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Martinu - Variations on Rossini theme for cello and piano

Martinu - Variations on Rossini theme for cello and piano. You can download the sheet music Martinu - Variations on Rossini theme for cello and piano on this page. This interesting string composition - is the unique masterpiece composition for classic cello by the well-known string composer. This piece impresses the performer by spiritual melody of cello and piano intonations. This string opus inspire cello player by the dynamic and clear cello intonation musical soul and other traditional features.
To view the first page of Martinu - Variations on Rossini theme for cello and piano click the music sheet image.
PDF format sheet music

Cello part: 6 pages. 502 K

Piano part: 13 pages. 1339 K

Martinu - Variations on Rossini theme for cello and piano - Instrument part - First page Martinu - Variations on Rossini theme for cello and piano - Piano part - First page

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Bohuslav Martinů (1890 – 1959) was a prolific Czech composer of modern classical music. Martinů wrote 6 symphonies, 15 operas, 14 ballet scores and a large body of orchestral, chamber, vocal and instrumental works. Martinů became a violinist in the Czech Philharmonic Orchestra, and taught music in his home town. In 1923 Martinů left Czechoslovakia for Paris, and deliberately withdrew from the Romantic style in which he had been trained.
In the early 1930s he found his main font for compositional style, the neo-classical as developed by Stravinsky. With this, he expanded to become a prolific composer, composing chamber, orchestral, choral and instrumental works at a fast rate. His use of the piano obbligato became his signature. His Concerto Grosso and the Double Concerto for Two String Orchestras, Piano and Timpani are among his best known works from this period.
Many of Martinů's works are regularly performed or recorded, among them his choral work The Epic of Gilgamesh (1955); his six symphonies; his concertos, including those for cello, viola, violin, oboe and five for the piano; his anti-war opera Comedy on the Bridge; and his chamber music, including eight string quartets, three piano quintets a piano quartet, a flute sonata, a clarinet sonatina and another for trumpet, both from his 1956.
A characteristic feature of his orchestral writing is the near-omnipresent piano; many of his orchestral works include a prominent part for piano, including his small concerto for harpsichord and chamber orchestra. The bulk of his writing from the 1930s into the 1950s was in a neoclassical vein, but with his last works he opened up his style to include more rhapsodic gestures and a looser, more spontaneous sense of form. This is easiest to hear by comparing his sixth symphony, titled Fantaisies symphoniques, with its five predecessors, all from the 1940s.

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