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A Musical Odyssey for Cello & Piano - Cello Part Bk2 Levels 4-6 with preparatory exercises by Wendy
A Musical Odyssey for Cello & Piano - Cello Part Bk2 Levels 4-6 with preparatory exercises by Wendy
$9.99
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Cello, Piano
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Barbara Arens
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Barbara Arens
PRINCE OF DENMARKS MARCH - for Piano, Violino and Cello
PRINCE OF DENMARKS MARCH - for Piano, Violino and Cello
$12.99
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Piano Trio: piano, violin, cello
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Jeremiah Clarke
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Milton Ferreira Junior
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Milton Ferreira Junior
You Raise Me Up (for Cello Solo with Piano accompaniment) ~ Weddings/Valentine's Day
You Raise Me Up (for Cello Solo with Piano accompaniment) ~ Weddings/Valentine's Day
$4.99
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Cello, Piano
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Selah
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Sharon Wilson
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Sharon Wilson
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Details
Details
Concert Pieces For Cello And Piano
Cello, Piano
[Sheet music]
Barenreiter
Edition no.: BA9695 ISMN: 9790006536580 Volume / Series: Bärenreiters Cello Col...
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Edition no.: BA9695 ISMN: 9790006536580 Volume / Series: Bärenreiters Cello Collection Editor: Sassmannshaus, Christoph Instrumentation of the work: Violoncello, Piano Product format: Piano reduction, Part(s), Teaching material Includes the following individual parts: Violoncello, Piano Binding: Stapled Pages / Format: 32/64 S. - 30,0 x 23,0 cm In the line with the series Bärenreiter's Concert Pieces which comprises editions geared towards young violinists, we are now publishing a separate collection for young cellists playing their first concerts. This edition contains 18 easy-to-learn concert pieces from the Baroque, Classical and Romantic periods including Dvorák’s Humoresque, Mendelssohn Bartholdy’s Song without Words, Fauré’s Berceuse and The Swan by Camille Saint-Saëns. The editor is Christoph Sassmannshaus, the grandson of the founder of The Sassmannshaus tradition, Egon Sassmannshaus. - Pieces for solo cello with piano accompaniment - Easy to medium difficulty - Ideal repertoire for cellists who have completed Early Start on the Cello, volumes 3 and 4 (BA 8998, BA 8999) A selection: Simonetti, Madrigal / Beethoven, Minuet / Dvorák, Humoresque / Wolf, Wiegenlied / Goltermann, Notturno / Klengel, Sarabande / Mendelssohn Bartholdy, Song without Words / Fauré, Sicilienne / Saint-Saëns, The Swan
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Edward Mollenhauer: The Infant Paganini: Cello: Instrumental Work
Cello, Piano
-
Easy
Barenreiter
Fantasia transcribed for violoncello and piano by Christoph Sassmannshaus-Born i...
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Fantasia transcribed for violoncello and piano by Christoph Sassmannshaus-Born in Erfurt the composer Edward Mollenhauer (1827 1914) achieved success in America as a soloist and teacher. His best-known pieces for young violinists are The Infant Paganini and The Boy Paganini. Both appear here in their original version for Violin and Piano and for the first time in a transcription for Cello and Piano by Christoph Sassmannshaus.The Mollenhauer fantasia The Infant Paganini is a charming introduction to early virtuoso techniques. It calls for bowing techniques such as detaché legato spiccato and arpeggios over three strings. Players are also expected to play harmonics andpizzicato.It (BA 10693) can be mastered by young Cello students who are working with volume 4 of the Sassmannshaus Early Start on the Cello and can manage first to fourth position.The Boy Paganini is an impressive concert piece which is more demanding. Its two movements call for changes of metre harmonics and pizzicato. Other challenges include chords on all four strings and simple passages in octaves. On the Cello (BA 10694) the student must be able to play in first to fourth position.Both violinists and cellists should have completed volume 4 of Early Start on the Violin and Early Start on the Cello respectively in order to master this work.- Popular recital pieces for young violinists and cellists.- Both works form an ideal continuation of the Sassmannshaus Early Start methods.- Pieces originally scored for Violin now also available for the first time for Cello.Violin editions:The Infant Paganini BA10691The Boy Paganini BA10692
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Edward Mollenhauer: The Boy Paganini: Cello: Instrumental Work
Cello, Piano
[Sheet music]
-
Intermediate
Barenreiter
Fantasia transcribed for violoncello and piano by Christoph Sassmannshaus-Born i...
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Fantasia transcribed for violoncello and piano by Christoph Sassmannshaus-Born in Erfurt the composer Edward Mollenhauer (1827 1914) achieved success in America as a soloist and teacher. His best-known pieces for young violinists are The Infant Paganini and The Boy Paganini. Both appear here in their original version for Violin and Piano and for the first time in a transcription for Cello and Piano by Christoph Sassmannshaus.The Mollenhauer fantasia The Infant Paganini is a charming introduction to early virtuoso techniques. It calls for bowing techniques such as detaché legato spiccato and arpeggios over three strings. Players are also expected to play harmonics andpizzicato.It (BA 10693) can be mastered by young Cello students who are working with volume 4 of the Sassmannshaus Early Start on the Cello and can manage first to fourth position.The Boy Paganini is an impressive concert piece which is more demanding. Its two movements call for changes of metre harmonics and pizzicato. Other challenges include chords on all four strings and simple passages in octaves. On the Cello (BA 10694) the student must be able to play in first to fourth position.Both violinists and cellists should have completed volume 4 of Early Start on the Violin and Early Start on the Cello respectively in order to master this work.- Popular recital pieces for young violinists and cellists.- Both works form an ideal continuation of the Sassmannshaus Early Start methods.- Pieces originally scored for Violin now also available for the first time for Cello.Violin editions:The Infant Paganini BA10691The Boy Paganini BA10692
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Saint-saens C. - Chant Saphique, Op. 91 - Violoncelle Et Piano
Français
Cello, Piano
Durand
Musical Category : violoncello o 2 violoncelli e pianoforte pour violoncelle & ...
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Musical Category : violoncello o 2 violoncelli e pianoforte pour violoncelle & piano
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Benedetto Marcello: Sonata No. 1 F Major: Cello and Accomp.: Instrumental Work
Cello, Piano
G. Henle
The sonatas published in 1732 in Amsterdam, London and Paris under Benedetto Mar...
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The sonatas published in 1732 in Amsterdam, London and Paris under Benedetto Marcello?s name are to the present day firmly established in the cello repertoire. Although Marcello?s authorship is not undisputed ? by this time, the composer had already specialised in sacred works ? the musical beauty of the sonatas is all the more captivating. This four-movement F major Sonata offers all cellists well-versed in the first four positions a good introduction to the classical literature and to reading tenor clef. In this Urtext edition, the figured continuo part is additionally furnished with an easy-to-play keyboard realisation by Wolfgang Kostujak. The enclosed solo part provides fingerings and bowing marks for the cellist ? and thus the optimal provisions for a class recital!
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Gabriel Fauré: Papillon Op 77 Cello/Piano: Cello: Instrumental Work
Cello, Piano
G. Henle
for Violoncello and Piano-After the great success of his Élégie (HN 563) Faur...
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for Violoncello and Piano-After the great success of his Élégie (HN 563) Fauré?s publisher Hamelle urged him to write another similarly effective piece for cello and piano. Papillon was probably already composed in 1884 though it was only published in1898. Whereas Fauré just wanted to call it ?Piece for violoncello? his publisher insisted on a more evocative title and ultimately succeeded in giving it its present name (meaning ?butterfly?). But Fauré is said to have beenindignant remarking: ?Butterfly or dung fly use whatever you want?. The success of the work proved Hamelle right Papillon is today just as popular with cellists as the Élegie and is now available as a Henle Urtext edition.
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Salvatore Sciarrino: Melencolia I: Cello
Cello, Piano
Ricordi
Per Violoncello E Pianoforte
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Benedetto Marcello: Sonata in F Op.2 No.1: Cello: Instrumental Work
Cello, Piano
[Sheet music]
-
Intermediate
Peters
Italian-born composer Benedetto Marcello (1686-1739) composed a diversity of mus...
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Italian-born composer Benedetto Marcello (1686-1739) composed a diversity of music from church music and oratorios to solo cantatas duets and sonatas. Benedetto was a younger contemporary of Antonio Vivaldi and his music can be easily recognised as having a ‘Vivaldian flavour’.Available here is one his first compositions for solo Cello and Continuo the Sonata in F Op.2 No.1 realised here with a Piano accompaniment. This edition has been edited by Walter Schulz and Eberhard Wenzel.
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Edward Elgar: Salut d'Amour Op. 12 For Violoncello And Piano: Cello: Score
Cello, Piano
[Sheet music]
G. Henle
Salut d'amour op. 12 for Violoncello and Piano-Edward Elgar’s Salut D’...
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Salut d'amour op. 12 for Violoncello and Piano-Edward Elgar’s Salut D’Amour is one of those pieces by the British composer that has a particularly haunting melody. Composed in 1888 for his future wife Caroline Alice Roberts the work became anenormous success early on. There are numerous arrangements but the only versions for which the autograph manuscripts survive are those for Violin and Piano (HN 1188) Piano solo (HN 1190) and Violoncello and Piano.Up tonow there has only been an arrangement of the Cello part made by the original publisher presumably with Elgar’s approval. We are now for the very first time publishing the version following Elgar’s autographmanuscript which for unknown reasons had never been released. In addition we are publishing the trusted musical text from the first edition.
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B Kelly: Sonatina: Cello: Instrumental Work
Cello, Piano
[Sheet music]
-
Advanced
Spartan Press
'Apart from the piano the cello is my favourite instrument. I taught myself how...
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'Apart from the piano the cello is my favourite instrument. I taught myself how to play it while still at school then took lessons with John Snowdon when I was a student at the R.C.M.. I had to give the cello up to concentrate on other things but my love for the instrument lingered on and in the past few years I have written works for two four and eight cellos so it seemed logical to write something for one hence this Sonatina! The dedication is to Naomi Butterworth who has championed my cello music and given many performances of it.'Bryan Kelly
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Butt-Chen: Cellowise 2: Cello: Instrumental Album
Cello, Piano
[Sheet music + CD]
Spartan Press
Another volume in this highly acclaimed series premiering sensational new arrang...
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Another volume in this highly acclaimed series premiering sensational new arrangements for cello. CELLOWISE 2 includes Lacrimosa by Mozart Paganini's La Campanella Prokofiev Romeo and Juliet Brahms Waltzes Op. 39 and Bach's Gavotte en Rondeau from Violin Partita in E made famous by Segovia.With the drama and spectacle of Prokofiev's Romeo and Juliet acrobatic leaps and fun of the Fair in Moussorgsky's Gopak reflective chiaroscuro of the Brahms Waltzes the fireworks of Paganini's La Campanella mystical Lacrimosa of Mozart's Requiem or Bach's colourful variations in the Gavotte en Rondeau this selection explores vivid and dramatic themes fromthe great Classics. It is idiomatic to the cello clear and accessible in technical format and makes a practical and versatile concert handbook for cellists of all ages.ContentsBach   * 3. Polonaise (from Suite No. 2 BWV 1067)   * 4. Gavotte en Rondeau (from Partita No. 3 in E major BWV 1006)Brahms   * 7. Waltz op. 39 No. 9   * 8. Waltz op. 39 No. 15Handel   * 1. Hornpipe (from the Water Music)   * 2. Air (from the Water Music)Mozart   * 5. Lacrimosa (from the Requiem K626)Mussorgsky (Moussorgsky)   * 9. Gopak (from Sorochintsky Fair)Paganini   * 6. La CampanellaProkofiev   * 10. Montagues and Capulets (from Romeo and Juliet)
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Robert Schumann: Five Pieces In Folk Style Op.102 - Cello Version: Cello:
Cello, Piano
[Sheet music]
G. Henle
Op 102-Although Schumann had learnt the cello for a while in his youth he only ...
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Op 102-Although Schumann had learnt the cello for a while in his youth he only began to compose for this instrument in later life. Apart from the cello concerto only his Five Pieces op. 102 have survived as original works for thecello. Clara was delighted with them: 'These are pieces in folk style with such a freshness and originality that I was enchanted'. The 'Neue Zeitschrift für Musik' wrote: 'These pieces are less apt for a virtuoso player than awell versed one who can speak on his instrument with tone and meaning.' This edition in the best Urtext quality is particularly to be recommended for teaching purposes and for making music at home.
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Franz Joseph Haydn: Cello Concerto In C Hob.VIIb: Cello: Instrumental Work
Cello, Piano
G. Henle
Haydn’s Concerto for Violoncello and Orchestra in C major (Hob. VIIb:1) was...
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Haydn’s Concerto for Violoncello and Orchestra in C major (Hob. VIIb:1) was probably composed between 1762 and 1765 when he was already director of music to Prince Esterh zy. It may have been writtenfor the cellist in the court Orchestra Joseph Weigl (1740-1820) for whom Haydn most likely also wrote the solo Cello parts in his early symphonies. Weigl was a member of the Esterh zy ensemble from 1761 to 1769 andthereafter served as a principle cellist in various Viennese ensembles.The concerto was rediscovered by Oldrich Pulkert who in 1961 found an eighteenth-century manuscript copy (Prag National Museum Fonds Radenin) andpublished the concerto in 1962. Previously the existence of this piece was known only through Haydn’s entry in his private list of works (the so-called ‘Entwurf’ [‘draft’] catalogue).The Orchestral setting ismodest: besides the Strings (with a non-obligato Bassoon doubling the Bass part) there are two Oboes and two Horns which are reserved almost exclusively for the tutti passages.This Piano reduction is based on the text givenin the complete edition of Haydn’s works as edited by the Joseph Haydn Institute Cologne (Joseph Haydn Werke Series III Vol.2 with Preface and Critical Report published by G. Henle Verlag Munich 1981). The Cello partin the Piano reduction is identical to that of the complete edition and thus follows the Prague source as closely as possible even in the expression marks and in certain peculiarities of notation.
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Camille Saint-Saëns: Sonata No.1 In C Minor Op.32: Cello: Instrumental Work
Cello, Piano
G. Henle
Sonata no.1 in c minor op. 32-At the beginning of the 1870s Camille?Saint-Saën...
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Sonata no.1 in c minor op. 32-At the beginning of the 1870s Camille?Saint-Saëns showed a particular fondness for the Violoncello. He completed his first Cello Sonata in December 1872 immediately after finishing his first Cello Concerto.The sonata is strongly reminiscent of Beethoven not only due to the key of c minor but also predominantly on account of its gripping dramatic art. The exceptional position of this demanding in parts highly virtuosicsonata was quickly recognised by the public and critics and so the work soon found its way into concert repertoire.?Henle's Urtext edition takes all surviving sources into account for the first time ever. PascalRogé and David Geringas kindly provided the markings for the Piano and Cello parts.
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Gabriel Fauré: Romance In A Op. 69 For Violoncello And Piano: Cello: Score and
Cello, Piano
G. Henle
For Violoncello And Piano-This brief utterly charming and tuneful piece was pro...
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For Violoncello And Piano-This brief utterly charming and tuneful piece was probably committed to paper in 1894 though Fauré based it on an older version for cello and organ. The subsequent tempo change to ?Andante quasi Allegretto? made the work?soriginal title of ?Andante? obsolete. The change of name to ?Romance? was also better suited to its songlike nature. After its first performance in November 1894 the piece rapidly became popular and is a well-loved encore piece atconcerts today. This ?Romance? continues the Henle Urtext series of short pieces for cello by Fauré for which we have been able to engage David Geringas to add the performance markings.
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Elgar E. - Konzert Für Violoncello Und Orchester Op.85 - Violoncelle Et Piano
Cello, Piano
Barenreiter
Das Cellokonzert war Edward Elgars letzte große Komposition. Es besticht durch ...
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Das Cellokonzert war Edward Elgars letzte große Komposition. Es besticht durch eine klare Struktur, ist aber gleichzeitig auch eine sehr emotionsgeladene Komposition. Kein Wunder, dass dieses Werk einen zentralen Platz in der Celloliteratur einnimmt.
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Camille Saint-Saëns: Allegro Appassionato In B Minor Op.43: Cello: Instrumental
Cello, Piano
[Score and Parts]
Barenreiter
Since its premiere in 1873 this work has held an important place in the Violonce...
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Since its premiere in 1873 this work has held an important place in the Violoncello repertoire. It is on the one hand a short charming composition; on the other hand equally important is its use in instruction during the first few years of playing. Central here are the articulation of the opening theme and its various repetitions juxtaposed with lyrical passages calling for legato playing.Christine Baur's new scholarly-critical edition is based on a thorough examination of all the sources including Saint-Saëns' later orchestral version. The edition incorporates many articulation alternatives for the soloist which are marked 'ossia' above the solo Cello line in thisversion for Cello and Piano. This important new publication offers cellists not only an Urtext part but also one with bowing and fingering; both parts have a fold-out page so that no page turns are necessary.The first Urtext edition of this important workFold-out page in the solo cello part so no page turns are neededIncludes articulation alternatives as 'ossias'
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Sonata in F major for Violoncello and Piano op. 99: Cello: Instrumental Work
Cello, Piano
Barenreiter
Brahms completed his Cello Sonata Op.99 during the productive summer of 1886. Th...
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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 aconnection 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
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César Franck: Sonate für Klavier und Violine A-dur: Cello: Score
Cello, Piano
G. Henle
Version for Violoncello-César Franck's Sonata For Piano And Violin In A. Urtext...
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Version for Violoncello-César Franck's Sonata For Piano And Violin In A. Urtext edition for Cello.Unlike some of his other late works Franck?s Violin Sonata (HN293) composed in 1886 was well-received by thepublic and critics from the very start. The beautiful arrangement for Cello published in January 1888 distinguishes itself from the numerous other arrangements in that Franck expressly authorised it.The cellistJules Delsart who had heard a performance of the sonata in Paris in December 1887 was so delighted by it that he asked Franck?s permission to make a transcription of the Violin part for his own instrument. Delsartremained close to the original; he left the Piano part unaltered and transposed the Violin part only where necessary and appropriate into the lower register.
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Kalevi Aho: Sonata for Violoncello and Piano: Cello Solo: Instrumental Album
Cello, Piano
Fennica Gehrman
A large-scale work in four movements lasting over half an hour Kalevi Aho's Son...
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A large-scale work in four movements lasting over half an hour Kalevi Aho's Sonata for violoncello and piano (2019) in four movements is furios virtuosic and poweful with a lyrical second movement. The third movement is a cello cadenza provided in two versions: with and without throat singing.
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Claude Debussy: Intermezzo And Scherzo For Cello: Cello: Instrumental Work
Cello, Piano
[Score and Parts]
G. Henle
All cellists are familiar with Debussy’s sonata which he only composed in...
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All cellists are familiar with Debussy’s sonata which he only composed in 1915 three years before his death. Debussy had however already written two works for Violoncello and Piano in 1882 when hewas only 20 years old. They largely remained hidden from the public eye because the autograph of the “Intermezzo” – the sole source for this work – was inaccessible for decades. Today Henle Publishers arein the fortunate position of being able to present an Urtext edition of the “Intermezzo” also including the “Scherzo” that was posthumously published in 1995. The fingerings and bowings were provided byJeffrey Solow (Violoncello) and Eckart Sellheim (Piano).
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Gabriel Fauré: Élégie Op.24 For Violoncello And Piano: Cello: Instrumental Work
Cello, Piano
G. Henle
?l?gie for Violoncello and Piano op. 24-Following the enthusiastic reception of ...
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?l?gie for Violoncello and Piano op. 24-Following the enthusiastic reception of his first Violin Sonata (HN980) it was clear to Faur? that he would continue to write chamber music. In 1880 he wrote a little piece for cello and piano that was intended as theslow movement for a sonata. However Faur? gave up the sonata project instead publishing the piece under the title ??l?gie. It was so successful that Faur? was urged by the publisher to write further pieces. Theconductor ??douard Colonne commissioned a version of the ??l?gie for orchestra in 1895 which was premi?red two years later. As usual our Urtext edition contains both a marked and an unmarked solo part.
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Performance Pieces V2 - Violoncelle Et Piano
Cello, Piano
EMB (Editio Musica Budapest)
Compiled, the violoncello part arranged by Csáth Em?ke Vasváry Zoltánné The ...
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Compiled, the violoncello part arranged by Csáth Em?ke Vasváry Zoltánné The piano accompaniment has been revised, and in some instances accomplished by Brodszky Ferenc Instrument: Violoncello and Piano Genre: Pedagogical performance pieces Pages: 44 pp Date du parution: 1965
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Robert Schumann: Cello Concerto In A Minor Op.129: Cello: Instrumental Work
Cello, Piano
[Reduction]
Peters
Concerto in A minor for Violoncello and Orchestra-Robert Schumann's Cello Concer...
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Concerto in A minor for Violoncello and Orchestra-Robert Schumann's Cello Concerto In A Minor Op.129 composed for Cello with Piano accompaniment.
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Richard Strauss: Sonate F-dur Opus 6 für Violoncello und Klavier: Cello and
Cello, Piano
G. Henle
Sonata in F major op. 6 for Violoncello and Piano. Aside from the Piano Quartet ...
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Sonata in F major op. 6 for Violoncello and Piano. Aside from the Piano Quartet op. 13 and the Violin Sonata op. 18, the Cello Sonata op. 6 numbers among the most mature works of chamber music from Strauss? early ?uvre. The influences of Mendelssohn, Schumann, and Brahms are noticeable, while leaving sufficient space for a very personal tonal language, often with surprising rhythmic and harmonic turns of phrase. Strauss subjected the first version completed in early 1881 to a radical revision over the winter of 1882/83; the opening movement was thoroughly reworked, the two subsequent movements rewritten completely. It was worth it, because after the premiere in Dresden, the composer wrote to his mother, ?My sonata garnered extraordinary acclaim, the applause was enormous, congratulations came to me from all sides.?
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Sonata in E minor for Violoncello and Piano op. 38: Cello: Instrumental Work
Cello, Piano
Barenreiter
The first three movements of Johannes Brahms? E Minor Cello Sonata were composed...
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The first three movements of Johannes Brahms? E Minor Cello Sonata were composed in 1862 the last movement was written in 1865. During the first years of its performance the work was received with mixed enthusiasm. By the end of Brahms? life however it was widely performed and by the first decades of the 20th century it was firmly embedded in the repertoire of many distinguished cellists. It was notably Robert Hausmann?s advocacy of the work which seems to have contributed greatly to its promotion.Of particular value to the editors were the three early performance editions of the Cello Sonata Op.38 by Cornelius van Vliet andEdwin Hughes Hugo Becker and Carl Friedberg as well as Julius Klengel. The cellists? van Vliet Becker and Klengel?s fingering and bowing allows for a better understanding of their performance practice. As such the Bärenreiter 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 works? origins 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 in 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.-
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Butt-Chen: Cellowise: Cello: Instrumental Album
Cello, Piano
[Score and Parts + CD]
Spartan Press
CELLOWISE is an exciting new collection of arrangements from the popular classic...
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CELLOWISE is an exciting new collection of arrangements from the popular classics. The standard is from Grade 3 upwards and included are Bach Badinerie Handel Sarabande Haydn Gipsy Rondo Gossec Gavotte and Tambourin Brahms Hungarian Dance and other favourites with attached CD of top quality performances making a pleasant and varied recital programme both to listen to and of course to play. Cellowise is featured on the 2014 Bauhinia Cup String Competition in Hong Kong and is on the current syllabuses of Trinity College London the Musik-PrüfungsKommission in Vienna and the Royal Irish Academy of Music in Dublin 2015-2018.FOOTNOTE TO CONTENTSOriginally a folk-dance from Medieval Spain the Sarabande became the spiritual centre-point of the 18th. Century dance suite and well-known to cellists through the Bach Suites.The Badinerie is a musical haiku stunning in its precision and economy of means and like a poem condenses much meaning and expression into few words.Sir Yehudi Menuhin once called the 'Erbarme Dich' solo the most beautiful piece of music ever written for the violin. This poignant duet for voice and obligato is about remorse betrayal and the universal theme of suffering. It is one of the centre-pieces of the St. Matthew Passion and is sung after Peter has denied Christ betraying him to the authorities and to his Crucifixion.Gavotte and Tambourin. These two Dances reflect the political opposites of the French Revolution - one a popular dance for partying and celebration the other more courtly and considered a favourite of Marie Antoinette.Rondo all'Ongarese and Hungarian Dance.Hungarian Folk music is fiery and impassioned with virtuoso techniques of embellishment and improvisation. Haydn and Brahms incorporated these elements into Classical forms.Like other Romantic and early-Romantic composers (Mendelssohn and Schubert) Brahms was attracted to Scotland as a wild and beautiful country of myth and
11.99 GBP - Sold by Musicroom UK
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Schumann - Concerto Op.129 + Cd - Violoncelle Et Piano
Cello, Piano
Salabert
Musical Category : violoncello o 2 violoncelli e pianoforte
42.50 EUR - Sold by Woodbrass
Pre-shipment lead time:
On order
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Benedetto Marcello: Sonata for Cello and Basso continuo Op. 2 No. 1: Cello
Cello, Piano
Dowani
Sonata for Cello and Basso continuo Op. 2 No. 1
19.99 GBP - Sold by Musicroom UK
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Manuel de Falla: Tres Obras Para Violoncello Y Piano: Cello: Instrumental Work
Cello, Piano
[Sheet music]
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Intermediate
Manual De Falla Ediciones
Three works for Cello and Piano by Spanish composer Manuel De Falla. Set as par...
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Three works for Cello and Piano by Spanish composer Manuel De Falla. Set as part of the ABRSM Cello Grade 5 Syllabus.
15.95 GBP - Sold by Musicroom UK
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