SKU: BT.EMBZ14886
9x12 inches.
The latest volume of Chamber Music for Violoncellos contains four sacral works, two of which were arranged for cello quartet by the editor of the series, Ãrpád Pejtsik. Both Angelus!, Liszt's piano piece of ethereal beauty, and the Kyrie of Mozart's Requiem, an irresistibly surging four-part fugue, are magnificent when played with the immensely rich sound of the four cellos. The second part of the volume contains a pair of inspired works by two prominent cellists and composers of the 19th century: Karl Friedrich Wilhelm Fitzenhagen's Consecration Hymn and Friedrich Grützmacher's Ave Maria. While an instrumental skill of at least intermediate level is required for playing the upperparts due to the use of higher positions, the lower parts can be performed by beginner cellists. The editor has assisted the appropriate interpretation of the works by providing the fingering and bowing. Band 15 der Reihe für Violoncelli enthält vier Kirchenmusikwerke. Die ersten beiden wurden vom Herausgeber der Reihe, Ãrpád Pejtsik, für Celloquartett arrangiert. Es folgen zwei Werke von zwei berühmten Cellisten und Komponisten des 19. Jahrhunderts:Karl Friedrich Wilhelm Fitzenhagens CONSECRATION HYMN und Friedrich Grützmachers AVE MARIA. Für die höheren Lagen sollten die Schüler mindestens fortgeschritten sein, die tieferen Lagen können von Anfängern gespielt werden. Der Herausgeber hat für eine werkgetreue Wiedergabe Fingersätze und Striche hinzugefügt.
Inhalt:1. Liszt: Angelus! Priere aux anges gardiens2. Mozart, Wolfgang Amadeus: Kyrie from the Requiem (K 626)3. Grützmacher, Friedrich: Consecration Hymn (Op. 65)4. Fitzenhagen: Ave Maria
Contents:1. Liszt: Angelus! Priere aux anges gardiens2. Mozart, Wolfgang Amadeus: Kyrie from the Requiem (K 626)3. Grützmacher, Friedrich: Consecration Hymn (Op. 65)4. Fitzenhagen: Ave Maria
SKU: BT.EMBZ14930
The latest volume of this popular series extends the repertoire of beginner and intermediate cello students with excellent transcriptions of works by music history's three great Bs. Ãrpád Pejtsik, the editor of the series, has transcribed the Trio Sonata in G Major for Flute, Violin and Basso continuo by Bach (BWV 1038), a witty bagatelle by Beethoven (WoO 56) and two archaizing piano works (Sarabande, op. posth. 5 no. 2, Gavotte, op. posth. 3 no. 1) by Brahms for three cellos. While intermediate instrumental skills are required due to the use of higher positions when in the upper two parts, the lower part can be performed by beginner cellists. Interpretation is helped byfingerings and bowings provided by the editor. The latest volume of the popular series extends the repertoire of beginner and intermediate cello students with excellent transcriptions of works by music historys three great Bs. Ãrpád Pejtsik, the editor of the series, has transcribed for three cellos the Trio Sonata in G Major for Flute, Violin and Continuo by Bach, a witty bagatelle by Beethoven and two works originally written for the piano (Sarabande,Gavotte) by Brahms in his youth. While at least intermediate instrumental skills are required due to the use of higher positions when playing the top parts, the bottom parts can be performed by beginner cellists. Interpretation is helped by thefingering and bowing being provided by the editor.Der neueste Band dieser beliebten Serie verfolgt das Ziel, das Repertoire der Celloschüler der Anfänger- und Mittelstufe mit ausgezeichneten Transkriptionen von Werken der drei großen Bs der Musikgeschichte zu bereichern. Ãrpád Pejtsik, der Herausgeber der Serie, bearbeitete neben Bachs Triosonate in G-Dur für Flöte, Violine und Basso continuo (BWV 1038) eine geistreiche Bagatelle von Beethoven (WoO 56) und zwei archaisierende Klavierstücke von Brahms (Sarabande, op. posth. 5 no. 2, Gavotte, op. posth. 3 no. 1) für drei Celli.
SKU: BT.EMBZ14661
Volume 9 in the series includes two works by Georg Goltermann (1824-1898) written for four cellos. The first work in the volume is the well-known Ständchen by Schubert, and the last is a transcription for four cellos of the equally popular Humoresque by Dvo ák. Since parts III and IV are easy, if the members of the ensemble are of equal ability it is possible in the repeated sections for an exchange of parts to take place between I and III, and between II and IV.Inhoud:1. Schubert, Franz: Ständchen2. Goltermann, Georg: Nocturne3. Goltermann, Georg: Religioso4. Dvoák, Anton n: HumoresqueDer 9. Band der Serie beinhaltet zwei auch ursprünglich für vier Violoncelli geschriebene Werke von Georg Goltermann (1824-1898). Das Eröffnungs- und Endstück der Ausgabe sind Transkriptionen, das erste das allgemein bekannte ‚Ständchen' von Schubert, letzteres die ebenfalls beliebte Humoresque von Dvo ák. Da die dritten und vierten Stimmen eher einfach sind, wenn die Musiker des Ensembles am selben Niveau spielen, besteht in den repetierenden Abschnitten die Möglichkeit, die ersten und dritten bzw. zweiten und vierten Stimmen vertauscht zu spielen.Sommaire:1. Schubert, Franz: Ständchen2. Goltermann, Georg: Nocturne3. Goltermann, Georg: Religioso4. Dvoák, Anton n: HumoresqueContents:1. Schubert, Franz: Ständchen2. Goltermann, Georg: Nocturne3. Goltermann, Georg: Religioso4. Dvoák, Anton n: Humoresque
SKU: BT.EMBZ14727
Volume 11 of this popular series contains seven trios for cellos, from various periods of music history: two 18th-century Hungarian dances, D. Gabrielli's Balleto and Sarabande, a set of variations by Joseph Haydn, two famous minuets by L. van Beethoven, an Andante by Dotzauer and one of Schubert's Ländler. Most of the works are playable by music school pupils, but the effective pieces by outstanding composers will be of interest to more experienced musicians as well.Inhoud:1. Chorea Hungarica from the Lcse tablature2. Saltus Hungaricus (Mártonfi manuscript, Cs ksomlyó, 1813)3. Gabrielli, Domenico: Balletto alla Francese4. Haydn, Joseph: Adagio con variazioni5. Beethoven, Ludwig van: 2 Menuette6. Dotzauer, Justus Johann Friedrich: Andante7. Schubert, Franz: LändlerDer elfte Band der populären Serie beinhaltet sieben Trios, ausgewählt aus der Musik dreier Jahrhunderte. Das in den 1660er Jahren in L cse aufgezeichnete Chorea Hungarica und das Saltus Hungaricus aus dem Mártonfi-Manuskript (Cs ksomlyó, 1813) verkörpern die alte ungarische Musik, ebenso wie das Balletto und Sarabande von Domenico Gabrielli, die 1684 herausgegeben wurden, das Barock. Haydns Werk in Variationsform, die zwei bekannten Menuettos von Beethoven und das Andante von Dotzauer repräsentieren die Wiener Klassik, Schuberts Ländler in diesem Band steht für die Romantik. Die Mehrheit der Werke lässt sich auch schon im Musikschulalter spielen, die frappanten Stücke derherausragenden Komponisten können aber auch mit dem Interesse versierterer Musiker rechnen. Sommaire:1. Chorea Hungarica from the Lcse tablature2. Saltus Hungaricus (Mártonfi manuscript, Cs ksomlyó, 1813)3. Gabrielli, Domenico: Balletto alla Francese4. Haydn, Joseph: Adagio con variazioni5. Beethoven, Ludwig van: 2 Menuette6. Dotzauer, Justus Johann Friedrich: Andante7. Schubert, Franz: LändlerContents:1. Chorea Hungarica from the Lcse tablature2. Saltus Hungaricus (Mártonfi manuscript, Cs ksomlyó, 1813)3. Gabrielli, Domenico: Balletto alla Francese4. Haydn, Joseph: Adagio con variazioni5. Beethoven, Ludwig van: 2 Menuette6. Dotzauer, Justus Johann Friedrich: Andante7. Schubert, Franz: Ländler
SKU: AP.36-52731568
ISBN 9781628767698. UPC: 660355072567. English.
The third volume in this series includes advanced-intermediate level duets compatible for violin, viola and cello, and the arrangements are also appropriate for gigs. This volume is true chamber music playing, as it uses higher positions, treble clef for viola, tenor clef for cello, and double stops in all parts.
These products are currently being prepared by a new publisher. While many items are ready and will ship on time, some others may see delays of several months.
SKU: BT.EMBZ14766
The latest volume in the series contains not too lengthy romantic works arranged for four cellos.In addition to two choral works by Liszt and an orchestral funeral march by Tchaikovsky, well-known piano pieces by Schumann, Chopin and Liszt served as the bases for these arrangements.The four parts differ in their degree of difficulty: the upper ones lie higher, while the lower ones are easier, playable at the level of the top classes in music schools. inhoud:1. Liszt: Consolations2. Liszt: LÉternel est son nom3. Liszt: O Roma nobilis4. Tchaikovsky: Marche funebre5. Schumann, Robert: Ein Choral6. Schumann, Robert: Figurierter Choral7. Schumann, Robert: Der Dichter spricht8. Schumann, Robert: Sylvesterlied9. Chopin: PréludeDer neueste Band der Serie beinhaltet für vier Violoncelli bearbeitete, nicht allzu umfangreiche romantische Werke. Als Grundlage der Transkriptionen wurden neben zwei Liszt-Chorwerken und einem orchestralen Trauermarsch Tschaikowskis auch wohlbekannte Klavierwerke von Schumann, Chopin und Liszt herangezogen. Der Schwierigkeitsgrad der vier Stimmen ist unterschiedlich: Die oberen sind höher gelegen, die unteren hingegen sind leichter und können schon in den obersten Klassen der Musikschule gespielt werden.Sommaire:1. Liszt: Consolations2. Liszt: LÉternel est son nom3. Liszt: O Roma nobilis4. Tchaikovsky: Marche funebre5. Schumann, Robert: Ein Choral6. Schumann, Robert: Figurierter Choral7. Schumann, Robert: Der Dichter spricht8. Schumann, Robert: Sylvesterlied9. Chopin: PréludeContents:1. Liszt: Consolations2. Liszt: LÉternel est son nom3. Liszt: O Roma nobilis4. Tchaikovsky: Marche funebre5. Schumann, Robert: Ein Choral6. Schumann, Robert: Figurierter Choral7. Schumann, Robert: Der Dichter spricht8. Schumann, Robert: Sylvesterlied9. Chopin: Prélude
SKU: BT.EMBZ14403
The third volume in the series contains Boccherini s two-movement Quartettino, an archaic-style Gavotte by Grieg, and Elegy by the outstanding 19th-century cellist Josef Werner. The first two pieces are published here for the first time in a version for four cellos.To give a clear overview, the score of each work is provided. Inhoud:1. Boccherini, Luigi: Quartettino2. Grieg, Edvard: Gavotte in Old Style3. Werner, Josef: ElegieInhalt:1. Boccherini, Luigi: Quartettino2. Grieg, Edvard: Gavotte in Old Style3. Werner, Josef: ElegieSommaire:1. Boccherini, Luigi: Quartettino2. Grieg, Edvard: Gavotte in Old Style3. Werner, Josef: ElegieContents:1. Boccherini, Luigi: Quartettino2. Grieg, Edvard: Gavotte in Old Style3. Werner, Josef: Elegie
SKU: BT.EMBZ14728
Volume 12 in the series contains works by great composers adapted for four cellos. They all share a festive mood. Beethoven's variations on the theme of the British nation anthem 'God Save the King' are followed by 'The Shepherds' Farewell' from Berlioz' oratorio The Childhood of Christ, and three Christmas pieces by Mendelssohn. The excerpt from Wagner's Parsifal - excellently transcribed by Hermann Jacobowsky at the end of the 19th century - is associated with Good Friday, but because of its sacred character its mood blends with that of the preceding pieces.Inhoud:1. Beethoven, Ludwig van: God Save the KingThema und Variationen2. Berlioz, Hector: The shepherds farewell3. Mendelssohn-Bartholdy, Felix: 3 Christmas pieces4. Wagner, Richard - Jacobowsky, Hermann: Aus dem ParsifalIm zwölften Band werden für Cello bearbeitete Werke von großen Meistern publiziert. Gemeinsam ist ihnen ihre feierliche Stimmung. Den Beethoven-Variationen auf das Thema der britischen Hymne ‚God save the King' folgen der ‚Abschiedsgesang der Hirten' aus dem Oratorium ‚Des Heilands Kindheit' von Berlioz und drei Weihnachtsstücke Mendelssohns. Der Ausschnitt aus Wagners Parsifal - in der hervorragenden Hermann Jacobowsky- Transkription vom Ende des 19. Jahrhunderts - ist mit dem Karfreitag verbunden, seine Stimmung passt jedoch durch seinen sakralen Charakter zu den vorherigen Stücken.Sommaire:1. Beethoven, Ludwig van: God Save the KingThema und Variationen2. Berlioz, Hector: The shepherds farewell3. Mendelssohn-Bartholdy, Felix: 3 Christmas pieces4. Wagner, Richard - Jacobowsky, Hermann: Aus dem ParsifalContents:1. Beethoven, Ludwig van: God Save the KingThema und Variationen2. Berlioz, Hector: The shepherds farewell3. Mendelssohn-Bartholdy, Felix: 3 Christmas pieces4. Wagner, Richard - Jacobowsky, Hermann: Aus dem Parsifal
SKU: HL.48025146
UPC: 196288096276.
Jacques Offenbach was not only one of the most successful composers of his time, but also an incomparable virtuoso on the cello - his ravishing playing in the salons of Paris caused many a swoon among the (female) audience. Under the opus numbers 49 to 54, he also presented a cello method in the form of duets of progressive difficulty. Offenbach would not be himself if the work did not meet the very highest standards both from an educational and a musical-compositional point of view, with an always typical naturalness and originality of style. All six volumes are equally suitable as a method of cello technique, duet playing, for enjoyable music-making at home as well as forconcert performances. The new edition in the Offenbach Edition Keck OEK complements the modernly edited music material by adding online links to audios ofthe individual parts as well as the duets in harmony.
SKU: BT.EMBZ14694
Volume 10 in the series contains works by Haydn, Mozart, Beethoven, Dvo ák and Schubert, arranged for cello quartet. Beethoven's Largo appassionato and the Slavonic dance by Dvo ák demand a higher level of instrumental skill. The Minuetto alla Zingarese by Haydn, the two Mozart chorales (Zwei deutsche Kir-chenlieder) and the four-cello version of Schubert's Death and the Maiden are easier to play. The first part and occasionally the second require facility in the higher positions, the lower parts are just as important and do not merely accompany the melody.Inhoud:1. Haydn, Joseph: Menuetto alla Zingarese2. Mozart, Wolfgang Amadeus: Zwei deutsche Kirchenlieder3. Beethoven, Ludwig van: Largo appassionato4. Dvoák, Anton n: Slavonic Dance5. Schubert, Franz: Der Tod und das MädchenDer zehnte Band der Serie beinhaltet für Cello-Quartett transkribierte Werke von Haydn, Mozart, Beethoven, Dvo ák und Schubert. Der Largo appassionato von Beethoven und der Slawische Tanz Dvo áks erfordern höhere technische Kenntnisse. Das Haydn-Werk Minuetto alla Zingarese, sowie die zwei Choräle von Mozart (Zwei deutsche Kirchenlieder) und die Version des Tod und das Mädchen für vier Celli sind alle leichter zu spielen. Die erste und an manchen Stellen auch die zweite Stimme verlangen die Beherrschung höherer Lagen, mit diesen werden aber auch die tieferen Stimmen gleichgestellt, welche nicht nur eine begleitende Funktion haben.Sommaire:1. Haydn, Joseph: Menuetto alla Zingarese2. Mozart, Wolfgang Amadeus: Zwei deutsche Kirchenlieder3. Beethoven, Ludwig van: Largo appassionato4. Dvoák, Anton n: Slavonic Dance5. Schubert, Franz: Der Tod und das MädchenContents:1. Haydn, Joseph: Menuetto alla Zingarese2. Mozart, Wolfgang Amadeus: Zwei deutsche Kirchenlieder3. Beethoven, Ludwig van: Largo appassionato4. Dvoák, Anton n: Slavonic Dance5. Schubert, Franz: Der Tod und das Mädchen
SKU: KU.GM-1911
ISBN 9790206202384. 9 x 12 inches.
Monumentum, Music for String Sextet, was written in 2014 to a commission from the Moritzburg Festival, The Chamber Music Society of Lincoln Center New York and the Kathe Kollwitz House in Moritzburg. It is dedicated to the cellist Jan Vogler. The world premiere took place on 19 August 2014 at the Moritzburg Festival, performed by Timothy Chooi & Mira Wang (violins), Roberto Diaz & Hartmut Rohde (violas), Jan Vogler & Harriet Krijgh (cellos). The American premiere took place on 7 May 2015 in the Lincoln Center with the Amphion String Quartet, the violist Yura Lee and the cellist Jan Vogler.The String Sextet Momentum commemorates the outbreak of the First World War, the death of Peter Kollwitz – who died as a volunteer, aged just 18, in the early weeks of the war – and the manner in which his mother, the artist Kathe Kollwitz, mourned the loss of her son. The artist worked through her pain by creating her most famous sculpture, The Mourning Parents. It stands today at the German soldiers’ cemetery at Vladslo in western Flanders, where her son Peter also lies buried. During the 18 years that she worked on the Parents, Kathe Kollwitz attended several concerts at the Volksbuhne in Berlin, where from January to February 1927 she heard Arthur Schnabel’s cycle of all the Beethoven piano sonatas. Schnabel performed the Sonata op. 111 in c minor on 26 February 1927, and this work touched her in particular, as we can read in her diary: “The strange flickering notes turned into flames – a moment of rapture, taking one into a different sphere, and the heavens opened almost as in the Ninth (Symphony). Then one found one’s way back – but it was a return after having been assured that there is a heaven. These notes are serene – confident – and good. Thank you, Schnabel!” This encounter with Beethoven’s last sonata inspired the artist to take up work again on her sculpture after a long interruption and to consider different possibilities for arranging the two figures. For this reason, the first minutes ofMomentum are derived from this sonata by Beethoven – though without it being quoted in an audible manner – and they leave their mark on the form of the Sextet. The number 18 and the date of Peter Kollwitz’s death (23 October 1914) also have a direct impact on the work’s dramaturgy. This music is mostly calm in nature, but is time and again interrupted unexpectedly, being disturbed by unruly sounds and vehement eruptions until time itself seems to dissolve in an aleatoric passage. The work ends with an extended lament on “seed corn should not be ground”, a line from Goethe’s Wilhelm Meister’s Journeyman Years. Kathe Kollwitz often quoted this phrase to argue for peace, and also took it as the title for a lithograph that she made in 1942. - David Philip Hefti
SKU: HL.49008156
ISBN 9790001122184. UPC: 884088073091. 9.0x12.0x0.175 inches.
These duet studies are intended as a companion volume and as additional exercises to the method 'Cello mit Spass und Hugo', but they are equally well suited as complementary material to any other course of study. Each piece tackles a clearly defined technical or tonal task, yet they are meant to be fun and useful additional to the chamber music repertoire in their own right. Initially the upper part is intended for the pupil, the lower one for the teacher. But as both parts are comparatively equal, they could also be attempted by two pupils. For group tuition it is suggested to introduce a couple of rhythmical accompanying parts.
