Duo Dolce | Duo Dolce Music for Cello and Piano

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Classical: Brahms Classical: Debussy Moods: Mood: Dreamy
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Duo Dolce Music for Cello and Piano

by Duo Dolce

Genre: Classical: Brahms
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  Song Share Time Download
1. Beau soir, for Cello and Piano (Trans. by Aleksandr Grechaninov)
2:12 $0.99
2. Suite bergamasque, L. 75: III. Clair de lune (Trans. by Lars Christian Lundholm)
4:42 $0.99
3. Romance of Hsiao and Ch'in
4:10 $0.99
4. Fisherman's Song (Trans. Kristen Yeon-Ji Yun)
4:59 $0.99
5. Dances I. Prelude
2:13 $0.99
6. Dances II. Valse rappelee
1:16 $0.99
7. Dances III. Adagio
2:28 $0.99
8. Dances IV. Pas de deux
1:29 $0.99
9. Dances V. The Mirror Toccata
2:39 $0.99
10. Dances VI. Scherzo
1:31 $0.99
11. Dances VII. The Return
2:58 $0.99
12. Sonata for Piano and Violin No. 2 in A Major, Op. 100: I. Allegro amabile (Trans. Laszlo Varga)
8:48 $0.99
13. Sonata for Piano and Violin No. 2 in A Major, Op. 100: II. Andante tranquillo (Trans. Laszlo Varga)
7:16 $0.99
14. Sonata for Piano and Violin No. 2 in A Major, Op. 100: III. Allegretto grazioso (Quasi Andante) [Trans. Laszlo Varga]
5:42 $0.99
Downloads are available as MP3-320 files.


Album Notes
Claude Debussy’s art song, Beau Soir, was set to a poem by Paul Bourget. Debussy uses a tone painting closely depicting the images from the original poem through every marking and subtle musical nuance. This arrangement, despite the absence of words, arouses a sentimental feeling of a “troubled heart” through the wave-like rhythm on the piano and the arch-contoured melodies on the cello. The upward melody of the cello ends the piece, suggesting an ephemeral life expressed in the poem “for we go away, as this stream goes, the stream to the sea, we to the tomb.” Clair de Lune, one of the most well-known works written by Debussy, has been orchestrated and arranged for many different instrumentations. However, the original comes from Suite Bergamasque, a solo piano suite comprised of four movements. Inspired from the poem by Paul Verlaine, this piece evokes feelings of melancholy cast under the moonlight. Debussy’s mastery of unique harmonies and rhythms gives the piece a mysterious charm.

A recipient of many prestigious awards and honors such as the Guggenheim Fellowship and the Lili Boulanger Award, composer Chen Yi combines Chinese and Western traditions and transcends cultural and musical boundaries in her compositions. Originally written for violin and piano in 1999, Romance of Hsiao and Ch'in was transcribed for cello and piano by the composer herself. Hsiao is a vertical bamboo flute and Ch'in is a 2000 year old Chinese string zither. These two instruments are often played together. The blend of sonority and timber of cello and piano reflects these traditional instruments through vibrato and pizzicato. Fisherman’s song was originally written for violin and piano as well and the performer (Kristen Yeon-Ji Yun) transcribed the violin part for cello. The thematic melody is written by the composer in the style of a Cantonese folk song using pentatonic scale. The middle section, as a contrast, is more active and energetic, with its momentum brought to a climax before the return of the opening melody.

Ned Rorem is one of America's most honored composers especially for his art songs. In addition to the wealth of his more than 500 art songs, Rorem has equally impressive instrumental works as well. Dances for cello and piano was commissioned by the Music Study Club of Metropolitan Detroit and premiered in 1984. This suite reflects jazz influence in the second movement, Valse Rappelée, along with the French tradition in the fourth movement Pas de Deux. The suite concludes with the nostalgic “return” of the theme from the opening movement, Prelude.

Composed in the summer of 1886 in Switzerland, Sonata No. 2 in A Major for piano and violin is probably the most lyrical among Johannes Brahms’ three violin sonatas. The tempo marking of the first movement, Allegro amabile (lively but with love), and the constant marks of dolce, espressivo, and teneramente (tenderly) in the score assure a mellow and feminine character for this piece. Playing the sonata on cello and piano instead of violin and piano may be more challenging for performers and audiences, but the natural character of the cello sound adds intensity and introspection which reflects the original character of Brahms’ piece. The 1st movement starts with a gracious and sweetly singing melody by piano which is soon taken up by the cello. The well-interwoven interchange between the two instruments expresses sweet and sometimes powerful moments in the rest of the movement. The 2nd movement combines two alternating sections – Andante and Vivace. The contrasting characters from each section are intriguing – while the Andante sections offer calmness but with intensity, the Vivace sections possess a lighter character with folk-like rhythmic figures. The final movement, Allegretto grazioso, begins with a graceful and elegant theme by the cello. The noble and soulful legato lines in the low register create a doubt of the original arrangement of violin and piano as the characters in this movement can be better expressed by cello and piano. The main theme elaborated by double stops carries this movement to its close.



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