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Te Deum In B-Flat Major Hwv 281 Violon 1 (HAENDEL GEORG FRIEDRICH)
Violin
[Sheet music]
Barenreiter
Chandons Te Deum HWV 281. Par HAENDEL GEORG FRIEDRICH. Handel composed the 'Te D...
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Chandons Te Deum HWV 281. Par HAENDEL GEORG FRIEDRICH. Handel composed the 'Te Deum” in B-flat major HWV 281 in 1718 for the future Duke of Chandos, hence its nickname 'Chandos Te Deum”. Here it is called 'Te Deum for Cannons” after the Duke's stately home named Cannons where the first performance took place. The unusual scoring for flute, oboe, bassoon, trumpet, two violins and basso continuo plus a choir (one soprano, three tenors and a bass) probably reflects the musicians which were available at Cannons, bearing in mind that three tenors were used also in 'Acis and Galatea”, the masque which was composed at almost the same time. Though in many respects this 'Te Deum” is reminiscent of the 'Utrecht Te Deum”, its smaller forces tend to give it more the character of chamber music. This edition is based on the Urtext from the 'Halle Handel Edition” (BA 10708), which offers the first complete scholarly text of the music for the 'Te Deum”./ Répertoire / Violon 1 (Partie Séparée)
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Te Deum In B-Flat Major Hwv 281 (HAENDEL GEORG FRIEDRICH)
Violoncelle, Contrebasse, Basson ou Orgue
[Sheet music]
Barenreiter
Chandons Te Deum HWV 281. Par HAENDEL GEORG FRIEDRICH. Handel composed the 'Te D...
(+)
Chandons Te Deum HWV 281. Par HAENDEL GEORG FRIEDRICH. Handel composed the 'Te Deum” in B-flat major HWV 281 in 1718 for the future Duke of Chandos, hence its nickname 'Chandos Te Deum”. Here it is called 'Te Deum for Cannons” after the Duke's stately home named Cannons where the first performance took place. The unusual scoring for flute, oboe, bassoon, trumpet, two violins and basso continuo plus a choir (one soprano, three tenors and a bass) probably reflects the musicians which were available at Cannons, bearing in mind that three tenors were used also in 'Acis and Galatea”, the masque which was composed at almost the same time. Though in many respects this 'Te Deum” is reminiscent of the 'Utrecht Te Deum”, its smaller forces tend to give it more the character of chamber music. This edition is based on the Urtext from the 'Halle Handel Edition” (BA 10708), which offers the first complete scholarly text of the music for the 'Te Deum”./ Répertoire / Violoncelle, Contrebasse, Basson ou Orgue
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Te Deum In B-Flat Major Hwv 281 Violon 2 (HAENDEL GEORG FRIEDRICH)
Violin
[Sheet music]
Barenreiter
Chandons Te Deum HWV 281. Par HAENDEL GEORG FRIEDRICH. Handel composed the 'Te D...
(+)
Chandons Te Deum HWV 281. Par HAENDEL GEORG FRIEDRICH. Handel composed the 'Te Deum” in B-flat major HWV 281 in 1718 for the future Duke of Chandos, hence its nickname 'Chandos Te Deum”. Here it is called 'Te Deum for Cannons” after the Duke's stately home named Cannons where the first performance took place. The unusual scoring for flute, oboe, bassoon, trumpet, two violins and basso continuo plus a choir (one soprano, three tenors and a bass) probably reflects the musicians which were available at Cannons, bearing in mind that three tenors were used also in 'Acis and Galatea”, the masque which was composed at almost the same time. Though in many respects this 'Te Deum” is reminiscent of the 'Utrecht Te Deum”, its smaller forces tend to give it more the character of chamber music. This edition is based on the Urtext from the 'Halle Handel Edition” (BA 10708), which offers the first complete scholarly text of the music for the 'Te Deum”./ Répertoire / Violon 2 (Partie Séparée)
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The Entertainer (JOPLIN SCOTT)
Quintette à vent
[Sheet music]
FLEX Editions
Flute, Oboe, Clarinet, Horn and Bassoon. Par JOPLIN SCOTT. / Répertoire / Quint...
(+)
Flute, Oboe, Clarinet, Horn and Bassoon. Par JOPLIN SCOTT. / Répertoire / Quintette à vent
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Jindrich Feld: Jindrich Feld: Nonetto: Chamber Ensemble: Score
Français
Flûte, Hautbois, Clarinette, Basson, Cor, Violon,
[Sheet music]
Leduc, Alphonse
Ensemble-Mixed 8 or more-for flute oboe clarinet bassoon horn violin viola...
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Ensemble-Mixed 8 or more-for flute oboe clarinet bassoon horn violin viola cello and double bass
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Rheinberger Ga 31 (RHEINBERGER JOSEF GABRIEL)
Chamber Orchestra
[Sheet music]
Carus Verlag
Par RHEINBERGER JOSEF GABRIEL. Volume 31 contains, among other works, the Piano ...
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Par RHEINBERGER JOSEF GABRIEL. Volume 31 contains, among other works, the Piano Quartet, which was enthusiastically received by the critics in Rheinberger’s time: “The themes are noble, with significant content, the motivic development is rich and interesting, above all free from anything resembling a mould … and such a healthy musical wind blows through the entire work that I believe I am not mistaken if I forsee for this work a great success. ” This is how a contemporary critic reviewed the work. Indeed, op. 38 proceeded to become the most successful of Rheinberger’s chamber music works during his lifetime. The Sextet op. 191b is an effective arrangement of his Piano Trio No. 4 op. 191, for flute, oboe, clarinet, bassoon, horn and piano. All works are also available in separate editions./ Répertoire / Ensemble de Chambre
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Hymne A La Joie (BEETHOVEN LUDWIG VAN)
Quatuor à vent
[Sheet music]
FLEX Editions
Flute, Oboe, Clarinet and Bassoon. Par BEETHOVEN LUDWIG VAN. / Répertoire / Qua...
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Flute, Oboe, Clarinet and Bassoon. Par BEETHOVEN LUDWIG VAN. / Répertoire / Quatuor à vent
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Sarabande (HAENDEL GEORG FRIEDRICH)
Quatuor à Vents
[Sheet music]
FLEX Editions
Flute, Oboe, Clarinet and Bassoon. Par HAENDEL GEORG FRIEDRICH. / Répertoire / ...
(+)
Flute, Oboe, Clarinet and Bassoon. Par HAENDEL GEORG FRIEDRICH. / Répertoire / Quatuor à Vents
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F. Thuille: Sestetto: Aerophone: Score and Parts
Sextuor
[Sheet music]
IMC (International Music Co.)
For chamber woodwind ensemble. Flute Oboe Clarinet Bassoon Horn and Piano.
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Michael Nyman: Drowning By Numbers: Chamber Ensemble: Score
Violin, Viola and Orchestra
[Study Score / Miniature]
Chester
Drowning By Numbers arranged by the composer from his sound-track for the film ...
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Drowning By Numbers arranged by the composer from his sound-track for the film by Peter Greenaway for Violin Viola and Chamber Orchestra. This work was commissioned by the London Mozart Players and first performedDecember 1998 at the Warwick Arts Centre. Duration 20 minutes. Full Score and parts are available on hire from the publishers. Instrumentation: Solo Violin Solo Viola 2 Flutes Oboe Cor Anglais 2 B Flat Clarinets 2 Bassoons 2 Horns in F 2 Trumpets in C Bass Trombone Piano Strings (8.6.4.4.2).
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Klar/Obskur (SCHWEITZER BENJAMIN)
Hautbois, Basson et Piano
[Score]
Schott
Par SCHWEITZER BENJAMIN. The chiaroscuro-technique developed by painters of the ...
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Par SCHWEITZER BENJAMIN. The chiaroscuro-technique developed by painters of the Italian renaissance served to intensify contrasts and effects of optical depth. In Klar/Obskur, I tried to transfer the general idea of this technique on the rather unusual instrumentation of two double-reed woodwinds and piano. On the one hand, a clear, well articulated playing is characteristic for these instruments, on the other hand, they have an often underestimated potential of „twilight“: air-sounds and fragile, shady colours have a especially attractive when being produced by double-reed instruments (which are often, and superficially regarded as being less capable of differentiated sounds than flute or clarinet). The piano, too, has a broad bandwidth of possibilities between percussive and delicate playing to complement the woodwinds which, in return, can absorb and continue the fading piano sounds. The beginning introduces the two contrasting elements that form the basic material for the piece: a clear, sharp chord, followed by fragile, dim sounds. The changes between these elements as well as their combination and amalgamation produce an enormous spectrum of colours and gesture. After this „motto-like“ opening follow four quite clearly separated short sections, each of them being characterised by a well-defined texture: a partly almost imperceptible air-sound passage, a short sequence of microintervallic notes, a burst of virtuosity and a recourse to the fragile sounds of the beginning. The second, longer main part consists of three sections merging subtly into each other: a short unisono-passage, marked elastic [federnd], is being dissolved into its basic elements; from these remainders, a confrontation of low, ‚arcane‘ bassoon and piano sounds and a strongly ornamented melodic line of the oboe emerges, leading to a short but powerful climax. The piece is concluded by an extended, relaxed epilogue, containing a short piano solo and a duet of oboe and bassoon and, finally, a quotation of the „elastic“ character of the middle section. Benjamin Schweitzer / Date parution : 2007-11-20/ Répertoire / Hautbois, Basson et Piano
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Baroque Around The World Tune Up: Violin: Instrumental Album
Violin
[Sheet music + CD]
-
Intermediate
Schott
Sixteen easy to intermediate pieces from 18th-century Sweden. The collection fo...
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Sixteen easy to intermediate pieces from 18th-century Sweden. The collection for violin (flute or oboe) keyboard and optional cello (bassoon) includes airs and dances by Roman Agrell Kraus Wikmanson Bellman.The Baroque Around the World series for flexible ensemble with keyboard can be used in the home in schools and in music centres – ideal for informal music-making as well as student and professional performance.Each publication includes a CD with listening and play-along tracks performed by the outstanding musicians Sharon Lindo (violin) Jennifer Stinton (flute) Nick Stringfellow (cello) and Jeremy Barlow (harpsichord).
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Baroque Around The World English: Violin: Score and Parts
Violin
[Sheet music + CD]
-
Intermediate
Schott
The Baroque Around the World series for flexible ensemble with keyboard can be u...
(+)
The Baroque Around the World series for flexible ensemble with keyboard can be used in the home in schools and in music centres - ideal for informal music-making as well as student and professional performance.Each publication includes a CD with listening and play-along tracks performed by the outstanding musicians Sharon Lindo (violin) Jennifer Stinton (flute) Nick Stringfellow (cello) and Jeremy Barlow (harpsichord).16 easy to intermediate pieces for violin (flute or oboe) keyboard and optional cello (bassoon). From 18th-century England the collection includes country dances Cheshire rounds hornpipes and pantomime tunes plus examples of the march minuet siciliana gavotte and jig. Featured composers include Arne Earl of Abingdon Hebden Holcombe Linley Roseingrave Stanley Thackray.
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Vaudeville et Menuet: Violin: Instrumental Album
Violin and Piano
[Sheet music + CD]
Schott
16 Easy to Intermediate Pieces from 18th-century France-16 easy to intermediate ...
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16 Easy to Intermediate Pieces from 18th-century France-16 easy to intermediate pieces from 18th-century France for violin (flute or oboe) keyboard and optional cello (bassoon). These popular airs and dances by composers such as Boismortier Chédeville Destouches Grétry Marais Montéclair and Mondonville derive from the court countryside and theatre.
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Wolfgang Amadeus Mozart: Sinfonia concertante in E-flat major K.364: Violin &
Violin, Viola and Orchestra
Barenreiter
There is no reference to the origin occasion or a performance of the Sinfonia c...
(+)
There is no reference to the origin occasion or a performance of the Sinfonia concertante in E-flat for Violin Viola and Orchestra K. 364 (320d) because in all probability it was composed in Salzburg (presumably in summer or early autumn 1779): Mozart seems to have had no reason to write about it. It was apparently in Paris that he first had the occasion of giving the genre of the ?Symphonie concertante? his special attention. On April 5 1778 he wrote to his father: ?Now I shall write a sinfonie concertante for flute wendling oboe Ramm Punto horn and Ritter bassoon?.Even more discouraging must have been the fact that he had similardifficulties in Paris in having the works performed as he had in Mannheim. After the organizier of the Concerts spirituels Le Gros contrary to his promise did not include the mentioned ?sinfonie concertante? in his program.Mozart had no reason to compose any more for this genre in Paris. After Mozart?s return to Salzburg he might have been eager to introduce the new genre there especially since adequate instrumentalists were available. Also the choice of the solo instruments (violin and viola) in the work presented here was probably influenced by the popularity of this instrumental combination in Salzburg at that time.- Urtext of the New Mozart Edition- Full score
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Wolfgang Amadeus Mozart: Sinfonia concertante in E-flat major K.364: Violin &
Violin and Piano
Barenreiter
for Violin Viola and Orchestra-There is no reference to the origin occasion or...
(+)
for Violin Viola and Orchestra-There is no reference to the origin occasion or a performance of the Sinfonia concertante in E-flat for Violin Viola and Orchestra K. 364 (320d) because in all probability it was composed in Salzburg (presumably in summer or early autumn 1779): Mozart seems to have had no reason to write about it. It was apparently in Paris that he first had the occasion of giving the genre of the ?Symphonie concertante? his special attention. On April 5 1778 he wrote to his father: ?Now I shall write a sinfonie concertante for flute wendling oboe Ramm Punto horn and Ritter bassoon?.Even more discouraging must have been the fact that he had similardifficulties in Paris in having the works performed as he had in Mannheim. After the organizier of the Concerts spirituels Le Gros contrary to his promise did not include the mentioned ?sinfonie concertante? in his program.Mozart had no reason to compose any more for this genre in Paris. After Mozart?s return to Salzburg he might have been eager to introduce the new genre there especially since adequate instrumentalists were available. Also the choice of the solo instruments (violin and viola) in the work presented here was probably influenced by the popularity of this instrumental combination in Salzburg at that time.- Urtext of the New Mozart Edition- Full score
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Wolfgang Amadeus Mozart: Sinfonia concertante in E-flat major K.364: Violin &
Violin, Viola and Orchestra
[Score]
Barenreiter
E flat major-There is no reference to the origin occasion or a performance of t...
(+)
E flat major-There is no reference to the origin occasion or a performance of the Sinfonia concertante in E-flat for Violin Viola and Orchestra K. 364 (320d) because in all probability it was composed in Salzburg (presumably in summer or early autumn 1779): Mozart seems to have had no reason to write about it. It was apparently in Paris that he first had the occasion of giving the genre of the ?Symphonie concertante? his special attention. On April 5 1778 he wrote to his father: ?Now I shall write a sinfonie concertante for flute wendling oboe Ramm Punto horn and Ritter bassoon?.Even more discouraging must have been the fact that he had similardifficulties in Paris in having the works performed as he had in Mannheim. After the organizier of the Concerts spirituels Le Gros contrary to his promise did not include the mentioned ?sinfonie concertante? in his program.Mozart had no reason to compose any more for this genre in Paris. After Mozart?s return to Salzburg he might have been eager to introduce the new genre there especially since adequate instrumentalists were available. Also the choice of the solo instruments (violin and viola) in the work presented here was probably influenced by the popularity of this instrumental combination in Salzburg at that time.- Urtext of the New Mozart Edition- Full score
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Thea Musgrave: Towards The Blue: Ensemble: Score
Clarinet Quintet: Clarinet, String Quartet
[Sheet music]
Novello & Co Ltd.
For Clarinet solo with wind quartet and string quartet. Score OnlyFirst perform...
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For Clarinet solo with wind quartet and string quartet. Score OnlyFirst performed by Michael Collins Clarinet London Winds and the Endellion String Quartet on 27th January 2011 at the Wigmore Hall London.Scoring:Solo ClarinetFluteOboeBassoonFrench Horn2 ViolinsViolaCelloDuration:circa 13 minutes'During a visit to the exhibition of Francis Bacon at the Tate Gallery in December 2008my eye fell on Figure in a Landscape 1945 which resonated in me powerfully. It is a sceneof devastation and despair and also it seemed to me of latent anger and hostility... butabove it all a serene blue sky beckons. So perhaps even in the darkest moments there is aglimmer of hope - the possibility of change.This idea became the starting point for this work - Towards the Blue - a mini concerto forclarinet who eventually becomes the leader of the group.The work starts without the clarinet and all is desolate yet fiercely argumentative discordant and uncomfortable. Suddenly the offstage clarinet is heard and the players insurprise are quietened. However when the clarinet enters and approaches with a lyricalmusical motif some of the players respond others resist. Gradually the clarinetpersuades the dissident voices to join him in a spirit of co-operation and harmony.A brief memory of the opening desolation casts a momentary shadow which is quicklydispelled by the coda marked Gioioso.'Thea Musgrave (May 13th 2010)Parts available for hire separately
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Richard Blackford: Violin Concerto: Violin: Score
Orchestra, Violin
[Sheet music]
Novello & Co Ltd.
The world premiere of Richard Blackford's Violin Concerto took place at the Wann...
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The world premiere of Richard Blackford's Violin Concerto took place at the Wannieck Gallery Brno on 25th September 2008. The soloist was Marie Gajdosova with the Brno Philharmonic Orchestra conducted by Leo Svarowsky.Instrumentation2 Flutes (II doubling Piccolo)OboeClarinetBassoons2 HornsTrumpetSolo ViolinStrings
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Franz Reizenstein: Serenade F-Dur op. 29: Wind Ensemble
Flûte Traversière, 2 Hautbois, 2 Clarinettes, 2 Co
Boosey and Hawkes
Flute 2 Oboes 2 Clarinets 2 Bassoons 2 Horns Double Bass. Reizenstein F
53.99 GBP - Sold by Musicroom UK
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Philip Glass: Violin Concerto: Violin: Score
Orchestra, Violin
[Sheet music]
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Intermediate/advanced
Dunvagen Music Publishers
This concerto is dedicated to Dennis Russell Davies and Paul Zukofzky who prese...
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This concerto is dedicated to Dennis Russell Davies and Paul Zukofzky who presented the first performance. The orchestral accompaniment consists of two flutes (one doubling as piccolo) two oboes E-flat clarinet two clarinetsand bass clarinet two bassoons four horns three trumpets three trombones tuba timpani percussion (snare drum bass drum triangle cymbal woodblock) harp and strings.Presented here in full score.
54.99 GBP - Sold by Musicroom UK
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