Sonata in B Flat Major (Cello)

For Viola Da Gamba-This superbly produced volume brings together nine of Bach's most performed compositions: six Cello Suites and three Sonatas for Viola da Gamba and Harpsichord. Reprinted from the definitive Bach-Gesellschaft edition.

Juvenilia Et Addenda - The Carl Nielsen Edition Vol. IV/1 Carl Nielsen was a Danish musician conductor and violinist widely recognized as his country's greatest composer. Nielsen is especially noted for his six symphonies his Wind Quintet and his concertos for Violin Flute and Clarinet. In Denmark his opera ‘Maskarade’ and many of his songs have become an integral part of the national heritage. Contents: Chamber MusicPolka for Violin; Duet for Violins; Romance for Violin and Piano in G Major; Romance for Violin and Piano in D Major; Sonata for Violin andPiano; Fantasy for Clarinet and Piano; Trio for Violin Cello and Piano; Quartet for Two Violins Viola and Cello in D Minor; Movement for Two Violins Viola and Cello in F Major (Add. 9); Movement for Two Violins Viola and Cello in F Major (Add. 10); Movement for Two Violins Viola and Cello in F Major (Add. 11); Movement for Two Violins Viola and Cello in G Minor; Movement for Two Violins Viola and Cello in F Sharp Minor; Movement for Two Violins Viola and Cello in B Flat Major; Trauermarsch for Two Violins Viola and Cello'Piano PiecesTwo Character Pieces; Norwegian Folk Dance; Andante; Piano Piece; Peasant Dance; Allegretto; Add. 22; Minuet; Add. 24; Andantino; Add. 26; A Little Piano Piece'CantataCantata for The Commemoration Of P.S. KrøyerArrangementsPrelude to 'Snefrid' for Piano; 'Snefrid' for Recitation and Piano Quintet; 'Elves' Dance' From 'Sir Oluf He Rides -'; 'Dance of the Handmaidens' from 'Hagbarth and Signe' for Piano; 'Canto Serioso' for Cello and Piano; Dances from 'Aladdin' for Piano; Excerpts from 'The Mother' for Piano; 'A Fair And Lovely Land' for Brass; Cantata for The Centenary of The Polytechnic College for Reciter Male Choir Strings and Piano; Counterpoint Exercises; Two Part Fugue (Add. 38); Two Part Fugue (Add. 39);

Piano Reduction including solo part. Par DENISOV EDISON. The catalogue of Edison Denisov's works includes 16 concertos. It was a genre to which he returned time and again throughout his life, from the Concerto for Cello and Orchestra of 1972 to the Double Concerto for Flute, Clarinet and Orchestra of 1996. In Denisov's music the role of the soloist, or rather the protagonist, is extraordinarily important, not so much for its virtuosity as for its confessional character. The solo part is a monologue distinguished by poetic diction and a very personal message from the composer. The dramaturgical conception of the Concerto for Saxophone and Orchestra, a reworking of the Viola Concerto of 1986, draws on traditional sonata form, thereby reaffirming the ubiquitous classicism in Denisov's thought. In this late work, we find all the typical features of his style: sinuous melodic lines layered into dense contrapuntal textures, and an interplay of orchestral colours, with pure sonorities contrasting with complex mixtures of sounds. It is a perfect dramaturgy that governs the evolution of the music to the very end. The first movement assumes the role of a sonata-allegro, with the standard formal sections of exposition, development, recapitulation and coda. The second movement is an Adagio for strings. The third takes the form of a little contrasting intermezzo that introduces both new thematic material and a new range of colours. Here tunefulness gives way to pointillism enriched with sonic effects. The only movement with a virtuosic solo part, its nervousness and inner tension set it worlds apart from the second and fourth movements that surround it. The fourth movement assumes the traditional form of a final set of variations. It is the dramaturgical and semantic heart of the concerto. The theme of the variations is Franz Schubert's Impromptu in B-flat major, op. 142, which in this case is 'born' from the celesta as the product of a dodecaphonic string cluster. This finale represents Denisov's homage to his great mentor, Schubert's music being for him a symbol of eternal and universal beauty. 'The attentive listener', Denisov stressed, 'will recognise that the Impromptu theme is already suggested very slowly in the course of the three preceding movements, not only thematically, but also psychologically. That's what makes the appearance of the Schubert theme sound so natural.' The variations relate to the variation genre less in their form than in their spiritual and conceptual metamorphoses. It is, one might say, 'music round about Schubert'. (Ekaterina Kouprovskaia-Denisova)/ Répertoire / Saxophone Alto et Piano

Par ROMBERG BERNHARD-HEINRICH. Format: New Edition portrait/ Répertoire / Violoncelle et Contrebasse

Par ZUMSTEEG JOHANN RUDOLF. Format: New Edition portrait/ Répertoire / Violoncelle et Contrebasse