Thirteen exquisite pieces- Thirteen exquisite pieces selected and edited by Julian Lloyd Webber: Franck 'Panis Angelicus' Elgar 'Chanson De Matin' Elgar 'Salut D'Amour' Debussy 'Reverie' Bach 'Air On A G String' Massanet'Meditation From Thais' Japanese Traditional 'Sakura-Sakura' Caccini 'Ave Maria' Glazunov 'Melodie Op20 no1' Chopin 'Nocturne Op9 No2' Boccherini Adagio' Rheinberger 'Cantilena' Bruch 'Kol Nidei'.   This title is included in the Trinity College London Cello Grade 7 Syllabus 2016-2019.  

Par SASSMANNSHAUS EGON / SASSMANNSHAUS KURT. For more than three decades the ‘Sassmannshaus Tradition’ has been the household name for excellence in beginner string methods in German-speaking countries. More than half a million students have successfully learned to play string instruments using this publication. The publication of the four Violin books in 2008 in a fully adapted English version has been a big success. On the back of this success story Bärenreiter has now published the four books for Cello in a newly adapted version for today’s English speaking children. What makes this Cello method so unique? The leading German Cello method now available in English. - Large print notes andtexts as well as many colourful illustrations are ideal for pre-school as well as school children. - Note reading is emphasised from the first lesson, encouraging ensemble playing from the very beginning. - Songs and scales in different positions are easily mastered within the first year of playing to ensure that children are not confined to first position playing. - Advanced Cello techniques such as varied bow strokes and shifting are introduced in a basic form./ Méthode / Violoncelle

I Can Read Music is a beginning note-reading book for cello students who have learned to play using an aural approach such as the Suzuki Method or for those traditionally taught students who need extra note-reading practise. Rhythm and pitch are taught separately so that the student can work on one thing at a time. When the aspects of reading are established they can be combined successfully at a later date.

Although the popularity of the Cello is rising and its use in popular music is growing the repertory remains limited. The studies in this book are intended to reinforce traditional technique and to expand it through the recovery of old traditions. Each of the studies in this book is also suitable for use in recitals either as small sets or encores.

Hymns Made Easy for Cello is a collection of favorite traditional hymns with guitar accompaniment suitable for church teaching or recreational settings. The material includes cello parts and bowing indications in first position with guitar chord names written above the staff. All the arrangements in this book are compatible with Hymns Made Easy for Violin and Hymns Made Easy for Viola.

This is a deeply felt concerted work for cello and orchestra. It is in a moderate twentieth century style modal rather than chromatic a tonal work with a mood that is elegiac and dramatic. The Kaddish is a prayerordinarily given during Jewish services for the dead though it never mentions Death. There are traditional melodies and Hebrew cantillation associated with the text but Diamond did not use any of these nor indeed anyparticular Jewish music. The themes he says are his own concept. In describing the form and style of the music Diamond relates the Kaddish to others of his compositions that have some connection to ritual neither theater musicnor abstract music.The music is primarily melodic. Its modal quality suggests the work's Jewish connection but the actual mode is not specifically Jewish in sound. The work rises to a serious and affirmative climaxtowards its end then subsides.

For solo cello this book is a collection of straightforward wedding arrangements without piano. Inside you will find the most commonly requested music for wedding ceremonies from traditional favourites to beautiful classicalpieces that are sure to provide an elegant musical experience.

From Scotland-Ireland-This is the second popular book of beautiful Celtic tunes compiled and arranged for the cello by Abby Newton. Most of the tunes in this collection are from her recent recordings Castles Kirks and Caves and Ferintosh. The book is organized in three parts: Tunes Sets and Duos. The first part Tunes contains an assortment of twenty-eight tunes culled mostly from the well know Scottish and Irish traditional tune books including collections by Capt.Simon Fraser Patrick McDonald Niel Gow and James Oswald. The second part Sets consists of several tunes played in succession. Part three Duos includes two part scores (with treble and bass lines) that come mainly fromJames Oswald's Airs for the Seasons and Burke Thumoth's Collection of Scots and Irish Tunes 1745.

These easy-to-read, progressive exercises by Joanne Martin develop a student's reading skills one stage at a time, with many repetitions at each stage. I Can Read Music is designed as a first note-reading book for students of string instruments who have learned to play using an aural approach such as the Suzuki Method, or for traditionally taught students who need extra note reading practice. Its presentation of new ideas is clear enough that it can be used daily at home by quite young children and their parents, with the teacher checking progress every week or two.

Bring the excitement of traditional Latin dance to the string orchestra with this collection. Explore the 'clave,' or rhythmic groove styles, such as the Merengue, Tango, Mambo, and others in a flexible format. All instruments have the melody, a harmony part, and an accompaniment/bass line. Easy hand percussion parts are included for the string players to perform or the optional drumset part can be used. The use of piano and guitar is recommended for authenticity but not necessary. All text appears in both English and Spanish. / Violoncelle Et Contrebasse

Arrangeur: Martin Tourish. Martin Tourish is an accordionist, composer and musicologist from Co. Donegal, now based in Dublin. Celtic music is in his blood, for his ancestors were noted collectors of dance music manuscripts dating back to the 19th century. With many recordings to his credit, he now offers his expertise to performers wishing to explore the rich culture of Irish and other Celtic music on a variety of instruments. 'World Music - Celtic? presents material from the Irish, Scottish, Welsh, Cornish and Breton traditions. It makes no great technical demands on the players, but Tourish points out that notation of this music is often 'skeletal?, hence it is important to gain a knowledge of the individual traditions in question and, naturally, he offers plenty of information on performance practice. The collection spans three centuries, from the blind bardic harpists of the 18th century to the international performers of the present day. Tourish accepts that this volume can only scratch the surface of a multi-faceted genre but hopes you will see it as a stepping stone to delve deeper into recordings, festivals and the very communities whence this music comes. 'World Music - Celtic? is available in six formats, each with complete recordings and backing tracks on CD: as solo versions for violin, violoncello, flute, clarinet or saxophone (with piano) and in an ensemble version for two melodic instruments (C, Bb or Eb), piano, guitar, bass and bodhrán./ Recueil / Violoncelle et Piano

Per Violoncello Solo. Par CALLIGARIS SERGIO. Sergio Calligaris was born in Rosario (1941), Argentina. He is one of the last musicians to incarnate the traditional 19th century figure of pianist, teacher and composer, inaugurated at the beginning of the 19th century by Muzio Clementi and carriedon after that by a sequence of famous names that the history of music has handed down to us. As a pianist, he began to give public performances at the age of 13, making his debut in his home town Rosario. Following this success, he embarked upon an extremely busy career as a soloist, giving numerous recitals in Buenos Aires and other citiesin Argentina. He continued to take advanced lessons with eminent exponents of the most prestigious international piano schools. In 1974 he became an Italian citizen and settled in Rome, teaching piano as principal instrument at the S. Pietro a Majella StateConservatory in Naples, the Luisa DAnnunzio Conservatory in Pescara and the Alfredo Casella Conservatory in Aquila. As a composer, he began - at just 9 years of age - to study in the rigorous school of Paul Hindemith, under the guidance of Father Luis Machado, from whom he inherited a love of counterpoint and a strong taste for harmony. He took a diploma incomposition, counterpoint and fugue at the age of 16 at the Amigos del Arte Society in Rosario, going on in 1964 to do an advanced course in 12-tone counterpoint at the Cleveland Institute of Music. The catalogue of his compositions, which has nowreached Op. 55, encompasses a huge range of instrumental/vocal chamber music and symphonic works: a vast and articulated catalogue, in which Sergio Calligaris’s composition expresses its inspiration through the dramatic development of a dialecticalcontrast between the two natures of the composer’s personality - the elegiac and the dithyrambic - which confront and interact with each other giving rise to artistic outcomes of a deeply moving nature. / Niveau : Intermédiaire / Date parution : 1905-06-13/ Répertoire / Violoncelle