, so these works can be regarded as pieces for cello. Of the six works, the arranger of the volume was publishing the three most suitable ones to that as cello concertos the piano part incorporates both the violin interludes and the continuo. In the cello part higher positions do occur, but they do not necessarily require use of the thumb they are playable after 4-5 years intensivestudy of the instrument. Die 1745 in London veröffentlichten Stücke waren ursprünglich für Geige, Solo-Cello, ein Tasteninstrument und ein zweites Cello geschrieben. Die Rolle der Geige war jedoch so unwesentlich, dass es sich im Grunde um Cellowerke handelt. Von den ursprünglich sechs Werken hat der Arrangeur die drei geeignetsten ausgewählt, wobei die Klavierstimme die Geigen- und die Continuostimme in sich vereint. Die Cellopassagen sind für fortgeschrittene Spieler geeignet.
SKU: FG.55011-903-1
ISBN 9790550119031.
Victoria Yagling's Suite for Cello and String Orchestra (1967) is one of her first successes as a composer. The movement layout of the Suite is fast-slow-fast-slow. The first movement, Toccata, is a perpetual motion with a brisk tempo of 100 per dotted half. The Aria is reminiscent of Rachmaninov's Vocalise melody and Prokofiev's tonal language. This movement is the centerpiece of the Suite. The Humoresque is closely connected in style and motives to the March and Aria movements from Boris Tchaikovsky's Suite for Cello Solo. Mostly homophonic Finale plays with bitonality and contains several circle-of-fifth sequences.This product is is the reduction for violoncello and piano by prof. Yuriy Leonovich. Orchestral material available on hire from the publisher. Stydy score with solo part is available for sale (ISMN 9790550116436).Victoria Yagling (1946?2011) was born in Russia and lived in Finland since 1990. Her long career as a cellist served as an excellent accompaniment to the composition she began at an early age. For 11 years she was a cello student of Mstislav Rostropovich at the Moscow Conservatory and Dmitry Kabalevsky and Tikhon Khrennikov taught her composition.Yagling won the first prize in the Gaspar Cassadò Cello Competition and the following year the second prize in the Moscow Tchaikovsky Competition. Her solo engagements took her to countless countries. She has also taught at several international music courses and master classes and was often a jury member for international cello competitions.Yagling left a profilic oeuvre, and the three cello concertos are her main works. Her other orchestral works include Finnish Notebook, Lyrical Preludes and the Suite for Cello and String Orchestra. She has also composed solo works (e.g. the Suite for Cello Solo No. 1 chosen as an obligatory piece for the 7th Tchaikovsky Competition in Moscow in 1982), chamber works, including two string quartets, and vocal music. Her expressive, romantically orientated style is Russian in spirit and has grown out of the soil provided by Prokofiev and Shostakovich.
SKU: HL.14029849
8.5x11.75x0.409 inches.
Commissioned by the Lontano Ensemble, and first performed by them on 21st January 1981. In this piece, one instrument per movement is given musical prominence over the other two. Duration: c. 15 minutes.
SKU: HL.280392
UPC: 888680971069. 8.5x11.75x0.281 inches.
The Cello Concerto is in four main sections that are played without a break. As with most of my work, the music throughout is generated from the ideas presented in the fi rst few bars, and these ideas and their variants appear freely in the different sections. Recurring material and references to earlier sections are used deliberately to create not only a sense of unity but also an impression of familiarity that aspires to induce a dream-like perception of the passing music, a kind of spiral. The piece opens with a slow introduction that gradually quickens into the first main section, an allegro. The form of the second section, which is in a lighter mood, is based on an early 13th century verse form, the Sestina, which consists of six stanzas of sixlines each, followed by an envoi. The words that end each line in the first stanza are rotated in a strictly prescribed pattern* to give the line-endings of the remaining stanzas; in this adaptation, each line consists of four bars, and the repetitions ensue according to the plan. The intricate repetition inherent in this form can also be seen as a form of spiral. The third section is an extended slow movement interrupted by a quicker episode that refers to the fi rst section. Generally lighter and in a similar vein to the second section, the final section includes a reference to the slow movement before returning to the lighter music that ends the piece. This work is dedicated to Natalie Clein.
SKU: HL.14008396
ISBN 9780711921337. 8.5x12.0x0.533 inches.
This work was commissioned by the Royal Philharmonic Orchestra to celebrate its 40th birthday. The first performance took place in June 1986 at St. Magnus' Cathedral, Kirkwall, as part of the tenth St. Magnus Festival. Written for and first performed by Isaac Stern, Davies's Violin Concerto brings together two streams in his music: symphonism and folk-fiddling. In its strongly developed substance, it asks to be measured in the company of Beethoven, Brahms and Sibelius, while there is also, particularly in the middle movement, a strong element of the Scots lament. The orchestra is generally muted in colour, though there is a dramatic role for the timpanist. There are three movements, played without a break - this is only one of many connections with the Mendelssohn Violin Concerto. Duration c. 30mins.
SKU: BT.EMBZ14893
The concerto was inspired by István Várdai's play and is dedicated to him. The triple movement structure and the character of the movements follow the patterns of classical concertos, while the thematic connections spanning the movements rather reflect the structural principles of Romantic symphonies. In the first movement, which resembles the form of a sonata, the characters of the themes are spectacularly separated. The motif of the main theme, constructed with glissandos, is supplemented by a theme the composer refers to as a motif of fate, and the two together form a significant contrast with the minor theme with its lyrical tone and the playful, ending themeresembling a children's song. The contrasts between depth and height, as well as darkness and light, have a significant role in all three movements. The music of the first movement gradually rises to increasingly bright and higher regions, the gloomy atmosphere of the marginal parts in the second movement is offset by the tune's transcendental light in its central part, while the rondo theme of the third movement with its 6/8 metre dance-like character is supplemented with motifs of a contrasting nature from the earlier movements.
