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Articles

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  • Andrievskaya I. – The First Concert for Cello and Orchestra by D. Shostakovich Questions of Interpretation
  • Berlizova D. – Moscow Trio on the History of the Formation of the Performing Traditions of the Moscow Conservatory
  • Barulina V.A. – Fundamentals of Cello Performance
  • Bidzhakova N. – Main Trends in the Development of Chamber Genres for Cello and Piano in the First Half of the Twentieth Century
  • Bidzhakova N. – Works of the First Half of the 20th Century
  • Blashchuk S., Lavelina J. – Cello Concerto by Alexander Tchaikovsky as an Example of Inversion of the Variation Form
  • Bocharnikova V. – On the Problem of Periodization of Quartets by D. Shostakovich
  • Boykova V. – Advanced Techniques of Cello Playing in the Twentieth Century the Experience of Systematization
  • Chenyu W. – Trio for Piano, Violin and Cello by M. Ravel as an Example of Individual Interpretation of the Genre
  • Efimov I.V. – Jewelry and Ornamentation of Baroque Music
  • Goncharenko S. – 24 Preludes for Cello Solo by M. Weinberg – Interpretation of the Cycle
  • Goncharenko S. – On the Question of Double Finals in Beethoven’s Quartet №13
  • Grishchenko E. – String Quartets A.C. Glazunov Formation of the Genre in the Work of the Composer
  • Gudimov D. – Cello Schools of the 18th-21st Centuries Historical Review, Traditions and Modern Innovations
  • Gudozhnikova O. – Creative Collaboration of Composers and Performers in Sonatas for Cello and Piano
  • Gudozhnikova O. – Genre Synthesis in Sonatas for Cello and Piano by Soviet Composers
  • Gudozhnikova O. – Programming in Sonatas for Cello and Piano by 20th Century Composers
  • Ivanov A. – A Virtuoso Concert in the Repertoire of a Cellist
  • Ivanov A. – Cello Concerts by Bernhard Romberg
  • Ivanov A. – The First Concert for Cello and Orchestra K.Y. Davydova
  • Khramov V. – Creativity Daniyal Shafran as a Phenomenon of Soviet Culture
  • Kostenkova E.S. – The Initial Stage of Learning to Play the Cello
  • Kozeva G. – Prokofiev. Ballad for Cello and Piano
  • Lapkin A.D. – Freedom is an Absolute Value
  • Lavchyan A. – Piano Quintet by D.D. Shostakovich – Performing Principles and Style
  • Mambetova G. – A Holistic Analysis of the Epitaph for Cello and String Orchestra by Merzie Khalitova
  • Naiko N. – D-Es-C-H Monogram and its Variants in String Quartets by D.D. Shostakovich
  • Omarova S. – Performing analysis of the concert for cello and orchestra (G-Dur) by Antonio Vivaldi
  • Ostrovskaya G. – Traditions and Innovation in the Implementation of the Genre of the Quartet in the Works of D.D. Shostakovich
  • Ovchinnikova S. – M.L. Rostropovich as an Interpreter of Suites for Cello Solo by I.S. Bach
  • Petukhova S. – Rostropovich, Myaskovsky, Prokofiev, Shostakovich: cello
  • Rubtsova D. – String Quartet as a Genre and Style Phenomenon
  • Sannikova N. – Interpretive Вominants of the Сello Ыolo Ыuite Пenre
  • Sevastyanova L. – Quartets A.C. Glazunov is an Attempt at a Critical Review
  • Sevastyanova L. – Metamorphoses of the Waltz`s Genre in Quartets by D.D. Shostakovich
  • Sinitsyn E.A. – Suites by I.S. Bach for Cello Solo. Some Performance Issues. Transcriptions for Contrabass
  • Sokolvyak N. – On Innovations in Domestic String Quartets of the Last Third of the XX – Early XXI Centuries.
  • Sokolvyak N. – String Quartet in the Context of Russian Memorial Music
  • Stepanova S. – Conditions and Methods of Teaching a Beginner Cellist
  • Svobodova V. – Matrix Analysis of J.S. Bach (on the example of the prelude of suite №1 in G-Dur for cello solo)
  • The Making of a Musician – Third Suite for Unaccompanied Cello by J.S. Bach
  • The Recent Editions of the Bach Cello Suites by Dimitry Markevitch
  • Yudin A. – Lessons by M. L. Rostropovich – Accompanist
  • Yuming Chi – Introducing Students of Chinese Music and Pedagogical Universities to Russian Cello Music
  1. Andrievskaya I. – The First Concert for Cello and Orchestra by D. Shostakovich Questions of Interpretation
  2. Berlizova D. – Moscow Trio on the History of the Formation of the Performing Traditions of the Moscow Conservatory
  3. Barulina V.A. – Fundamentals of Cello Performance
  4. Bidzhakova N. – Main Trends in the Development of Chamber Genres for Cello and Piano in the First Half of the Twentieth Century
  5. Bidzhakova N. – Works of the First Half of the 20th Century
  6. Blashchuk S., Lavelina J. – Cello Concerto by Alexander Tchaikovsky as an Example of Inversion of the Variation Form
  7. Bocharnikova V. – On the Problem of Periodization of Quartets by D. Shostakovich
  8. Boykova V. – Advanced Techniques of Cello Playing in the Twentieth Century the Experience of Systematization
  9. Chenyu W. – Trio for Piano, Violin and Cello by M. Ravel as an Example of Individual Interpretation of the Genre
  10. Efimov I.V. – Jewelry and Ornamentation of Baroque Music
  11. Goncharenko S. – 24 Preludes for Cello Solo by M. Weinberg – Interpretation of the Cycle
  12. Goncharenko S. – On the Question of Double Finals in Beethoven’s Quartet №13
  13. Grishchenko E. – String Quartets A.C. Glazunov Formation of the Genre in the Work of the Composer
  14. Gudimov D. – Cello Schools of the 18th-21st Centuries Historical Review, Traditions and Modern Innovations
  15. Gudozhnikova O. – Creative Collaboration of Composers and Performers in Sonatas for Cello and Piano
  16. Gudozhnikova O. – Genre Synthesis in Sonatas for Cello and Piano by Soviet Composers
  17. Gudozhnikova O. – Programming in Sonatas for Cello and Piano by 20th Century Composers
  18. Ivanov A. – A Virtuoso Concert in the Repertoire of a Cellist
  19. Ivanov A. – Cello Concerts by Bernhard Romberg
  20. Ivanov A. – The First Concert for Cello and Orchestra K.Y. Davydova
  21. Khramov V. – Creativity Daniyal Shafran as a Phenomenon of Soviet Culture
  22. Kostenkova E.S. – The Initial Stage of Learning to Play the Cello
  23. Kozeva G. – Prokofiev. Ballad for Cello and Piano
  24. Lapkin A.D. – Freedom is an Absolute Value
  25. Lavchyan A. – Piano Quintet by D.D. Shostakovich – Performing Principles and Style
  26. Mambetova G. – A Holistic Analysis of the Epitaph for Cello and String Orchestra by Merzie Khalitova
  27. Naiko N. – D-Es-C-H Monogram and its Variants in String Quartets by D.D. Shostakovich
  28. Omarova S. – Performing analysis of the concert for cello and orchestra (G-Dur) by Antonio Vivaldi
  29. Ostrovskaya G. – Traditions and Innovation in the Implementation of the Genre of the Quartet in the Works of D.D. Shostakovich
  30. Ovchinnikova S. – M.L. Rostropovich as an Interpreter of Suites for Cello Solo by I.S. Bach
  31. Petukhova S. – Rostropovich, Myaskovsky, Prokofiev, Shostakovich: cello
  32. Rubtsova D. – String Quartet as a Genre and Style Phenomenon
  33. Sannikova N. – Interpretive Вominants of the Сello Ыolo Ыuite Пenre
  34. Sevastyanova L. – Quartets A.C. Glazunov is an Attempt at a Critical Review
  35. Sevastyanova L. – Metamorphoses of the Waltz`s Genre in Quartets by D.D. Shostakovich
  36. Sinitsyn E.A. – Suites by I.S. Bach for Cello Solo. Some Performance Issues. Transcriptions for Contrabass
  37. Sokolvyak N. – On Innovations in Domestic String Quartets of the Last Third of the XX – Early XXI Centuries.
  38. Sokolvyak N. – String Quartet in the Context of Russian Memorial Music
  39. Stepanova S. – Conditions and Methods of Teaching a Beginner Cellist
  40. Svobodova V. – Matrix Analysis of J.S. Bach (on the example of the prelude of suite №1 in G-Dur for cello solo)
  41. The Making of a Musician – Third Suite for Unaccompanied Cello by J.S. Bach
  42. The Recent Editions of the Bach Cello Suites by Dimitry Markevitch
  43. Yudin A. – Lessons by M. L. Rostropovich – Accompanist
  44. Yuming Chi – Introducing Students of Chinese Music and Pedagogical Universities to Russian Cello Music