Score Parties. Par BEETHOVEN LUDWIG VAN. When Beethoven wrote these three quartets he was 15 years old and a composition student of Christian Gottlob Neefe in Bonn. They reveal a strong Mozartian influence while the brilliant piano writing already gives a sense of the mature Beethoven. He may conceivably have written the works for the wealthy Mastiaux family in Bonn, as he gave piano lessons to one of the daughters and the other three siblings played violin, viola and violoncello. The sole source for the quartets is the autograph score which contains many overwritings that shed light on the works' original conception and possible alternative readings. Although Beethoven never published the pieces in his lifetime and is not known to have performed them, he reused their melodic and thematic material in later compositions. Beethoven preserved the autograph score to the end of his days ? perhaps an indication that the quartets meant a great deal to him. The first edition was published by Artaria in Vienna one year after his death, albeit with the pieces in a different order and with many errors in the musical text. Bärenreiter's scholarly performing edition of the Piano Quartets WoO 36 is edited by the Italian pianist Leonardo Miucci, a specialist in the performance practice of keyboard music from this period. The edition not only presents the correct readings, it also sheds light on the young Beethoven's expressive notation and provides a plausible explanation for the distinction he made between dots and strokes to indicate staccato./ Répertoire / Quatuor pour Piano, Violon, Alto et Violoncelle

Irish Music for Strings Score + Parties. Par AUTEURS DIVERS. The cheerful and often melancholic melodies of Ireland lend themselves well for easy string quartet or ensemble repertoire. Wonderful tunes such as 'A Lovely Lass” and 'The Foggy Dew” have been arranged by Speckert for two violins, viola and cello. In all pieces the viola can be replaced by a third violin. 'Fiddle Tunes” forms part of the 'Easy String Ensemble” series./ Répertoire / Ensemble à Cordes

Per 2 Violini, Viola, Violoncello. Par VIOTTI GIOVANNI BATTISTA. / Répertoire / 2 Violons, Alto et Violoncelle

Concerto à flûte à bec, 2 violini, viola e cembalo (c.1731) Ouverture à flûte à bec, 2 violini, viola e cembalo (c.1741) Canon all'unisono a 2 flauti, violoncello o vero viola da gamba et cembalo (c. 1737)Présentation de Susi Möhlmeier et Frédérique Thouvenot : notice biographique - sources - lecture de la partition (articulation, dynamique, rythme, terminologie, agrémentation, ornementation, notation générale, basse continue) - suggestions. Intégrale des oeuvres pour flûte à bec de Graupner. Manuscrits autographes de Graupner, conservés à la Hessische Landes-und Hochschulbibliothek de Darmstadt.Concerto : 2 flûtes à bec, deux violons, alto, basse continue.Ouverture : flûte à bec, deux violons, alto, basse continue.Canon : 2 flûtes à bec, violoncelle ou viole de gambe. / Musique De Chambre / 71 pages / niveau : 1 / Fac-Similés - Format: 24 X 33

10 Duets. Par DIVERS AUTEURS (ARR.IGUDESMAN ALEKSEY). A violinist and a cellist having fun together! Whoever heard of such a thing? But that is exactly what Alexey Igudesman has provided for in his 'Violin and Violoncello and More”. He has responded to popular demand and arranged - no, recreated! - duets from his previous publications for two violins. These encompass many different styles but always with Alexsey's own individual and quirky touch. The contents list reads like a world tour, passing through Scotland, Ireland, Israel, Khazakhstan and many other countries. Igudesman took great care to 'custom make” the cello part as he wanted these arrangements to be as musically valuable as his original versions. He encourages the players to be creative, adding improvisation or even choreography but, above all, to have fun. These pieces will suit intermediate players who want to be stretched or more advanced students who simply want to let their hair down!/ Répertoire / Violon et Violoncelle

Clog Dances Fom The Lanca-Clog Dances from the Lancashire Cotton Mills arranged for Two Violins (or Violin & Viola) with optional Cello. Clog dancing originated in the North of England over 200 years ago. It is thought to have developed in the Lancashire Cotton Mills where wooden-soled clogs were preferred to leather soles because the floors were kept wet to help keep the humidity high an important feature in cotton spinning as the nails in leather soles could cause sparks which could result in the risk of explosion.The Clog dance steps were inspired by the rhythmic sounds of the textile machinery and it is said to have first been danced by girls working in the cotton mills. Theywould beat out a rhythm with their wooden clogs to keep in time with the shuttle flying backwards and forwards across the loom. They would also sing choruses whilst stepping to the rhythm of their machines.There were a variety of machines in the many mills of the Midlands and North West each machine built for a specific function. There were many rhythms and as the girls clog danced it is said that those watching the dancers could tell which machines they worked at and from which mill.Clog dancers were also a common sight not only at the mill's lunch breaks but also at competitions in towns and in Music Halls throughout the 19^th and 20th centuries.

Par BACH JOHANN SEBASTIAN. Bach would almost certainly have approved of this string quartet arrangement of his famous concerto for violin and oboe (BWV 1060) by John Cooley as he was well known for making arrangements of his own works, according to instrumental resources at his disposal. Bach himself made an arrangement of this piece for two solo harpsichords and string orchestra. It is quite ?notey? but straightforward and accessible technically to reasonably good players as there are no tricky rhythms or high notes. As well as this Bach concerto arrangement, SJ Music has also published John Cooley?s arrangements of Mozart?s piano duets K497 and K521 for piano trio and piano quartet respectively, Bach?s organ Passacaglia and Fugue for string quartet, and one of Purcell?s trio sonatas for string trio. / Date parution : 2022-03-16/ Répertoire / Quatuor à Cordes

Violin Cello & Voices Version-These are the Violin and Cello Parts for the Violin Cello and Voices version of Tarik O'Regan's Death Is Gonna Lay His Cold Icy Hands On Me for Double SATB Choir Violin and Cello. The Vocal Score is available to purchase separately.

Double Concerto for Violin and Cello (Cello part). Philip Glass?s Double Concerto for Violin, Cello and Orchestra was composed in the spring of 2010 as a commission from the Netherlands Dance Theater, premiered by the Hague Philharmonic (Residentie Orkest) conducted by Jurjen Hempel on April 22, 2010 with violinist Cecilia Bernardini and cellist Maarte-Maria den Herder.

Light And Matter was jointly commissioned by the Library of Congress Britten Sinfonia Norrbotten NEO and the Aeolian Chamber Players in honour of the 50th anniversary of the Bowdoin International MusicFestival. Composed in 2014 by Finnish composer Kaija Saariaho the piece is for Violin Cello and Piano. Saariaho states that her inspiration for this work came from looking out of herwindow in New York at the changing lights and movements of Morningside Park. The piece manages to accurately represent the dynamism of movement and kinetic energy through the musical interplay of the threeinstruments. The piece saw its world premiere at  Bowdoin International Festival on July 30th 2014 with Renee Jolles on Violin Nicholas Canellakis on Cello and Benjamin Hochman onPiano.

POD-Hugh Wood's Ithaka for Violin Viola and Cello. Parts. Inspired by C. P. Cavafy's poem this work was commissioned by the Florin Ensemble and generously supported by the Britten-PearsFoundation the RVW Trust and the Swaledale Festival which hosted the first performance at St. Andrew's Church Grinton on 2nd June 2016. The performers were Charles Mutter (Violin) Alastair Scahill (Viola) and Catherine Rimer(Cello).

Aure is a work for Violin and Cello by Kaija Saariaho. Originally composed for Violin and Viola this version was created in 2015 and was originally an homage to Henri Dutilleux's 95th birthday inspiredby a phrase from one of his compositions. Lasting around 4 minutes these are the Parts.