When Smetana composed his Piano trio in the autumn of 1855 it was an act of catharsis to recover from the death of his four-year-old daughter Friederike. This highly emotional work was also his first large-scale piece of chambermusic. Its first public performance in December 1855 was regrettably not a great success and so Smetana embarked on a protracted process of reworking it. By the late 1850s it had reached its current form. Smetana always liked toperform it but only found a publisher for it in 1880 when one of his pupils invited the Hamburg publisher Hugo Pohle to a performance at short notice. Smetana specialist Milan Posp Å¡il has based this Henle Urtext edition on thefirst edition by Pohle but has also drawn upon the earlier sources. This has enabled him to iron out numerous inconsistencies found in the first edition.

Quand Smetana, en 1876, termine son Quatuor en mi mineur sous des couleurs tristes et sombres, il est déjà atteint par la surdité. Quel musicien ne connaît pas ce passage fatidique du 4e mouvement, où Smetana symbolise par une note ultra-aiguë au violon le début de sa maladie? Les mouvements précédents sont consacrés aux stations plus heureuses de sa vie - la préface de notre édition cite un passage détaillé d'une lettre consacré à ce sujet. Smetana, qui à l'époque avait reçu de son éditeur des honoraires ridicules pour son quatuor, ne pouvait pas prévoir que cette oeuvre compterait un jour au rang des quatuors à cordes les plus célèbres. / Quatuor A Cordes

Aus meinem Leben-The composition of the first string quartet ?Aus meinem Leben? follows a time of fateful transformations in the life of Smetana. 1874 he lost his hearing. Two years later he moved to the countryside with his family where he was bani

From my life-In a letter of 12th April 1878 (i.e. when he had already lost his hearing) the composer declares that his design was to symbolize the course of his life in this quartet.1st Movement: Love of art in youth the unsatisfied longing for something inexpressible also a presentment of approaching mis-fortune.2nd Movement: Quasi Polka refers to a merry youth during which Smetana enjoyed dancing passionately and wrote dances with ease.3rd Movement: Largo sostenuto the felicity of his first love for the girl who later became his wife.4th Movement: Illustrates his perception of national music and the joy of success only to be suddenly broken by the extend E in the highestregister the fatal note that sounded in the composer's ear just before his deafness. Painful remembrances of the first stages of his career a fleeting ray of hope then ultimately resignation to inescapable fate.

Bags of Classics for Cello is filled with favourite melodies from famous works of classical music arranged for the grade 3-4 player who is developing position work and perhaps trying vibrato.Selected and arranged by leading string pedagogue Mary Cohen to lie well under the hand it introduces a wide variety of styles and sound worlds from Vivaldi and Purcell to Saint-Saens and Holst. A great selection for consolidation work sight-reading practice or just for sheer musical enjoymentContents: Allegro from Brandenburg Concerto No.3 (Bach) Dance Of The Comedians (Smetana) Dance Macabre (Saint-Saens) Dido’s Lament (Purcell) Dragons (Bizet) Farandole (Bizet) In The Hall Of The Mountain King (Grieg) Jupiter from The Planets (Holst) Minuet (Gluck) Musette from Anna Magdalene’s Notebook (Anon) Papageno’s Song (Mozart) Pavane (Fauré) Ritornello from Brandenburg Concerto No.5 (Bach) Rondo from Eine Kleine Nachtmusik (Mozart) Sleigh Ride (L. Mozart) Winter from The Four Seasons (Vivaldi) The Elephant from Carnival Of The Animals (Saint-Saens) Theme from String Quartet in A minor (Schubert) Theme from ‘The Bird’ String Quartet (Haydn) Theme from Caprice No.24 (Paganini) Fur Elise (Beethoven) Theme from The Italian Symphony (Mendelssohn) Theme from Serenade (Mozart) Theme from Symphopny No.40 (Mozart) Theme from Trumpet Concerto (Haydn) Theme from William Tell Overture (Rossini)

Klangbeispiele wichtiger Passagen aus der Opern- und Konzertliteratur-Excerpts from the operatic and concert repertoire Tuttistellen: L.v. Beethoven: Sinfonie Nr. 5 c-Moll op. 67 2. SatzL.v. Beethoven: Sinfonie Nr. 8 F-Dur op. 93 3. Satz (Trio)L.v. Beethoven: Sinfonie Nr. 9 d-Moll op. 125 4. SatzL.v. Beethoven: Coriolan op. 62 OuvertüreL.v. Beethoven: Egmont op. 84 OuvertüreG. Bizet: Carmen 1. Akt FinaleJ. Brahms: Sinfonie Nr. 2 D-Dur op. 73 1. SatzA. Bruckner: Sinfonie Nr. 7 E-Dur 1. SatzP. Hindemith: Sinfonie 'Mathis der Maler' 3. Satz: Versuchung des heiligen AntoniusP. Hindemith: Sinfonische Metamorphosen nach Weber 2. Satz: Turandot ScherzoG. Mahler:Sinfonie Nr. 4 G-Dur 1. SatzW.A. Mozart: Die Hochzeit des Figaro OuvertüreB. Smetana: Die verkaufte Braut OuvertüreR. Strauss: Don Juan op. 20I. Strawinsky: Symphonie en Ut 1. SatzP.I. Tschaikowsky: Eugen Onegin 1. Akt Nr. 8P.I. Tschaikowsky: Sinfonie Nr. 4 f-Moll op. 36 1. und 2. SatzP.I. Tschaikowsky: Sinfonie Nr. 6 h-Moll op. 74 2. und 3. SatzG. Verdi: Rigoletto 1. Akt Nr. 2G. Verdi: La Traviata 1. Akt Nr. 2 (Chor) und 2. Akt Nr. 4G. Verdi: Die Macht des Schicksals OuvertüreG. Verdi: Aida 3. und 4. Akt (Nr. 7)G. Verdi: Missa da Requiem Nr. 3 (Offertorium)R. Wagner: Tannhäuser Ouvertüre; 2. Akt 4. Szene; 3. Akt Einleitung und 1. Szene (Gebet der Elisabeth)R. Wagner: Lohengrin 3. Akt 3. SzeneR. Wagner: Das Rheingold 1. und 2. SzeneR. Wagner: Die Walküre 2. Akt 4. SzeneR. Wagner: Tristan und Isolde 1. Akt Einleitung und 2. Akt 2. SzeneSOLOSTELLEN: L.v. Beethoven: Die Geschöpfe des Prometheus op. 43 Nr. 5 Adagio Andante quasi AllegrettoJ. Brahms: Konzert Nr. 2 für Klavier und Orchester B-Dur op. 83 3. SatzE. Humperdinck: Hänsel und Gretel 3. Bild 3. SzeneA. Lortzing: Zar und Zimmermann 3. AktW.A. Mozart: Die Entführung aus dem Serail

A great collection of popular tunes arranged for cellists of Grade 2 to 3 standard to enjoy. There is an accompanying CD which contains inspiring demonstration and play-along backing tracks to aid practice and build confidence. A simple piano accompaniment is also included. Carefully arranged for Playalong cello, by David Gedge. / Niveau : Assez Facile / Rép International / Recueil / Violoncelle