By Dvorak Antonin. Czech title: Koncert pro violoncello a orchestr h moll op. 104. Published by Praha (Czech import).

Violin and Orchestra (STP)

SKU: HL.49042863

In einem Satz. Composed by Hans Pfitzner. Sheet music. Edition Schott. Study score. Composed 1923. Op. 34. 84 pages. Duration 35'. Schott Music #AF7760. Published by Schott Music (HL.49042863).

ISBN 9790002002973.

Violin and Orchestra (Score)

SKU: HL.14030045

Composed by Jean Sibelius. Music Sales America. Classical. Studyscore. 56 pages. Edition Wilhelm Hansen #WH26420. Published by Edition Wilhelm Hansen (HL.14030045).

ISBN 9788759852354. UPC: 196288077077. 5.75x8.25x0.277 inches. English.

This pocket sized book contains Humoresques III - VI Op.89 for Violin solo and Orchestra, by Jean Sibelius. This handy study score can be easily referenced.

Violin and orchestra (solo: vl - 1.2.2.2. - 2.2.0.0. - timp - str)

SKU: BR.PB-14580

Urtext based on the new Complete Edition (G. Henle Verlag). Composed by Ludwig van Beethoven. Edited by Shin Augustinus Kojima. Orchestra; Softbound. Partitur-Bibliothek (Score Library).

The piano reduction and the study score (,,Studien-Edition) are available at G. Henle Verlag.

Solo concerto; Classical. Full score. 92 pages. Duration 45'. Breitkopf and Haertel #PB 14580. Published by Breitkopf and Haertel (BR.PB-14580).

ISBN 9790004211069. 10 x 13 inches.

For Violoncello and Orchestra. By Hans Pfitzner. (Study Score). Schott. 116 pages. Published by Eulenburg Germany (Schott).

Cello and Orchestra

SKU: HL.14020990

Composed by Sir Peter Maxwell Davies. Music Sales America. 20th Century. Score. Composed 1999. 80 pages. Chester Music #CH58933. Published by Chester Music (HL.14020990).

ISBN 9780711923904. 5.5x7.5x0.283 inches.

If Davies's Cello Concerto has already evoked comparisons with Elgar's, that is perhaps an indication not only of its wealth of solo melody (there is hardly a page where the cello is not singing, or if not that, then dancing), and of its predominantly slow tempos, but also of its musical stature. This second Strathclyde concerto is a virtuoso piece for the entire ensemble, which is used almost throughout as a clutch of soloists rather than as a tutti block. The general tone is one of passionate but interior dialogue, especially in the opening Moderato and the slow movement; and though the finale is more extrovert, the work ends back in quietness and rumination.