By Adele. Arranged by Jennifer Wilson. Score, Set of Parts. 10 pages. Published by EverAlive

By Christina Perri. Arranged by Jenton Lee. Individual Part, Score. 10 pages. Published by Jenton (H0.312719-221373). - Individual Part,Score - - Jenton

Cello,Piano - Level 2 - Digital Download

SKU: A0.548673

Composed by Adam. Arranged by James M. Guthrie, ASCAP. Christmas. Score and part. 10 pages. Jmsgu3 #3410433. Published by jmsgu3 (A0.548673).

Cantique de Noël

The French composer Adolphe Adam was already famous as a composer of many successful ballets and operas. Then, in the 1840s, he wrote his most famous work - O Holy Night. The original song title was Minuit Chretiens or Cantique de Noël.  Placide Cappeau provided the original song lyrics. The song was first performed in Roquemaure by the opera singer Emily Laurey at midnight mass in 1847. It became very popular among the French, much like Silent Night was famous elsewhere. In 1850, John S. Dwight, a Unitarian minister and music teacher, translated the song into English.  

Adolphe Adam

Adam studied organ and composition at the Paris Conservatoire in his younger years. He also played the timpani in the Conservatoire orchestra. Adam used his savings and borrowed money to open a new opera house - the fourth opera house in Paris in 1847. Unfortunately, the Revolution of 1848 forced him to close. He taught composition at the Paris Conservatoire from 1849 until he died in 1856.

Placide Cappeau

The poet Cappeau was an advocate of the French Enlightenment philosopher Voltaire. Voltaire was renowned for criticizing the Catholic church, religious intolerance, and dogma in general. Consequently, Cappeau made the Redeemer figure in his song a kind of reformer of injustices, particularly the problem of original sin. To begin with, people recognized Cappeau's theology as eccentric, probably even doubtful.

Theology

In the earlier form of Minuit, the Christ figure descends to intervene with His Father's plan to punish humanity. Traditional doctrine pronounces that Christ came from love, not to intervene. This version also declares that Christ appeared to delete the original sin of Adam. Cappeau removed this part from his poem years later because he didn't believe it. He preferred to portray Christ as the reformer of disparity and unfairness. Before long, the writer/politician Alphonse de Lamartine called the Minuit the Marseillaise of religion. Most French churchmen agreed with this idea but did not consider it a tribute.  

 

Cello,Piano - Level 3 - Digital Download

SKU: A0.549440

Composed by Sir Arthur Seymour Sullivan. Arranged by James M. Guthrie, ASCAP. Instructional,Romantic Period,Sacred,Standards. Score and part. 14 pages. Jmsgu3 #3494673. Published by jmsgu3 (A0.549440).

Score: 7 pages, solo part: 2 pages, piano part: 3 pages. Duration: 4:25. Not difficult, but requires sensitivity & dynamic control. Suitable for recitals, church meditations, or school programs.

School Years

First of all, Sullivan attended music school at the Royal Academy of Music. Because Sullivan was so talented, the Academy awarded him the Mendelssohn Scholarship for two years in a row. He, therefore, studied with John Goss, who studied with Thomas Atwood, who in turn studied with Mozart. Sullivan similarly studied the piano at the Academy with Arthur O’Leary.

Study Abroad

During his first year, he also earned money by singing solos in the Chapel Royal. At the end of his second year, the Academy consequently continued his scholarship and sent him to study at the Leipzig Conservatoire. He certainly studied composition, and likewise counterpoint and piano. Hence, during his final year in Leipzig, Sullivan finally completed his graduation composition project: Incidental Music for Shakespeare’s The Tempest.

Association with Gilbert

It seems like Sullivan built the bulk of his composing career largely in the 1860s. As a result, he became famous for his incidental music for the Tempest and his Irish Symphony. He, therefore, began collaborating with the poet W. S. Gilbert in the 1870s. Rather than focus on serious opera, Gilbert and Sullivan, in contrast, concentrated on comic operas such as H. M. S. Pinafore, the Pirates of Penzance, and the Mikado. Therefore, certainly as a result of his education and experience, Sullivan composed a total of 24 operas, 11 symphonic works, and 10 choral pieces. Even more, he wrote a large number of noteworthy hymns such as Onward Christian Soldiers.

Lost Chord

The general style of his music is maybe similar to Mendelssohn, Schumann, and perhaps Liszt. It seems like Sullivan was fond of writing distinct melodies for each character in his operettas. His melodies combine together as the characters did. Furthermore, he was a master orchestrator, and therefore played the flute, clarinet, trumpet, and trombone fluently.

The Lost Chord

Sullivan wrote his most noteworthy song the Lost Chord in 1877. As a result, it was a great success and was certainly performed all over the world by a variety of singers such as Enrico Caruso. Because Sullivan was the most famous composer in England, the Lost Chord became the most famous of all British or American songs of the 1870s and 1890s. Consequently, in 1888 Thomas Edison recorded The Lost Chord for the phonograph. It was one of the first songs ever recorded. Furthermore, Queen Victoria knighted Sullivan in 1883.

 

 

Soprano, flute, cello and piano - intermediate - Digital Download

SKU: S9.Q19110

(3 Latvian Folk Songs). Composed by Peteris Vasks. This edition: score and parts. Downloadable, score and parts. Duration 10 minutes. Schott Music - Digital #Q19110. Published by Schott Music - Digital (S9.Q19110).

Latvian.

These three folk songs in a charming instrumentation were composed by Vasks 30 years ago. The texts describe nature's flora and fauna, the hard work of mankind and the thoughts of a newlywed woman. Vasks' music is quite rewarding for the performers and, with moderate means, opens up a fascinating world of sound to the listener.

Cello and piano - intermediate to advanced - Digital Download

SKU: S9.Q53290

Op. 40. Composed by Auguste Joseph Franchomme. Edited by Beverley Ellis and Rainer Mohrs. This edition: Sheet music. (c) 2020 Schott Music GmbH & Co. KG, Mainz. Classical. Downloadable. Op. 40. 16 pages. Schott Music - Digital #Q53290. Published by Schott Music - Digital (S9.Q53290).

English • German.

Auguste Joseph Franchomme was born in Lille on 10.4.1808; he died in Paris in 1884. One of his first cello teachers in Lille was Pierre Baumann, who also taught Edouard Lalo. Giving up the study of Law in favour of the cello, he studied with Jean-Henri Levasseur and Louis-Pierre Norblin from 1825 at the Paris Conservatoire. After that he played in various orchestras until he was eventually able to establish himself as a soloist and chamber musician in Paris. Together with violinist Jean-Delphin Alard he founded the Alard Quartet, one of the few string quartets of the time whose members were all professional musicians. Alongside his concert career, Franchomme was a popular and successful professor at the Conservatoire for almost forty years. His compositions include numerous pieces and studies for the cello, a cello concerto and many transcriptions. Franchomme was a close friend of Chopin: he also composed the cello part to Chopin’s Duo concertante and reworked the cello part for the Polonaise Brillante. Chopin dedicated his Cello Sonata op. 65 to Franchomme. Chopin’s influence is clearly recognisable in Franchomme’s work and particularly evident, for example, in his Étude in C# minor op. 35/11. In 1884 Franchomme was awarded the Légion d’honneur for his services to music. This Fantaisie based on themes from Mozart’s Magic Flute was published in 1873 (plate no. 20425).