| Sing To The Lord Of Harvest Organ, Choral Concordia Publishing House
By Healey Willan. For SATB choir, SA choir and organ. General, Thanksgiving, sac...(+)
By Healey Willan. For SATB choir, SA choir and organ. General, Thanksgiving, sacred. Level: Easy-Moderately Easy. Published by Concordia Publishing House.
$12.00 $11.4 (5% off) See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Concerto in C Major 2 Trumpets, Keyboard (piano or organ) Kunzelmann
By Antonio Vivaldi. For 2 trumpet, piano. Op.46,No.1(P.75)(RV.537). Published by...(+)
By Antonio Vivaldi. For 2 trumpet, piano. Op.46,No.1(P.75)(RV.537). Published by Edition Kunzelmann.
$14.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Concerto in F Major Op. 64, No. 4, RV 542/PV 274 Eulenburg
Viola Orchestra; Viola SKU: HL.49011449 Viola Part. Composed by An...(+)
Viola Orchestra; Viola SKU: HL.49011449 Viola Part. Composed by Antonio Vivaldi. Sheet music. Edition Schott. Classical. Individual part. Op. 64/4. 3 pages. Duration 13'. Eulenburg Edition #PC 108-13. Published by Eulenburg Edition (HL.49011449). ISBN 9790200217513. 9.0x12.25x0.011 inches. $6.99 - See more - Buy online | | |
| Vivaldi: Treble (Alto) Recorder Concerto in A Minor RV 108 Recorder [Sheet music + CD] Hal Leonard
Classical Play-Along Volume 13. By Antonio Vivaldi. Classical Play-Along. Play A...(+)
Classical Play-Along Volume 13. By Antonio Vivaldi. Classical Play-Along. Play Along. Softcover with CD. 8 pages. Published by Hal Leonard.
$12.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Concerto in F Major Op. 64, No. 4, RV 542/PV 274 Organ Eulenburg
Organ Orchestra; Organ SKU: HL.49011446 Organ Part. Composed by An...(+)
Organ Orchestra; Organ SKU: HL.49011446 Organ Part. Composed by Antonio Vivaldi. Sheet music. Edition Schott. Classical. Solo Part. Op. 64/4. 16 pages. Duration 13'. Eulenburg Edition #PC 108-02. Published by Eulenburg Edition (HL.49011446). ISBN 9790200217483. 8.25x11.75x0.039 inches. $11.99 - See more - Buy online | | |
| Concerto - Piano And Orchestra - Solo Part Schott
Piano and orchestra - difficult SKU: HL.49046544 For piano and orchest...(+)
Piano and orchestra - difficult SKU: HL.49046544 For piano and orchestra. Composed by Gyorgy Ligeti. This edition: Saddle stitching. Sheet music. Edition Schott. Softcover. Composed 1985-1988. Duration 24'. Schott Music #ED23178. Published by Schott Music (HL.49046544). ISBN 9781705122655. UPC: 842819108726. 9.0x12.0x0.224 inches. I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. The markings of the movements are the following: 1. Vivace molto ritmico e preciso 2. Lento e deserto 3. Vivace cantabile 4. Allegro risoluto 5. Presto luminoso.The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale; my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. In the Piano Concerto I realized new concepts of harmony and rhythm. The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time 'rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form; later in the fourth movement it will be considerably developed. The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement; however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly; they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales; in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting; illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated; the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus; indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. (Gyorgy Ligeti). $34.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Piano Concerto in A minor Op. 16 Piano and Orchestra Breitkopf & Härtel
Piano/harpsichord and orchestra (solo: pno - 2(picc).2.2.2 - 4.2.3.0 - timp - st...(+)
Piano/harpsichord and orchestra (solo: pno - 2(picc).2.2.2 - 4.2.3.0 - timp - str) SKU: BR.PB-15164-07 Urtext. Composed by Edvard Grieg. Edited by E.-G. Heinemann. Orchestra; Softbound. Partitur-Bibliothek (Score Library). Solo concerto; Romantic. Study Score. 108 pages. Duration 30'. Breitkopf and Haertel #PB 15164-07. Published by Breitkopf and Haertel (BR.PB-15164-07). ISBN 9790004215906. 6.5 x 9 inches. The piano concerto in a minor stands out in Edvard Grieg's oeuvre. Besides this famous concerto, he composed only a few other large orchestral works. Because of its popularity even in Grieg's lifetime, it was often performed, not least by the composer himself. So it is not surprising that Grieg made many changes to the score up to 1907. But at the same time, the concerto's size, form and substance remained completely unaltered. Interventions in the piano part basically involved subtleties of nuance, and only a very few places in the music text were altered. The situation was different with the orchestration. Here Grieg was keen to experiment and kept filing away at the orchestra sound right up to the last. Melodies were moved to other instruments, accompanying string chords were reconstructed, and above all the list of scored instruments was changed. The main source of the Urtext edition by Ernst-Gunter Heinemann is the new edition of the score originally published in 1907 by C. F. Peters, thus several years after the first edition of 1872. Taken into account in the present edition are the changes that Grieg made up to the time of his death. Piano reduction and fingering by Einar Steen-Nokleberg. $24.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Piano Concerto in A minor Op. 16 Piano and Orchestra Breitkopf & Härtel
Piano/harpsichord and orchestra (solo: pno - 2(picc).2.2.2 - 4.2.3.0 - timp - st...(+)
Piano/harpsichord and orchestra (solo: pno - 2(picc).2.2.2 - 4.2.3.0 - timp - str) SKU: BR.PB-15152 Urtext. Composed by Edvard Grieg. Edited by Ernst-Gunter Heinemann. Orchestra; Softcover. Partitur-Bibliothek (Score Library). In Cooperation with G. Henle Verlag Solo concerto; Romantic. Full score. 108 pages. Duration 30'. Breitkopf and Haertel #PB 15152. Published by Breitkopf and Haertel (BR.PB-15152). ISBN 9790004215579. 10 x 12.5 inches. The piano concerto in a minor stands out in Edvard Grieg's oeuvre. Besides this famous concerto, he composed only a few other large orchestral works. Because of its popularity even in Grieg's lifetime, it was often performed, not least by the composer himself. So it is not surprising that Grieg made many changes to the score up to 1907. But at the same time, the concerto's size, form and substance remained completely unaltered. Interventions in the piano part basically involved subtleties of nuance, and only a very few places in the music text were altered. The situation was different with the orchestration. Here Grieg was keen to experiment and kept filing away at the orchestra sound right up to the last. Melodies were moved to other instruments, accompanying string chords were reconstructed, and above all the list of scored instruments was changed. The main source of the Urtext edition by Ernst-Gunter Heinemann is the new edition of the score originally published in 1907 by C. F. Peters, thus several years after the first edition of 1872. Taken into account in the present edition are the changes that Grieg made up to the time of his death. Piano reduction and fingering by Einar Steen-Nokleberg. $66.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Concerto for Pianoforte and Orchestra no. 2 in E-flat major - Intermediate Barenreiter
Piano, orchestra (Piano,Fl,2Ob,2bassoon,2H n,2Trp,Timp,2V,Va,Vc,Db) - Level 3 (+)
Piano, orchestra (Piano,Fl,2Ob,2bassoon,2Hn,2Trp,Timp,2V,Va,Vc,Db) - Level 3 SKU: BA.BA11550 Composed by Johann Joseph Rösler. Edited by Alena Hönigová. This edition: urtext edition. Paperback. Barenreiter Urtext. First edition. Score. No. 2. Baerenreiter Verlag #BA11550_00. Published by Baerenreiter Verlag (BA.BA11550). ISBN 9790260108608. 31 x 24.3 cm inches. Key: E-flat major. Preface: Honigova, Alena. Johann Joseph Rösler (1771–1812) was a composer, conductor and pianist who was active in Prague and Vienna. Later he was in the service of Prince Franz Joseph von Lobkowitz. His Piano Concerto No. 2 in E-flat major of 1803 is a fitting companion to the piano concertos of Beethoven; indeed, his first Piano Concerto in D major was mistakenly attributed to Beethoven until 1925. Now Rösler’s second Piano Concerto is appearing in print for the first time. This is due to editor Alena Hönigová discovering and identifying an autograph score which is the only preserved source in the Prague Conservatory archive. In this Urtext edition Hönigová takes into account the distinctive features of Rösler’s handwriting and the division of parts in the score, as befits the performance practice of his day.
About Barenreiter Urtext What can I expect from a Barenreiter Urtext edition? MUSICOLOGICALLY SOUND - A reliable musical text based on all available sources - A description of the sources - Information on the genesis and history of the work - Valuable notes on performance practice - Includes an introduction with critical commentary explaining source discrepancies and editorial decisions ... AND PRACTICAL - Page-turns, fold-out pages, and cues where you need them - A well-presented layout and a user-friendly format - Excellent print quality - Superior paper and binding
$53.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Concerto for Violin and Orchestra in E Minor, Op. 64 Violin EMB (Editio Musica Budapest)
Score. By Felix Mendelssohn. Arranged by Gabor Darvas. EMB. 108 pages. Published...(+)
Score. By Felix Mendelssohn. Arranged by Gabor Darvas. EMB. 108 pages. Published by Editio Musica Budapest.
$16.45 - See more - Buy online | | |
| Concerto in A Major for Violin Strings and Basso Continuo RV352 Orchestra Ricordi
SKU: HL.50037580 Score. Composed by Antonio Vivaldi. Edited by Gia...(+)
SKU: HL.50037580 Score. Composed by Antonio Vivaldi. Edited by Gian Francesco Malipiero. Orchestra. 32 pages. Ricordi #PR261. Published by Ricordi (HL.50037580). 7.75x10.5x0.108 inches. $17.95 - See more - Buy onlinePre-shipment lead time: 3 to 5 business days | | |
| Concerto in G Minor for Strings and Basso Continuo RV155 Orchestra Ricordi
String Orchestra and B.C. SKU: HL.50037660 Score. Composed by Anto...(+)
String Orchestra and B.C. SKU: HL.50037660 Score. Composed by Antonio Vivaldi. Edited by Gian Francesco Malipiero. Orchestra. Score Only. Composed 1984. Ricordi #PR247. Published by Ricordi (HL.50037660). 8.0x10.75x0.108 inches. $17.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Concerto for Piano and Orchestra in G minor, op. 33 B 63 Piano and Orchestra - Intermediate/advanced Barenreiter
Piano, orchestra (Piano,2Fl,2Ob,2Clar,2bas soon,2Hn,2Trp,Timp,2V,Va, Vc,Db) - Le...(+)
Piano, orchestra (Piano,2Fl,2Ob,2Clar,2bassoon,2Hn,2Trp,Timp,2V,Va,Vc,Db) - Level 4 SKU: BA.BA10420 Composed by Antonin Dvorak. Edited by Robbert van Steijn. This edition: urtext edition. Paperback. Barenreiter Urtext. Score. Opus 33. Duration 00:40:00. Baerenreiter Verlag #BA10420_00. Published by Baerenreiter Verlag (BA.BA10420). ISBN 9790260108387. 31 x 24.3 cm inches. Key: G minor. Preface: David R. Beveridge. Composed in 1876, Dvorákâ??s only piano concerto has been overshadowed by his other two concertos, for violin and violoncello, respectively. Performers and editors have often attempted to upgrade this pianistically unassuming work by adding stylisations of their own. Our Urtext edition revaluates the sources, frees the work from subsequent interventions and presents it to full advantage in its authentic form.
The principal source of our new edition is the first complete print issued by the publisher Hainauer in 1883, which has been meticulously collated with the autograph. The anonymous original piano reduction is so full of mistakes that editor Robbert van Steijn decided instead to present the version by Karel Å olc.
About Barenreiter Urtext What can I expect from a Barenreiter Urtext edition? MUSICOLOGICALLY SOUND - A reliable musical text based on all available sources - A description of the sources - Information on the genesis and history of the work - Valuable notes on performance practice - Includes an introduction with critical commentary explaining source discrepancies and editorial decisions ... AND PRACTICAL - Page-turns, fold-out pages, and cues where you need them - A well-presented layout and a user-friendly format - Excellent print quality - Superior paper and binding
$83.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Concerto in B flat major, RV 537 (GHEDINI) 2 Trumpets, Keyboard (piano or organ) IMC (International Music Co.)
By Antonio Vivaldi. Two trumpets and piano. Published by International Music Co....(+)
By Antonio Vivaldi. Two trumpets and piano. Published by International Music Co.
$14.25 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Concerto d-Moll op. 26/9 RV 406/481 [Part] Ernst Eulenburg
By Antonio Vivaldi. Arranged by Felix Schroeder. For Violoncello, Strings and Ha...(+)
By Antonio Vivaldi. Arranged by Felix Schroeder. For Violoncello, Strings and Harpsichord. Prae Classica. Special Import item. The price for this item includes a Special Import fee of $8.00. Separate Part. 5 pages. Published by Ernst Eulenburg & Co GmbH.
$3.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Concerto in F Piano and Orchestra Breitkopf & Härtel
Piano/harpsichord and orchestra (solo: pno - picc.2.2.Eh.2.Bcl.2 - 4.3.3.1 - tim...(+)
Piano/harpsichord and orchestra (solo: pno - picc.2.2.Eh.2.Bcl.2 - 4.3.3.1 - timp.perc - str) SKU: BR.EB-10859 Urtext. Composed by George Gershwin. Orchestra; Softbound. Edition Breitkopf. Solo concerto; Early modern; Music post-1945. Piano reduction. 88 pages. Duration 36'. Breitkopf and Haertel #EB 10859. Published by Breitkopf and Haertel (BR.EB-10859). ISBN 9790201808598. 9.5 x 12 inches. After achieving sensational success with the musical Lady, be good! , with evergreens such as Fascinating Rhythm and The Man I love, as well as with his Rhapsody in Blue , Gershwin premiered his Concerto in F for piano and orchestra as a soloist at Carnegie Hall in 1925. Now, the new superstar of Broadway had also arrived at the center of New York's classical music scene. In its eventful history, the work went through numerous changes, cuttings, arrangements, many of which doubtful and unauthorized. Even the first and so far only printed orchestral score, edited by Frank Campbell-Watson, published in 1942 five years after Gershwin's death, contains many unauthorized interventions. Through years of research, editor Norbert Gertsch has succeeded in ridding the work of all unauthorized additions and alterations and thus reconstructing an Urtext in its original literal sense from the complex source material - from autograph sketches to early recordings. The first text-critical edition of the work is a joint production of Breitkopf (score/orchestral parts) and G. Henle Verlag (piano reduction). $37.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Second Book Of Trombone Solos Trombone and Piano Faber Music Limited
Trombone, Piano SKU: HU.F0571510841 For Trombone and Piano. Arranged by Leslie ...(+)
Trombone, Piano
SKU: HU.F0571510841
For Trombone and Piano. Arranged by Leslie Pearson and Peter Goodwin. Brass, Repertoire, Collections. Softcover Book. 64 pages. Faber Music #F0571510841. Published by Faber Music (
$22.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Giant Book of Violin Classics Violin and Piano Schirmer
Violin and Piano. Composed by Various. String. Classical. Softcover. 256 page...(+)
Violin and Piano. Composed
by Various. String.
Classical. Softcover. 256
pages. G. Schirmer #LIB
2152. Published by G.
Schirmer
$36.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
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