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There There
VIOLA
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Therese Lyre D Etoiles Trio A Cordes (BRENET THERESE)
Français
Trio à Cordes
[Sheet music]
Choudens
Pour Trio À Cordes Avec Récitant Ad Libitum. Par BRENET THERESE. / Répertoire...
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Pour Trio À Cordes Avec Récitant Ad Libitum. Par BRENET THERESE. / Répertoire / Trio à Cordes
64.30 EUR - Sold by LMI-partitions
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String Quartet No. 6 (JALBERT PIERRE)
String Quartet: 2 violins, viola, cello
[Score and Parts]
-
Advanced
Schott
Canticle. Par JALBERT PIERRE. Canticle (String Quartet No. 6) was commissioned b...
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Canticle. Par JALBERT PIERRE. Canticle (String Quartet No. 6) was commissioned by the Chiara String Quartet. It consists of seven movements, highly contrasting in character, with movements I and VII serving as similar bookends to the overall arch of the work. The piece opens with the quartet members striking various crotales, producing bell sounds that eventually blend with the string quartet – evoking the title, Canticle. The faster, pulse-oriented music requires the players to use glass rods on their instruments and at one point quickly moves back and forth between alternating rhythmic subdivisions, producing extremely rapid metric modulations. The last movement blends the string quartet with the bowing of the crotales to produce an ethereal, other-worldly finale to the canticle. Pierre Jalbert / Niveau : Avancé / Répertoire / Quatuor à Cordes
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Symphony C Major Hob. I:48Maria Theresia
Viola
Barenreiter
Haydn 'Symphonie des adieux' est une des oeuvres les plus jouées du répertoire...
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Haydn 'Symphonie des adieux' est une des oeuvres les plus jouées du répertoire symphonique. Le titre populaire ne découle pas de l'auteur, mais se réfère au mouvement final, à l'issue de laquelle (Adagio) les musiciens arrêter de jouer l'un après l'autre, ne laissant que deux violons à la fin des travaux. Selon une anecdote, sortie des musiciens était un moyen de faire référence aux exigences du travail d'orchestre à Esterháza à la fin de la saison.La publication de Haydn 'Sturm und Drang' Symphonies - la symphonie des adieux et la Symphonie #48 (la soi-disant 'Maria Theresia' Symphony) - représente une continuation de la coopération entre Bärenreiter et la maison d'édition Henle pour les éditions des grandes oeuvres chorales , des opéras et des oeuvres symphoniques.Les publications sont basées sur le Henle 'édition complète des oeuvres de Joseph Haydn'.Les deux symphonies (BA BA 10971 et 10972) sera publiée avec une partition et les parties d'orchestre en vente dans un grand format. / Alto
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Are There Not a Thousand Forms of Sorrow (ADOLPHE BRUCE)
Quintette à Cordes
[Score and Parts]
Hal Leonard
for String Quintet Score and Parts. Par ADOLPHE BRUCE. Are There Not a Thousand ...
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for String Quintet Score and Parts. Par ADOLPHE BRUCE. Are There Not a Thousand Forms of Sorrow? for string quintet (2 violins, viola and 2 cellos) was commissioned to celebrate the 50th anniversary of the Chamber Music Society of Lincoln Center by a consortium of the followingchamber music organizations: The Chamber Music Society of Lincoln Center, Chamber Music Northwest, Salt Bay Chamberfest, Off the Hook Arts Festival. The title of this quintet is taken from Ethan Canin's novel A Doubter's Almanac:Are there not a thousand forms of sorrow? Is the sorrow of death the same as the sorrow of knowing the pain in a child's future?/ Répertoire / Quintette à Cordes
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Disney Movie Favorites
Viola
Hal Leonard
Les étudiants aiment jouer ces 16 chansons de l'Aladdin de Disney favoris, La B...
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Les étudiants aiment jouer ces 16 chansons de l'Aladdin de Disney favoris, La Belle et la Bête et La Petite Sirène. Songs include: Beauty and the Beast - Friend like Me - Kiss the Girl - Something There - Under the Sea - A Whole New World - and more. / Alto
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Duo For Violin And Viola
Violin, Viola (duet)
Bote and Bock
Zikmund Schul est né à Chemnitz en 1916 et mort dans le ghetto de Theresiensta...
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Zikmund Schul est né à Chemnitz en 1916 et mort dans le ghetto de Theresienstadt en 1944. Il est l'un des compositeurs qui ont été négligés lors de la réévaluation de la musique des soi-disant 'compositeurs de Theresienstadt'. En coopération avec le ' Theresienstadt Music Memorial Project ' à Tel-Aviv et le Mémorial de Yad Vashem, Bote and Bock publierez oeuvres tous conservés par l'étudiant de Hindemith et Hába Zikmund Schul en séquence lâche, avec les oeuvres d'autres compositeurs. Les travaux comprennent la musique de chambre pour les chaînes, oeuvres vocales et chorales et une fugue de piano. Le ' Duo ', écrit en 1943, est une des oeuvres du Schul plus vaste préservé et une des compositions plus importantes pour ce type d'ensemble du duo - une amélioration inestimable du répertoire. / Violon Et Alto
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Gershwin George - Summertime - String Quartet
String Quartet: 2 violins, viola, cello
Schott
from Porgy and Bess Instrument : string quartet (double bass ad lib.) Type : sc...
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from Porgy and Bess Instrument : string quartet (double bass ad lib.) Type : score and parts Nombre de Pages : 16 There is hardly any other lullaby in the field of classical music - apart from Brahms' 'Guten Abend, gute Nacht' - that has gained such popularity as George Gershwin's (1898-1937) 'Summertime'. It is a song from his opera Porgy and Bess“ which was premiered in New York on 10 October 1935 with only moderate success at first. Every important jazz musician insisted on presenting his own version of this rather evocative and catchy song with which Clara rocks her child to sleep at the beginning of the opera. The present version now offers the opportunity to play this famous 'Summertime' with a string quartet (and double-bass ad lib.) or string orchestra - let's swing!
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Youth
String Quartet: 2 violins, viola, cello
Barenreiter
This piece reflects Janácek's memories of childhood and youth in his native Huk...
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This piece reflects Janácek's memories of childhood and youth in his native Hukvaldy and the Augustinian Abbey in Brno. Kry?tof Maratka, a Czech composer resident in France and a great admirer of Janácek, has arranged the original version to produce a welcome addition to the string quartet repertoire.Youth for wind sextet, is a masterpiece from Janácek's late period (1924). Maratka has successfully managed to transform the concise winds' sound that give this work its unique flavour into the timbre of the strings, thereby creating a 'third string quartet? of the composer.- Janácek's wind sextet arranged for string quartet- Welcome addition to the string quartet repertoire- Foreword by the arranger (Cz/Eng/Ger) / Quatuor A Cordes
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Youth
String Quartet: 2 violins, viola, cello
Barenreiter
This piece reflects Janácek's memories of childhood and youth in his native Huk...
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This piece reflects Janácek's memories of childhood and youth in his native Hukvaldy and the Augustinian Abbey in Brno. Kry?tof Maratka, a Czech composer resident in France and a great admirer of Janácek, has arranged the original version to produce a welcome addition to the string quartet repertoire.Youth for wind sextet, is a masterpiece from Janácek's late period (1924). Maratka has successfully managed to transform the concise winds' sound that give this work its unique flavour into the timbre of the strings, thereby creating a 'third string quartet? of the composer.- Janácek's wind sextet arranged for string quartet- Welcome addition to the string quartet repertoire- Foreword by the arranger (Cz/Eng/Ger) / Quatuor A Cordes
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Nonett (KAREL RUDOLF)
Flûte Traversière, Hautbois, Clarinette, Basson, C
[Sheet music]
Carus Verlag
Par KAREL RUDOLF. Rudolf Karel, the last student of Dvorák, was able to compose...
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Par KAREL RUDOLF. Rudolf Karel, the last student of Dvorák, was able to compose the Nonett in short score before his death [1945] in the concentration camp in Theresienstadt. From this score, Václav Snítil, the longtime leader of the Czech Nonett, has been able to complete and instrumentate the work. In spite of death and suffering around him, Karel was still able to portray the belief in a place where beauty exists./ Répertoire / Flûte Traversière, Hautbois, Clarinette, Basson, C
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The Songs (LLOYD WEBBER ANDREW)
Viola
[Sheet music]
Hal Leonard
40 Of His Greatest Hits. Par LLOYD WEBBER ANDREW. 40 of the most memorable songs...
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40 Of His Greatest Hits. Par LLOYD WEBBER ANDREW. 40 of the most memorable songs composed by the inimitable Andrew Lloyd Webber are gathered in this value-packed instrumental solo collection. Songs include: Amigos Para Siempre (Friends for Life) - Any Dream Will Do - Don't Cry for Me Argentina - I Believe My Heart - I Don't Know How to Love Him - Learn to Be Lonely - Love Changes Everything - Memory - No Matter What - The Phantom of the Opera - Pie Jesu - Starlight Express - Stick It to the Man - Tell Me on a Sunday - 'Til I Hear You Sing - Whistle Down the Wind - With One Look - You Must Love Me - and many more./ Recueil / Alto
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Miriam's Song (Band 2)
Viola, Piano
Furore Verlag
Sarah Feigin *1928: Reflections on a Niggun (1999) (6:05') Helene Liebmann 1795-...
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Sarah Feigin *1928: Reflections on a Niggun (1999) (6:05') Helene Liebmann 1795-nach 1835: Andante con Variation (7:06'). 3. Satz der Sonate op. 11 Die zweibändige Ausgabe unter dem Titel ?Miriam's Song' (Das Lied der Mirjam) ist jüdischen Komponistinnen des 19. und 20. Jahrhunderts gewidmet. Sie beinhaltet Viola-Bearbeitungen der Werke von Fanny Hensel geb. Mendelssohn, Vally Weigl, Lena Stein-Schneider und Ruth Schonthal (Band 1). Das von Schonthal aufgenommene Allegro moderato ist eine Originalkomposition für Viola und Klavier. Im 2. Band begegnen wir den Komponistinnen Helene Liebmann und Sarah Feigin. Der Titel der Ausgabe bezieht sich auf die Rolle der Prophetin Mirjam, der älteren Schwester von Mose und Aaron. Beim Auszug des israelischen Volkes aus Ägypten führte sie nach der Durchquerung des Schilfmeeres den Freudentanz und Gesang der Frauen an (2. Buch Mose 15,20-21). Bezeichnenderweise hat der Berliner Maler Wilhelm Hensel im 19. Jahrhundert seine Frau, die Komponistin Fanny Hensel geb. Mendelssohn, als Mirjam porträtiert.Das Repertoire romantischer Konzertliteratur für Viola ist recht begrenzt. Den Herausgebern ist es ein Anliegen, den im Original für Violine, Violoncello oder Klarinette geschriebenen Werken durch die Bearbeitung zu größerer Verbreitung zu verhelfen.'Revue Musicale Suisse / Schweizer MusikzeitungApril 2012 Seite 39, Walter Amadeus Ammann: Kompositionen jüdischer Frauen :Die Prophetin Mirjam, Schwester von Moses und Aaron, führte die Frauen beim Auszug aus Ägypten bei Tanz und Gesang an. Das Motto der zwei Hefte Miriam's Song deckt sich mit dem Schicksal der sechs Komponistinnen, die hier mit Stücken von drei bis sieben Minuten Dauer vertreten sind. Fanny Hensel traute sich nicht, ihre Werke zu publizieren, Vally Weigl und Ruth Schonthal mussten wegen der Nazis emigrieren, Lena Stein wurde durch eine Schweizer Delegation aus Theresienstadt befreit, Helene Liebmann änderte 1820 in Berlin wegen antisemitischer Repressalien ihren Namen auf Liebelt und Sarah Feigin wanderte 1972 von Lettland nach Israel aus.Die für Violine, Violoncello oder Klarinette mit Klavier geschriebenen Stücke in mäßiger Schwierigkeit eignen sich vorzüglich für die Bratsche. Gefühlvoll: Adagio von Hensel und Nocturno von Stein. Kurzweilig: Old Time Burlesque von Weigl und Reflection on a Niggun von Feigin. Oder Sätze aus Sonaten: Das fließende Allegro moderato von Schonthal und die anspruchsvollen Variationen über la ci darem la mano von Liebmann. Die zwei Sonaten sind in der Furore Edition auch vollständig sowohl für Violoncello als auch für Bratsche und Klavier erhältlich.Miriam's Song, Werke von jüdischen Komponistinnen für Viola und Klavier, Band 1 und 2, hg. von Bella und Semjon Kalinowsky, fue10050/10064, ? 18.00/16.00, Furore Edition, Kassel 2011' / Alto Et Piano
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Relief IX (‘Scottish’) (KRZANOWSKI ANDRZEJ)
Quatuor à Cordes et Enregistrement
PWM (Polskie Wydawnictwo Muzyczne)
Par KRZANOWSKI ANDRZEJ. Despite the rich palette of colours and articulation, Re...
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Par KRZANOWSKI ANDRZEJ. Despite the rich palette of colours and articulation, Relief IX is a static work, and its slowed narrative creates the impression of being stretched out over time, thereby leading the listener into an unreal, unfamiliar world. This composition has often been described as a surrealistic and contemplative work. As Andrzej Chlopecki wrote: ‘[Relief IX] directs its expression towards sur-real realms, departing from the composer’s previous strategies’. This work was written to commission for the Polish Realities festival in Glasgow (hence its nickname: Relief IX (‘Scottish’). The tape component was recorded in collaboration with David MacKenzie of Glasgow University’s Electronic Music Studio. That is also where the work was first performed, by the Paragon Ensemble and BEAST group under the direction of David Davies, on 19 November 1988. The first Polish presentation of Relief IX was given by the Silesian Quartet on 16 September 1989 during the 32nd ‘Warsaw Autumn’ International Festival of Contemporary Music. Relief IX was dedicated to Józef Patkowski, who founded Polish Radio’s Experimental Studio, and to the ‘Warsaw Autumn’ festival. Grazyna Krzanowska translated by John Comber / Date parution : 2022-11-08/ Répertoire / Quatuor à Cordes et Enregistrement
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Nonett (KAREL RUDOLF)
Flûte Traversière, Hautbois, Clarinette, Basson, C
Carus Verlag
Par KAREL RUDOLF. Rudolf Karel, the last student of Dvorák, was able to compose...
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Par KAREL RUDOLF. Rudolf Karel, the last student of Dvorák, was able to compose the Nonett in short score before his death [1945] in the concentration camp in Theresienstadt. From this score, Václav Snítil, the longtime leader of the Czech Nonett, has been able to complete and instrumentate the work. In spite of death and suffering around him, Karel was still able to portray the belief in a place where beauty exists./ Répertoire / Flûte Traversière, Hautbois, Clarinette, Basson, C
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Concerto Per Violino, Archi E Bc, Rv 239 Op. Vi/6 (VIVALDI ANTONIO)
Violon, Ensembles de Cordes et Basse Continue
-
Intermediate/advanced
Ricordi
Ed. Critica A. Borin. Par VIVALDI ANTONIO. Casa Ricordi Milano in partnership wi...
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Ed. Critica A. Borin. Par VIVALDI ANTONIO. Casa Ricordi Milano in partnership with Fondazione Giorgio Cini, Venezia (Istituto Antonio Vivaldi). Critical edition by Alessandro Borin. The six Concerts op. VI for violin, strings and continuo by Antonio Vivaldi were published in Amsterdam by Roger in 1719. Although the contribution of Vivaldi was probably modest – even to assume that the collection was published without the composer’s assistance and perhaps even his agreement - these six compositions mark a decisive step towards the definition of the classic Vivaldi Concerto, a change evident both from the systematic adoption of the three-movement plan and from the absence of any supplementary solo parts beyond the principalviolin. This critical edition is based on the first edition of Opus VI and its reprints, but takes also into consideration all the sources of single concertos printed into anthologies or transmitted in manuscript form (Wiesentheid and Dresden). The information gathered through the comparative analysis of the manuscript and the printed traditions of Vivaldi’s Opus 6 has permitted us to reconstruct the links among the sources, to clarify some problematic editorial decisions and formulate new hypotheses on the genesis and the intrinsic nature of the collection as a whole. / Niveau : Intermédiaire à Avancé / Date parution : 1905-07-09/ Répertoire / Violon, Ensembles de Cordes et Basse Continue
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Concerto Per Violino, Archi E Bc, Rv 216 Op. VI/4 (VIVALDI ANTONIO)
Violon, Ensembles de Cordes et B.C.
-
Intermediate/advanced
Ricordi
Ed. Critica A. Borin. Par VIVALDI ANTONIO. Casa Ricordi Milano in partnership wi...
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Ed. Critica A. Borin. Par VIVALDI ANTONIO. Casa Ricordi Milano in partnership with Fondazione Giorgio Cini, Venezia (Istituto Antonio Vivaldi). Critical edition by Alessandro Borin. The six Concerts op. VI for violin, strings and continuo by Antonio Vivaldi were published in Amsterdam by Roger in 1719. Although the contribution of Vivaldi was probably modest – even to assume that the collection was published without the composer’s assistance and perhaps even his agreement - these six compositions mark a decisive step towards the definition of the classic Vivaldi Concerto, a change evident both from the systematic adoption of the three-movement plan and from the absence of any supplementary solo parts beyond the principalviolin. This critical edition is based on the first edition of Opus VI and its reprints, but takes also into consideration all the sources of single concertos printed into anthologies or transmitted in manuscript form (Wiesentheid and Dresden). The information gathered through the comparative analysis of the manuscript and the printed traditions of Vivaldi’s Opus 6 has permitted us to reconstruct the links among the sources, to clarify some problematic editorial decisions and formulate new hypotheses on the genesis and the intrinsic nature of the collection as a whole. / Niveau : Intermédiaire à Avancé / Date parution : 1905-07-09/ Répertoire / Violon, Ensembles de Cordes et B.C.
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Concerto Per Violino, Archi E Bc, Rv 280 Op. Vi/5 (VIVALDI ANTONIO)
Violon, Ensembles de Cordes et Basse Continue
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Intermediate/advanced
Ricordi
Ed. Critica A. Borin. Par VIVALDI ANTONIO. Casa Ricordi Milano in partnership wi...
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Ed. Critica A. Borin. Par VIVALDI ANTONIO. Casa Ricordi Milano in partnership with Fondazione Giorgio Cini, Venezia (Istituto Antonio Vivaldi). Critical edition by Alessandro Borin. The six Concerts op. VI for violin, strings and continuo by Antonio Vivaldi were published in Amsterdam by Roger in 1719. Although the contribution of Vivaldi was probably modest – even to assume that the collection was published without the composer’s assistance and perhaps even his agreement - these six compositions mark a decisive step towards the definition of the classic Vivaldi Concerto, a change evident both from the systematic adoption of the three-movement plan and from the absence of any supplementary solo parts beyond the principalviolin. This critical edition is based on the first edition of Opus VI and its reprints, but takes also into consideration all the sources of single concertos printed into anthologies or transmitted in manuscript form (Wiesentheid and Dresden). The information gathered through the comparative analysis of the manuscript and the printed traditions of Vivaldi’s Opus 6 has permitted us to reconstruct the links among the sources, to clarify some problematic editorial decisions and formulate new hypotheses on the genesis and the intrinsic nature of the collection as a whole. / Niveau : Intermédiaire à Avancé / Date parution : 1905-07-09/ Répertoire / Violon, Ensembles de Cordes et Basse Continue
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Waltzes (LERDAHL FRED)
Violon, Alto, Violoncelle et Contrebasse
[Score and Parts]
Schott
Par LERDAHL FRED. Waltzes, a cycle of twelve virtuoso waltzes for violin, viola,...
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Par LERDAHL FRED. Waltzes, a cycle of twelve virtuoso waltzes for violin, viola, cello, and double bass, was commissioned by the Spoleto Festival USA in Charleston, where the first nine waltzes were premiered in 1981. Soon thereafter I composed the final three waltzes. The violinist Rolf Schulte led the first performance of the complete work in New York City in 1983. Waltzes lasts about 22 minutes and is dedicated to the violist Scott Nickrenz, who directed the chamber music series at Spoleto. In arranging the commission, Mr. Nickrenz made three stipulations: make my modernist idiom accessible for summer-festival listening, provide a challenge for brilliant string players accustomed to 19th-century repertory, and give the piece a loud ending. The idea of composing a set of waltzes came from the pleasure I took in playing waltzes by Schubert and Chopin at the piano. Waltzes incorporates occasional references to the music of past composers, but always in ways that fit within my own musical language. Its instrumentation for “low” string quartet is reminiscent of Schubert’s Vienna./ Répertoire / Violon, Alto, Violoncelle et Contrebasse
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Symphony F-Sharp Minor Hob. I:45Farewell Symphony
Viola
Barenreiter
Haydn 'Symphonie des adieux' est une des oeuvres les plus jouées du répertoire...
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Haydn 'Symphonie des adieux' est une des oeuvres les plus jouées du répertoire symphonique. Le titre populaire ne découle pas de l'auteur, mais se réfère au mouvement final, à l'issue de laquelle (Adagio) les musiciens arrêter de jouer l'un après l'autre, ne laissant que deux violons à la fin des travaux. Selon une anecdote, sortie des musiciens était un moyen de faire référence aux exigences du travail d'orchestre à Esterháza à la fin de la saison.La publication de Haydn 'Sturm und Drang' Symphonies - la symphonie des adieux et la Symphonie #48 (la soi-disant 'Maria Theresia' Symphony) - représente une continuation de la coopération entre Bärenreiter et la maison d'édition Henle pour les éditions des grandes oeuvres chorales , des opéras et des oeuvres symphoniques.Les publications sont basées sur le Henle 'édition complète des oeuvres de Joseph Haydn'.Les deux symphonies (BA BA 10971 et 10972) sera publiée avec une partition et les parties d'orchestre en vente dans un grand format. / Alto
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Concerto Per Violino, Archi E Bc, Rv 324 Op. Vi/1 (VIVALDI ANTONIO)
Violon, Ensembles de Cordes et Basse Continue
-
Intermediate/advanced
Ricordi
Ed. Critica A. Borin. Par VIVALDI ANTONIO. Casa Ricordi Milano in partnership wi...
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Ed. Critica A. Borin. Par VIVALDI ANTONIO. Casa Ricordi Milano in partnership with Fondazione Giorgio Cini, Venezia (Istituto Antonio Vivaldi). Critical edition by Alessandro Borin. The six Concerts op. VI for violin, strings and continuo by Antonio Vivaldi were published in Amsterdam by Roger in 1719. Although the contribution of Vivaldi was probably modest – even to assume that the collection was published without the composer’s assistance and perhaps even his agreement - these six compositions mark a decisive step towards the definition of the classic Vivaldi Concerto, a change evident both from the systematic adoption of the three-movement plan and from the absence of any supplementary solo parts beyond the principalviolin. This critical edition is based on the first edition of Opus VI and its reprints, but takes also into consideration all the sources of single concertos printed into anthologies or transmitted in manuscript form (Wiesentheid and Dresden). The information gathered through the comparative analysis of the manuscript and the printed traditions of Vivaldi’s Opus 6 has permitted us to reconstruct the links among the sources, to clarify some problematic editorial decisions and formulate new hypotheses on the genesis and the intrinsic nature of the collection as a whole. / Niveau : Intermédiaire à Avancé / Date parution : 1905-07-09/ Répertoire / Violon, Ensembles de Cordes et Basse Continue
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Streichquartett Nr. 5 (BARTOK BELA)
String Quartet: 2 violins, viola, cello
Universal Edition
Par BARTOK BELA. Bartok's 'String Quartet No. 5' was commissioned by the formida...
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Par BARTOK BELA. Bartok's 'String Quartet No. 5' was commissioned by the formidable Elizabeth Sprague Coolidge, leading patron of chamber music in the U.S. in the first half of the 20th century. Bartok is alleged to have composed the work in a one-month span of isolation in 1934, and it received its premiere in Washington, D.C. by the Kolisch Quartet in 1935. The String Quartet No. 5 was published shortly thereafter by Universal Edition, who now incorporates the score into their UE Study Score Series in a handsome new publication./ Répertoire / Quatuor à Cordes
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Concerto Per Violino, Archi E Bc, Rv 318 Op. Vi/3 (VIVALDI ANTONIO)
Violon, Ensembles de Cordes et Basse Continue
-
Intermediate/advanced
Ricordi
Ed. Critica A. Borin. Par VIVALDI ANTONIO. Casa Ricordi Milano in partnership wi...
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Ed. Critica A. Borin. Par VIVALDI ANTONIO. Casa Ricordi Milano in partnership with Fondazione Giorgio Cini, Venezia (Istituto Antonio Vivaldi). Critical edition by Alessandro Borin. The six Concerts op. VI for violin, strings and continuo by Antonio Vivaldi were published in Amsterdam by Roger in 1719. Although the contribution of Vivaldi was probably modest – even to assume that the collection was published without the composer’s assistance and perhaps even his agreement - these six compositions mark a decisive step towards the definition of the classic Vivaldi Concerto, a change evident both from the systematic adoption of the three-movement plan and from the absence of any supplementary solo parts beyond the principalviolin. This critical edition is based on the first edition of Opus VI and its reprints, but takes also into consideration all the sources of single concertos printed into anthologies or transmitted in manuscript form (Wiesentheid and Dresden). The information gathered through the comparative analysis of the manuscript and the printed traditions of Vivaldi’s Opus 6 has permitted us to reconstruct the links among the sources, to clarify some problematic editorial decisions and formulate new hypotheses on the genesis and the intrinsic nature of the collection as a whole. / Niveau : Intermédiaire à Avancé / Date parution : 1905-07-09/ Répertoire / Violon, Ensembles de Cordes et Basse Continue
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Concerto Per Violino, Archi E Bc, Rv 259 Op. Vi/2 (VIVALDI ANTONIO)
Violon, Ensembles de Cordes et B.C.
-
Intermediate/advanced
Ricordi
Ed. Critica A. Borin. Par VIVALDI ANTONIO. Casa Ricordi Milano in partnership wi...
(+)
Ed. Critica A. Borin. Par VIVALDI ANTONIO. Casa Ricordi Milano in partnership with Fondazione Giorgio Cini, Venezia (Istituto Antonio Vivaldi). Critical edition by Alessandro Borin. The six Concerts op. VI for violin, strings and continuo by Antonio Vivaldi were published in Amsterdam by Roger in 1719. Although the contribution of Vivaldi was probably modest – even to assume that the collection was published without the composer’s assistance and perhaps even his agreement - these six compositions mark a decisive step towards the definition of the classic Vivaldi Concerto, a change evident both from the systematic adoption of the three-movement plan and from the absence of any supplementary solo parts beyond the principalviolin. This critical edition is based on the first edition of Opus VI and its reprints, but takes also into consideration all the sources of single concertos printed into anthologies or transmitted in manuscript form (Wiesentheid and Dresden). The information gathered through the comparative analysis of the manuscript and the printed traditions of Vivaldi’s Opus 6 has permitted us to reconstruct the links among the sources, to clarify some problematic editorial decisions and formulate new hypotheses on the genesis and the intrinsic nature of the collection as a whole. / Niveau : Intermédiaire à Avancé / Date parution : 1905-07-09/ Répertoire / Violon, Ensembles de Cordes et B.C.
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10 Fugues For String Quartet - Book 2 (BACH JOHANN-SEBASTIAN)
String Quartet: 2 violins, viola, cello
[Score and Parts]
Spartan Press
10 Fugues For String Quartet Vol. 2. Par BACH JOHANN-SEBASTIAN. The idea for the...
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10 Fugues For String Quartet Vol. 2. Par BACH JOHANN-SEBASTIAN. The idea for these arrangements came to me whilst listening to the Hagen Quartet's beautiful recording of the fugues that form part of Haydn's 'Sun Quartets', Op. 20. The spirit and influence of J.S. Bach, in particular his Well Tempered Clavier, Book II, courses through these three miraculous Haydn fugues. Like the viol consort, the string quartet suits this kind of composition (the fugue), with all four instruments sufficiently similar in character to each other to match the extraordinary unity and economy of the counterpoint. A string quartet playing Bach fugues is a good example of a harmonious relationship between form andcontent: just as there is a unifying principle behind the construction of the four string instruments, so there is (usually) a single theme or subject that unifies the construction of a four-part fugue. Thus the form enacts the content, telling you something about the text and message within. Apart from Haydn's and a handful of other composers' wondrous creations, there's little fugal writing for string quartet, at least in comparison with the abundance of other forms. This was another reason to make these arrangements. The quartet offers a melodic independence impossible to achieve on a single instrument. And I believe the technical and interpretative challenges posed by this repertoire and ndash - lightness of sound and rhythmic fluidity, for example - will be very valuable to quartets seeking the holy grail: a unified sound. Perhaps the simplest and most compelling reason for this work is that I just love this music more than I can say. These dazzling pieces, mostly fast, bright and in major keys, show Bach at his most playful, funny and mischievous, composing for an instrument rarely associated with these qualities. And so I'm very happy to offer string quartets these little know fugues, written by my favourite composer - a violinist and violist himself, but above all a master / Classique / Date parution : 2018-05-04/ Répertoire / Quatuor à Cordes
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10 Fugues (BACH JOHANN-SEBASTIAN)
String Quartet: 2 violins, viola, cello
[Score and Parts]
Spartan Press
For String Quartet Volume 1. Par BACH JOHANN-SEBASTIAN. The idea for these arran...
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For String Quartet Volume 1. Par BACH JOHANN-SEBASTIAN. The idea for these arrangements came to me whilst listening to the Hagen Quartet's beautiful recording of the fugues that form part of Haydn's 'Sun Quartets', Op. 20. The spirit and influence of J.S. Bach, in particular his Well Tempered Clavier, Book II, courses through these three miraculous Haydn fugues. Like the viol consort, the string quartet suits this kind of composition (the fugue), with all four instruments sufficiently similar in character to each other to match the extraordinary unity and economy of the counterpoint. A string quartet playing Bach fugues is a good example of a harmonious relationship between form andcontent: just as there is a unifying principle behind the construction of the four string instruments, so there is (usually) a single theme or subject that unifies the construction of a four-part fugue. Thus the form enacts the content, telling you something about the text and message within. Apart from Haydn's and a handful of other composers' wondrous creations, there's little fugal writing for string quartet, at least in comparison with the abundance of other forms. This was another reason to make these arrangements. The quartet offers a melodic independence impossible to achieve on a single instrument. And I believe the technical and interpretative challenges posed by this repertoire and ndash - lightness of sound and rhythmic fluidity, for example - will be very valuable to quartets seeking the holy grail: a unified sound. Perhaps the simplest and most compelling reason for this work is that I just love this music more than I can say. These dazzling pieces, mostly fast, bright and in major keys, show Bach at his most playful, funny and mischievous, composing for an instrument rarely associated with these qualities. And so I'm very happy to offer string quartets these little know fugues, written by my favourite composer - a violinist and violist himself, but above all a / Classique / Date parution : 2018-05-04/ Répertoire / Quatuor à Cordes
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Annees De Pelerinage: Italie (BAKER CLAUDE)
String Quartet: 2 violins, viola, cello
[Score and Parts]
Hal Leonard
Italie for String Quartet Score and Parts. Par BAKER CLAUDE. Annees de pelerinag...
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Italie for String Quartet Score and Parts. Par BAKER CLAUDE. Annees de pelerinage: Italie (Years of Pilgrimage: Italy) derives its title from the set of three suites for piano by Franz Liszt in which he musically portrays the strongest sensations and most lively impressions created by his travels to Italy and Switzerland during the period 1835-39. In this composition, each of the four movements explores a particular Italian city or region through, in part, the eyes of other composers who (like Liszt) were inspired to write works based on their own sojourns in the country. There are references, both literal and oblique, to music by Berlioz, Tchaikovsky and Liszt (with a sly wink from Paganini). Serious and playful elements combine in thepiece, with the two inner movements (II. Venezia e Napoli and III. Firenze) providing light-hearted foils to the more somber outer movements (I. Roma and IV. Abruzzo). Annees de pelerinage: Italie (Years of Pilgrimage: Italy) derives its title from the set of three suites for piano by Franz Liszt in which he musically portrays the strongest sensations and most lively impressions created by his travels to Italy and Switzerland during the period 1835-39. In this composition, each of the four movements explores a particular Italian city or region through, in part, the eyes of other composers who (like Liszt) were inspired to write works based on their own sojourns in the country. There are references, both literal and oblique, to music by Berlioz, Tchaikovsky and Liszt (with a sly wink from Paganini). Serious and playful elements combine in thepiece, with the two inner movements (II. Venezia e Napoli and III. Firenze) providing light-hearted foils to the more somber outer movements (I. Roma and IV. Abruzzo). / Date parution : 2019-05-27/ Répertoire / Quatuor à Cordes
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Rêverie (WIENIAWSKI / KAMASA)
Viola, Piano
[Sheet music]
PWM (Polskie Wydawnictwo Muzyczne)
Par WIENIAWSKI / KAMASA. In addition to the numerous violin pieces in H. Wieniaw...
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Par WIENIAWSKI / KAMASA. In addition to the numerous violin pieces in H. Wieniawski's compositional output there is only one piee for viola and piano, ''Reverie'', which is without opus number. The ''Dream'' ost probably comes from that period when Wieniawski stayed in London (1858-1859) and, apart from his regular concert activities, took part in chamber concerts, which were very popular at that time. During one of the Beethoven-Quartett-Society concerts a quartet of four outstanding virtuosos (Ernst, Joachim, Wieniawski and Piatti, the cellist) performed together. Wieniawski, who played the viola on that occasion, presumably concluded that there were too few original compositions for thisbeautiful instrument and decided to write a short viola piece himself. He endowed it with a lyrical character and the stamp of fervour, characteristic of his other compositions. (S. Kamasa) / Répertoire d'Examen / Répertoire / Alto et Piano
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Hymn to Artemis Locheia (DAVIES PETER MAXWELL)
Clarinette et Quatuor à Cordes
[Score and Parts]
Schott
Par DAVIES PETER MAXWELL. Peter Maxwell Davies spent a day at a gynaecological c...
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Par DAVIES PETER MAXWELL. Peter Maxwell Davies spent a day at a gynaecological clinic in London at the invitation of Professor Ian Craft, who commissioned the piece in memory of his father. During his time there he met many people and shared in some of the deep emotions they experienced. Artemis Locheia is the Greek Godess of Fertility. In this one movement, 25 minute work, the joy and exuberance experienced by couples when pregnancy is confirmed is captured. There are many tempo changes and two extended cadenzas for the clarinet. The work was premiered by Dmitri Ashkenazy and the Brodsky Quartet./ Répertoire / Clarinette et Quatuor à Cordes
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Ten Pocket-Sized Trios
Flûte Traversière, Guitare, et Violoncelle
Alry Publications
Arrangeur: Jan Boland. Ten Pocket-Sized Trios is a collection of vignettes arran...
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Arrangeur: Jan Boland. Ten Pocket-Sized Trios is a collection of vignettes arranged for flute, guitar, and cello by Jan Boland (with guitar adaptations by John Dowdall). For two of the titles, there is an alto flute transposition of the C flute part. Additionally, for the entire collection, the cello part can be considered optional. Ten Pocket-Sized Trios is a collection of vignettes arranged for flute, guitar, and cello by Jan Boland (with guitar adaptations by John Dowdall). For two of the titles, there is an alto flute transposition of the C flute part. Additionally, for the entire collection, the cello part can be considered optional./ Répertoire / Flûte Traversière, Guitare, et Violoncelle
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