Cello Catalog
Quotations: para violoncelo y piano.Other Cello books that may be of interest:
- Adès, Thomas.; Eliot, T. S.; Williams, Tennessee; Anderson, Valdine.; Carewe, Mary.; Marsh, Lynsey.; Marwood, Anthony.; Hopkins, Louise.; Goode, David; Farr, Stephen. Life story EMI Classics New York, N.Y. 1997; p1997
Thomas Adès. For piano, clarinet, violin, and violoncello (1st work), piano (2nd and 6th works), prepared piano (3rd work), 3 chamber organs (4th work), or soprano and piano (5th and 7th works) ; the 7th work originally for soprano, 2 bass clarinets, and double bass.; Thomas Adès, piano (organ, 4th work) ; Valdine Anderson (5th work) or Mary Carewe (7th work), soprano ; Lynsey Marsh, clarinet ; Anthony Marwood, violin ; Louise Hopkins, violoncello ; David Goode and Stephen Farr, organ.; Recorded in London, England, Feb.-Apr. and May 1996.; Compact disc.; Song tests by T.S. Eliot (5th work) and Tennessee Williams (7th work) and program notes by Andrew Porter on container insert. 4 3/4 in. 1 sound disc digital, stereo. 4 3/4 in. Quartets (Piano, clarinet, violin, violoncello); Piano music.; Prepared piano music.; Organ music (Organs (3)); Songs (High voice) with piano.; Eliot, T. S.; Williams, Tennessee
- Adès, Thomas.; Eliot, T. S.; Williams, Tennessee; Anderson, Valdine.; Carewe, Mary.; Marsh, Lynsey.; Marwood, Anthony.; Hopkins, Louise.; Goode, David; Farr, Stephen. Life story EMI Classics New York, N.Y. 1997; p1997
Thomas Adès. For piano, clarinet, violin, and violoncello (1st work), piano (2nd and 6th works), prepared piano (3rd work), 3 chamber organs (4th work), or soprano and piano (5th and 7th works) ; the 7th work originally for soprano, 2 bass clarinets, and double bass.; Thomas Adès, piano (organ, 4th work) ; Valdine Anderson (5th work) or Mary Carewe (7th work), soprano ; Lynsey Marsh, clarinet ; Anthony Marwood, violin ; Louise Hopkins, violoncello ; David Goode and Stephen Farr, organ.; Recorded in London, England, Feb.-Apr. and May 1996.; Compact disc.; Song tests by T.S. Eliot (5th work) and Tennessee Williams (7th work) and program notes by Andrew Porter on container insert. 4 3/4 in. 1 sound disc digital, stereo. 4 3/4 in. Quartets (Piano, clarinet, violin, violoncello); Piano music.; Prepared piano music.; Organ music (Organs (3)); Songs (High voice) with piano.; Eliot, T. S.; Williams, Tennessee
- Crane, Stephen; Gullason, Thomas A. Complete novels. Doubleday Garden City, N.Y. 1967
Edited with an introd. by Thomas A. Gullason. Maggie; a girl of the streets.--The newspaper version of The red badge of courage.--The red badge of courage; an episode of the American Civil War.--George's mother.--The third violet.--Active service; a novel.--The O'Ruddy; a romance.--Appendix 1. Stephen Crane--a chronology.--Appendix 2. The major 1893 variants from Maggie; a girl of the streets.--Appendix 3. Uncanceled passages from the manuscript version of The red badge of courage.--Appendix 4. The major variants from the manuscript version and the Heinemann edition of Active service.--Stephen Crane and his novels (p. 810-821)--21) [1st ed.] 22 cm. xvi, 821 p. 22 cm. Chancellorsville, Battle of, Chancellorsville, Va., 1863; City and town life
- Frost, Robert; Spiral Press.; Cook, Howard Norton Does no one but me at all ever feel this way in the least The Spiral Press [New York 1952; c1952
by Robert Frost. Issued as holiday greetings from Henry Holt and Company at Christmas 1952.; Inscription: Best wishes Marcello & Grace.; Drawings by Howard Cook.; Crane, J. Frost 1st ed. 15 cm. [9] p. ill. 15 cm. Greeting cards.
- Harbison, John.; Williams, William Carlos; Fried, Michael.; Upshaw, Dawn.; Sylvan, Sanford.; Kalish, Gilbert.; Boston Symphony Chamber Players. Simple daylight Elektra Nonesuch New York, N.Y. 1993; p1993
John Harbison. Acc. of the 1st work for flute, oboe, English horn, viola, violoncello, harp, and piano.; Words of the 1st work from William Carlos Williams' Paterson, book 5; of the 2nd by Michael Fried.; Dawn Upshaw, soprano (2nd work) ; Sanford Sylvan, baritone (1st work) ; Gilbert Kalish, piano (2nd-3rd works) ; Boston Symphony Chamber Players (1st and 3rd works).; Recorded at Symphony Hall, Boston, Mass., Nov. 1990 (1st work) and May 1988 (3rd work) and at Richardson Auditorium, Princeton, N.J., Sept. 1991 (2nd work).; Compact disc.; Program notes by Richard Dyer and texts of the songs ([24] p.) in container.; Words from Paterson (26:47) -- Simple daylight (16:00) -- Piano quintet (22:56). 4 3/4 in. 1 sound disc digital 4 3/4 in. Songs (Medium voice) with instrumental ensemble.; Williams, William Carlos; Songs (High voice) with piano.; Fried, Michael; Piano quintets.; Song cycles.
Quotes
from A Time of Gifts
No janitor was about. A young Benedictine, finding me loitering in the gatehouse, took me in tow, and as we crossed the first great courtyard, I knew I was in luck. He spoke beautiful French; he was learned and amusing and the ideal cicerone for all that lay ahead.Partick Leigh Fermor
Afterwards, it was in confused musical terms that the stages of our progress strung themselves together in my memory. This is how they resound there still. Overtures and preludes followed each other as courtyard opened on courtyard. Ascending staircases unfolded as vaingloriously as pavanes. Cloisters developed with the complexity of double, triple, and quadruple fugues. The suites of state apartments concatenated with the variety, the mood and décor of symphonic movements. Among the receding infinity of gold bindings in the library, the polished reflections, the galleries and the terrestrial and celestial globes gleaming in the radiance of their flared embrasures, music, again, seemed to intervene. A magnificent and measured polyphony crept in one’s ears. It was accompanied by woodwinds at first, then, at shortening intervals, by violins and violas and ’cellos and then double basses while a sudden scroll-work of flutes unfurled in mid-air; to be joined at last by a muted fanfare from the ceiling, until everything vibrated with a controlled and pervading splendour. Beyond it, in the church, a dome crowned the void. Light spread in the painted hollows and joined the indirect glow from the ovals and the lunettes and the windows of the rotunda. Galleries and scalloped baldachinos and tiered cornices rose to meet it; and the soft light, falling on the fluted pilasters and circles of gold spokes, and on the obelisks wreathed with their sculpted clouds, suffused the honeycomb side-chapels and then united in a still and universal radiance. Music might just have fallen silent; unless it were about to begin. In the imagination, instruments assembled—unseen cymbals just ajar that would collide with a resonance no more strident than a whisper; drums an inch below their padded sticks with palms ready to muffle them; oboes slanting, their reeds mute for a moment more; brass and woodwind waiting; fingers stretched motionless across wires of a harp and fifty invisible bows poised in the air above fifty invisible sets of strings.