For violin and piano Violin. A concentrated development leads to the recapitulation, which typically reverses the order of materials. An abbreviated tutti leads directly to a secondary theme, first in F major, but ultimately in B flat major, in which the agitation of the opening is replaced with lyricism and a typical suspension of rhythmic activity accomplished by doubling the rhythmic values. With only the slightest breath pause, the final movement begins in the same tonali-ty as the second before moving quickly back to the Piccardian D-major. Set of performance parts includes separate pull out violin Piano Solo. Raff was principally concerned with clarity, balance and economy of means. Siegel brought out the orchestral score and parts five months later in August of that year.
At times, the byplay between soloist and orchestra becomes almost operatic, suggesting recitativo accompagnato but always in tempo. Reprint of a copyfrom the collection Avrohom Leichtling, Monsey. Refunds We have a no quibbles refund policy if you are unhappy with your subscription for any reason. . Avrohom Leichtling, March 2009 For performance material please contact the Fleisher Collection of the Free Library of Philadelphia, Philadelphia. Much of the bombast found in 's tone poems, however, is absent from those by , but the idea of thematic transformation is an important element.
He presents instead a series of episodes that dissolve one into the next in true pre-cinematic fashion after each has undergone due development and extension. Given the problems of projection, tonal quality and tessitura, Raff made the practical decision to lighten the orchestra as much as possible in order to avoid covering up the solo cello either with instrumental textures that would interfere with its projection or with excessively active contrapuntal movement or harmonic complexity against which the solo cello would have to fight in order to be heard over the orchestra. An extended cadenza leads to a coda which does not end the movement formally, but rather trails off, landing at the B flat major second movement larghetto. The first performance of the Cello Concerto was given on January 19, 1873, at the Paris Conservatoire, then a bastion of conservatism that usually programmed only works by old or dead masters. A new, Animato passage with double stops for the cello leads to an even faster tempo with yet another theme, this appearing in the orchestra and on F major. Refund requests should be sent to Info About 'Cello Concerto No.
Cookies allow us to personalize content and ads, to provide social media-related features and analyze our traffic. Raff characteristically reduces the orchestra in the slow movements of his symphonies and concerti to winds, horns and strings. Some analysts have described the work as a single, sonata-form movement with a free recapitulation, while others have suggested the work is a three-movement structure with shared material between the first and last movements. The premiere occurred on Wednesday, November 4th of that year in Dresden in the Hall of the Hotel de Saxe, conducted by Julius Rietz leading the Kgl. Cello and piano accompaniment - Difficulty: difficult Composed by Camille Saint-Saens 1835-1921. For Bb clarinet and piano.
His most famous piece is The Carnival of the Animals, despite the fact that Saint-Saens forbade complete performances of it shortly after its premiere, only allowing one movement, The Swan, a piece for cello and piano, to be published in his lifetime. In this work, he eschews extensive grandiose orchestral tuttis and keeps his orchestral accompaniments direct and simple. The triplet theme from the first movement, now in the orchestra, opens the finale. Card payments use the Stripe. With bowings, fingerings and piano accompaniment. Some well-known publishers of Urtext versions include Henle, Bärenreiter and Breitkopf, among others.
For F horn and piano. Solo part, standard notation, piano accompaniment and in Piano Duet. Bowings, fingerings and piano accompaniment. For piano duet 2 pianos, 4 hands and ensemble. For violin and piano accompaniment.
The Romances were written originally for Horn and Piano — the Cello thus indicated is an alternative version, a fairly normal marketing practice for publishers who typically printed adaptations for alternative solo instruments or transcriptions or arrangements of new works. If you pay by card you can cancel directly from your 8notes account. The Sonata is a major work, the equal of the five Violin Sonatas which preceded it. At all events, a good Urtext edition justifies the decision made and printed. Raff makes a good-natured parody of that movement even down to its phrase structure and built-in hesitations. Raff, Joachim Cello Concerto No.
This should definetly be in any cellists library. The second movement comes to a quiet cadence but leaves the solo cello hanging on a sustained tone after the orchestra drops out. For oboe solo and piano accompaniment. Formally, the Cello Concerto in A minor is an extension of the technique used for the much earlier Violin Concerto in A major of 1859. The lyrical, meditative theme for the cello that follows is accompanied by the triplet figure in the orchestra.
We also share information on the use of our site with our social media partners, advertising and analytics, which can combine them with other information you have provided to them or collected in your use of their services. Published by Carl Fischer By Camille Saint-Saens 1835-1921. For bassoon solo and piano accompaniment. What is most important is the element of contrast as a driving force in the piece, which was composed not long after conducted performances of 's symphonic poems. Set of performance parts inc By Camille Saint-Saens 1835-1921. Once past the opening, however, the gears quickly shift into a wholly Raffian world of structural and harmonic ambiguity whose syntax is anything but Mendelssohnian.
In both cases, all card information is handled securely by the payment processor and is not stored or seen by 8notes. Raff almost always demonstrates that the smaller size of his orchestra is no obstacle to creating a big sound. The first movement does not come to a final, terminating cadence, but rather makes a transition into the second as if moving to another division within a larger, integrated work. Solo part, standard notation, piano accompaniment and introductory text. Editions that are edited or arranged may also contain a different cadenza for a concerto.