| Sonata for Viola and Piano Op. 40 Cello, Piano Sikorski
Piano; Viola (Viola With Piano Accompaniment) SKU: HL.50600293 Arrange...(+)
Piano; Viola (Viola With Piano Accompaniment) SKU: HL.50600293 Arrangement of the Sonata for Violoncello and Piano. Composed by Dmitri Shostakovich. Arranged by Annette Bartholdy. String. Classical. Softcover. Sikorski #SIK6913. Published by Sikorski (HL.50600293). 9.0x12.0x0.197 inches. Sonata for Viola and Piano: Arr. of the Sonata for Violoncello and Piano by Annette Bartholdy. $33.00 - See more - Buy online | | |
| Quintet in F Major, K. 497 Carl Fischer
Chamber Music Cello, Flute, Viola 1, Viola 2, Violin SKU: CF.MXE219 Compo...(+)
Chamber Music Cello, Flute, Viola 1, Viola 2, Violin SKU: CF.MXE219 Composed by Wolfgang Amadeus Mozart. Arranged by Robert Stallman. Sws. 56+16+16+16+16+12 pages. Carl Fischer Music #MXE219. Published by Carl Fischer Music (CF.MXE219). ISBN 9781491157794. UPC: 680160916399. 9 x 12 inches. Preface In 1990, during an intense rehearsal of a Mozart Quartet transcription for flute and strings by Franz Anton Hoffmeister, at the Marblehead Summer Music Festival, a disgruntled violist friend complained about HoffmeisterAs awkward string writing, suddenly daring me to create my own arrangement. I balked. But the following winterA3despite scruples about treading on hallowed groundA3I grew curious and began to experiment. Soon I was hooked on the challenge of learning to speak MozartAs language with conviction. This fascination, encouraged by pianist Richard Goode and other Mozarteans, would eventually generate a total of thirty-nine recreations of Mozart piano sonatas as works for flute and strings. With zero tolerance for alteration of melodic or harmonic materialA3MozartAs friend Hoffmeister had regrettably attempted such A!improvementsA(r)A3I always tried to envision what Mozart himself would have desired. Many of the sonatas can be heard as if they were MozartAs A!blueprintsA(r) of imagined chamber works. Hence my task was to A!flesh outA(r) the keyboard versions as Mozart might have done, had a commission or performance opportunity arisen. I spent hours pondering how Mozart might have set these sonatas in four- or five-part form, providing the needed textural or contrapuntal enhancements. With immersion in the composerAs dialect, various apt solutions presented themselves. The search for the A!rightA(r) one then became a most absorbing study. On the eve of releasing my BognerAs CafA recording of Mozart-Stallman New Quintets (2006), I discovered to my delight that a prominent scholar had long before endorsed such an effort. Eric Blom (1888A+-1959), author of Mozart (1935), had taken note of the four-hand piano works as A!a kind of keyboard chamber music.A(r) Regarding Sonata, K. 497, Mr. Blom had observed that Mozart is often dealing with, not the expected four voices (one to a hand), but five. Blom states: A!The F major Sonata (K. 497) removes us to another worldA3the world of the great chamber music, especially of the string quintets. Indeed an arrangement of some sort for a combination of instruments would make a magnificent concert work of this almost uncomfortably great piece of domestic music.A(r) That Mozart was in 1786 writing for piano duo from a quintet perspective makes sense, as we find him returning to the quintet form with keen interest in his last years, writing four String Quintets, the Clarinet Quintet, rearranging a wind serenade for String Quintet, and leaving several other quintets incomplete. My arrangement presented here is made for flute and strings but is also intended for string quintet. Quintet in F Major for Flute and Strings, K. 497, was completed in 1999 and performed with the Martin Quartet in the Czech Republic prior to recording it in 2004. Mozart had finished the original Sonata in F Major for Piano, Four-Hands, K. 497, on August 1, 1786. It shows the unmistakable influence of Figaro, completed and premiered exactly three months prior. As signaled by the imposing introductory Adagio, the conception is on a grand symphonic scale, all three movements being richly developed with contrapuntal episodes and an abundance of marvelously contrasting textures and themes throughout. Called A!the crowning work of its kindA(r) by Alfred Einstein, the Sonata is laden with examples of MozartAs mercurial originality. Here we have a perfect synthesis of concertante brilliance, operatic intensity and intimate dialogue. The work opens in unison with a probing, minor-tinged Adagio, whose question comes to a pause on the dominant, before being answered with jaunty certainty by the opening theme of the Allegro di moltoA3an F-major tune as sunny and confident as an aria from Figaro itself. This movementAs declamatory A!opera chorusA(r) persistently intones its rhythmic motto over a swirling scale figure. The amorous second theme (initially presented in the first viola) also seems to be plucked from Figaro. The Andante opens with a heavenly melody, which takes as its springboard the Romanza theme from the Horn Concerto in E Major, K. 495, written only five weeks before. The A!love duetA(r) between flute and first viola seems to anticipate the impassioned A!duettingA(r) between violin and viola in the Andante of the String Quintet in C Major, K. 515, written about nine months later. The ingenious stretto canon of the AndanteAs middle section requires the precision of a Swiss clock (which its chiming thirds recall). Affecting bucolic codettas close each of the main sections of the movement. In the final Allegro, a rondo in 6/8a time, the puckish, yet aristocratic character of the opening theme contrasts with the bumptious, popular tune used for the second theme (heard first in the violin and then the flute, over pizzicato cello). Lilting hymn-like episodes in three, four- and finally five-part counterpoint are repeatedly interrupted by startling scale figures that rise up in furioso episodes throughout the movement. As in the A!Swiss clockA(r) section of the Andante, Mozart uses a stretto imitation treatment with this tempest theme, thereby heightening both intensity and sense of instability. I am most grateful to the adventuresome Martin Quartet for their warm support and collaboration over the years with several of my arrangements, and to my friend Edwin Swanborn for the original typesetting of this score. Gratitude is also due Weekend Edition, Performance Today and innumerable classical stations across the United States for their enthusiastic and repeated airings of my A!newA(r) Mozart Quintet endeavorsA3and most of all, to violist Katherine Murdock for that dare in 1990. A3Compiled from the writings of Robert Stallman by Hannah Woods Stallman, February 2, 2020. Preface In 1990, during an intense rehearsal of a Mozart Quartet transcription for flute and strings by Franz Anton Hoffmeister, at the Marblehead Summer Music Festival, a disgruntled violist friend complained about Hoffmeisteris awkward string writing, suddenly daring me to create my own arrangement. I balked. But the following winterodespite scruples about treading on hallowed groundoI grew curious and began to experiment. Soon I was hooked on the challenge of learning to speak Mozartis language with conviction. This fascination, encouraged by pianist Richard Goode and other Mozarteans, would eventually generate a total of thirty-nine recreations of Mozart piano sonatas as works for flute and strings. With zero tolerance for alteration of melodic or harmonic materialoMozartis friend Hoffmeister had regrettably attempted such iimprovementsioI always tried to envision what Mozart himself would have desired. Many of the sonatas can be heard as if they were Mozartis iblueprintsi of imagined chamber works. Hence my task was to iflesh outi the keyboard versions as Mozart might have done, had a commission or performance opportunity arisen. I spent hours pondering how Mozart might have set these sonatas in four- or five-part form, providing the needed textural or contrapuntal enhancements. With immersion in the composeris dialect, various apt solutions presented themselves. The search for the irighti one then became a most absorbing study. On the eve of releasing my Bogneris CafE recording of Mozart-Stallman New Quintets (2006), I discovered to my delight that a prominent scholar had long before endorsed such an effort. Eric Blom (1888n1959), author of Mozart (1935), had taken note of the four-hand piano works as ia kind of keyboard chamber music.i Regarding Sonata, K. 497, Mr. Blom had observed that Mozart is often dealing with, not the expected four voices (one to a hand), but five. Blom states: iThe F major Sonata (K. 497) removes us to another worldothe world of the great chamber music, especially of the string quintets. Indeed an arrangement of some sort for a combination of instruments would make a magnificent concert work of this almost uncomfortably great piece of domestic music.i That Mozart was in 1786 writing for piano duo from a quintet perspective makes sense, as we find him returning to the quintet form with keen interest in his last years, writing four String Quintets, the Clarinet Quintet, rearranging a wind serenade for String Quintet, and leaving several other quintets incomplete. My arrangement presented here is made for flute and strings but is also intended for string quintet. Quintet in F Major for Flute and Strings, K. 497, was completed in 1999 and performed with the Martin Quartet in the Czech Republic prior to recording it in 2004. Mozart had finished the original Sonata in F Major for Piano, Four-Hands, K. 497, on August 1, 1786. It shows the unmistakable influence of Figaro, completed and premiered exactly three months prior. As signaled by the imposing introductory Adagio, the conception is on a grand symphonic scale, all three movements being richly developed with contrapuntal episodes and an abundance of marvelously contrasting textures and themes throughout. Called ithe crowning work of its kindi by Alfred Einstein, the Sonata is laden with examples of Mozartis mercurial originality. Here we have a perfect synthesis of concertante brilliance, operatic intensity and intimate dialogue. The work opens in unison with a probing, minor-tinged Adagio, whose question comes to a pause on the dominant, before being answered with jaunty certainty by the opening theme of the Allegro di moltooan F-major tune as sunny and confident as an aria from Figaro itself. This movementis declamatory iopera chorusi persistently intones its rhythmic motto over a swirling scale figure. The amorous second theme (initially presented in the first viola) also seems to be plucked from Figaro. The Andante opens with a heavenly melody, which takes as its springboard the Romanza theme from the Horn Concerto in E Major, K. 495, written only five weeks before. The ilove dueti between flute and first viola seems to anticipate the impassioned iduettingi between violin and viola in the Andante of the String Quintet in C Major, K. 515, written about nine months later. The ingenious stretto canon of the Andanteis middle section requires the precision of a Swiss clock (which its chiming thirds recall). Affecting bucolic codettas close each of the main sections of the movement. In the final Allegro, a rondo in 6/8+time, the puckish, yet aristocratic character of the opening theme contrasts with the bumptious, popular tune used for the second theme (heard first in the violin and then the flute, over pizzicato cello). Lilting hymn-like episodes in three, four- and finally five-part counterpoint are repeatedly interrupted by startling scale figures that rise up in furioso episodes throughout the movement. As in the iSwiss clocki section of the Andante, Mozart uses a stretto imitation treatment with this tempest theme, thereby heightening both intensity and sense of instability. I am most grateful to the adventuresome Martin Quartet for their warm support and collaboration over the years with several of my arrangements, and to my friend Edwin Swanborn for the original typesetting of this score. Gratitude is also due Weekend Edition, Performance Today and innumerable classical stations across the United States for their enthusiastic and repeated airings of my inewi Mozart Quintet endeavorsoand most of all, to violist Katherine Murdock for that dare in 1990. oCompiled from the writings of Robert Stallman by Hannah Woods Stallman, February 2, 2020. Preface In 1990, during an intense rehearsal of a Mozart Quartet transcription for flute and strings by Franz Anton Hoffmeister, at the Marblehead Summer Music Festival, a disgruntled violist friend complained about Hoffmeister's awkward string writing, suddenly daring me to create my own arrangement. I balked. But the following winter--despite scruples about treading on hallowed ground--I grew curious and began to experiment. Soon I was hooked on the challenge of learning to speak Mozart's language with conviction. This fascination, encouraged by pianist Richard Goode and other Mozarteans, would eventually generate a total of thirty-nine recreations of Mozart piano sonatas as works for flute and strings. With zero tolerance for alteration of melodic or harmonic material--Mozart's friend Hoffmeister had regrettably attempted such improvements--I always tried to envision what Mozart himself would have desired. Many of the sonatas can be heard as if they were Mozart's blueprints of imagined chamber works. Hence my task was to flesh out the keyboard versions as Mozart might have done, had a commission or performance opportunity arisen. I spent hours pondering how Mozart might have set these sonatas in four- or five-part form, providing the needed textural or contrapuntal enhancements. With immersion in the composer's dialect, various apt solutions presented themselves. The search for the right one then became a most absorbing study. On the eve of releasing my Bogner's Cafe recording of Mozart-Stallman New Quintets (2006), I discovered to my delight that a prominent scholar had long before endorsed such an effort. Eric Blom (1888-1959), author of Mozart (1935), had taken note of the four-hand piano works as a kind of keyboard chamber music. Regarding Sonata, K. 497, Mr. Blom had observed that Mozart is often dealing with, not the expected four voices (one to a hand), but five. Blom states: The F major Sonata (K. 497) removes us to another world--the world of the great chamber music, especially of the string quintets. Indeed an arrangement of some sort for a combination of instruments would make a magnificent concert work of this almost uncomfortably great piece of domestic music. That Mozart was in 1786 writing for piano duo from a quintet perspective makes sense, as we find him returning to the quintet form with keen interest in his last years, writing four String Quintets, the Clarinet Quintet, rearranging a wind serenade for String Quintet, and leaving several other quintets incomplete. My arrangement presented here is made for flute and strings but is also intended for string quintet. Quintet in F Major for Flute and Strings, K. 497, was completed in 1999 and performed with the Martinu Quartet in the Czech Republic prior to recording it in 2004. Mozart had finished the original Sonata in F Major for Piano, Four-Hands, K. 497, on August 1, 1786. It shows the unmistakable influence of Figaro, completed and premiered exactly three months prior. As signaled by the imposing introductory Adagio, the conception is on a grand symphonic scale, all three movements being richly developed with contrapuntal episodes and an abundance of marvelously contrasting textures and themes throughout. Called the crowning work of its kind by Alfred Einstein, the Sonata is laden with examples of Mozart's mercurial originality. Here we have a perfect synthesis of concertante brilliance, operatic intensity and intimate dialogue. The work opens in unison with a probing, minor-tinged Adagio, whose question comes to a pause on the dominant, before being answered with jaunty certainty by the opening theme of the Allegro di molto--an F-major tune as sunny and confident as an aria from Figaro itself. This movement's declamatory opera chorus persistently intones its rhythmic motto over a swirling scale figure. The amorous second theme (initially presented in the first viola) also seems to be plucked from Figaro. The Andante opens with a heavenly melody, which takes as its springboard the Romanza theme from the Horn Concerto in E<= Major, K. 495, written only five weeks before. The love duet between flute and first viola seems to anticipate the impassioned duetting between violin and viola in the Andante of the String Quintet in C Major, K. 515, written about nine months later. The ingenious stretto canon of the Andante's middle section requires the precision of a Swiss clock (which its chiming thirds recall). Affecting bucolic codettas close each of the main sections of the movement. In the final Allegro, a rondo in 6/8 time, the puckish, yet aristocratic character of the opening theme contrasts with the bumptious, popular tune used for the second theme (heard first in the violin and then the flute, over pizzicato cello). Lilting hymn-like episodes in three, four- and finally five-part counterpoint are repeatedly interrupted by startling scale figures that rise up in furioso episodes throughout the movement. As in the Swiss clock section of the Andante, Mozart uses a stretto imitation treatment with this tempest theme, thereby heightening both intensity and sense of instability. I am most grateful to the adventuresome Martinu Quartet for their warm support and collaboration over the years with several of my arrangements, and to my friend Edwin Swanborn for the original typesetting of this score. Gratitude is also due Weekend Edition, Performance Today and innumerable classical stations across the United States for their enthusiastic and repeated airings of my new Mozart Quintet endeavors--and most of all, to violist Katherine Murdock for that dare in 1990. --Compiled from the writings of Robert Stallman by Hannah Woods Stallman, February 2, 2020. PrefaceIn 1990, during an intense rehearsal of a Mozart Quartet transcription for flute and strings by Franz Anton Hoffmeister, at the Marblehead Summer Music Festival, a disgruntled violist friend complained about Hoffmeister’s awkward string writing, suddenly daring me to create my own arrangement. I balked. But the following winter—despite scruples about treading on hallowed ground—I grew curious and began to experiment. Soon I was hooked on the challenge of learning to speak Mozart’s language with conviction. This fascination, encouraged by pianist Richard Goode and other Mozarteans, would eventually generate a total of thirty-nine recreations of Mozart piano sonatas as works for flute and strings.With zero tolerance for alteration of melodic or harmonic material—Mozart’s friend Hoffmeister had regrettably attempted such “improvementsâ€â€”I always tried to envision what Mozart himself would have desired. Many of the sonatas can be heard as if they were Mozart’s “blueprints†of imagined chamber works. Hence my task was to “flesh out†the keyboard versions as Mozart might have done, had a commission or performance opportunity arisen. I spent hours pondering how Mozart might have set these sonatas in four- or five-part form, providing the needed textural or contrapuntal enhancements. With immersion in the composer’s dialect, various apt solutions presented themselves. The search for the “right†one then became a most absorbing study.On the eve of releasing my Bogner’s Café recording of Mozart-Stallman New Quintets (2006), I discovered to my delight that a prominent scholar had long before endorsed such an effort. Eric Blom (1888–1959), author of Mozart (1935), had taken note of the four-hand piano works as “a kind of keyboard chamber music.†Regarding Sonata, K. 497, Mr. Blom had observed that Mozart is often dealing with, not the expected four voices (one to a hand), but five. Blom states: “The F major Sonata (K. 497) removes us to another world—the world of the great chamber music, especially of the string quintets. Indeed an arrangement of some sort for a combination of instruments would make a magnificent concert work of this almost uncomfortably great piece of domestic music.†That Mozart was in 1786 writing for piano duo from a quintet perspective makes sense, as we find him returning to the quintet form with keen interest in his last years, writing four String Quintets, the Clarinet Quintet, rearranging a wind serenade for String Quintet, and leaving several other quintets incomplete. My arrangement presented here is made for flute and strings but is also intended for string quintet.Quintet in F Major for Flute and Strings, K. 497, was completed in 1999 and performed with the Martinů Quartet in the Czech Republic prior to recording it in 2004. Mozart had finished the original Sonata in F Major for Piano, Four-Hands, K. 497, on August 1, 1786. It shows the unmistakable influence of Figaro, completed and premiered exactly three months prior. As signaled by the imposing introductory Adagio, the conception is on a grand symphonic scale, all three movements being richly developed with contrapuntal episodes and an abundance of marvelously contrasting textures and themes throughout. Called “the crowning work of its kind†by Alfred Einstein, the Sonata is laden with examples of Mozart’s mercurial originality. Here we have a perfect synthesis of concertante brilliance, operatic intensity and intimate dialogue.The work opens in unison with a probing, minor-tinged Adagio, whose question comes to a pause on the dominant, before being answered with jaunty certainty by the opening theme of the Allegro di molto—an F-major tune as sunny and confident as an aria from Figaro itself. This movement’s declamatory “opera chorus†persistently intones its rhythmic motto over a swirling scale figure. The amorous second theme (initially presented in the first viola) also seems to be plucked from Figaro.The Andante opens with a heavenly melody, which takes as its springboard the Romanza theme from the Horn Concerto in E≤ Major, K. 495, written only five weeks before. The “love duet†between flute and first viola seems to anticipate the impassioned “duetting†between violin and viola in the Andante of the String Quintet in C Major, K. 515, written about nine months later. The ingenious stretto canon of the Andante’s middle section requires the precision of a Swiss clock (which its chiming thirds recall). Affecting bucolic codettas close each of the main sections of the movement.In the final Allegro, a rondo in 6/8 time, the puckish, yet aristocratic character of the opening theme contrasts with the bumptious, popular tune used for the second theme (heard first in the violin and then the flute, over pizzicato cello). Lilting hymn-like episodes in three, four- and finally five-part counterpoint are repeatedly interrupted by startling scale figures that rise up in furioso episodes throughout the movement. As in the “Swiss clock†section of the Andante, Mozart uses a stretto imitation treatment with this tempest theme, thereby heightening both intensity and sense of instability.I am most grateful to the adventuresome Martinů Quartet for their warm support and collaboration over the years with several of my arrangements, and to my friend Edwin Swanborn for the original typesetting of this score. Gratitude is also due Weekend Edition, Performance Today and innumerable classical stations across the United States for their enthusiastic and repeated airings of my “new†Mozart Quintet endeavors—and most of all, to violist Katherine Murdock for that dare in 1990.—Compiled from the writings of Robert Stallmanby Hannah Woods Stallman,February 2, 2020. $42.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Sonatas for Piano and Violoncello/Sonatas for Clarinet and Piano Clarinet and Piano [Score] G. Henle
(New Brahms Complete Edition: Series II, Vol. 9 Clothbound Score). By Johannes B...(+)
(New Brahms Complete Edition: Series II, Vol. 9 Clothbound Score). By Johannes Brahms (1833-1897). Edited by Egon Voss and Johannes Behr. Henle Complete Edition. Hardcover. 210 pages. G. Henle #HN6013. Published by G. Henle
$291.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Treasures for Flute and Piano Flute and Piano Carl Fischer
Chamber Music flute, piano SKU: CF.WF228 Philippe Gaubert. Compose...(+)
Chamber Music flute, piano SKU: CF.WF228 Philippe Gaubert. Composed by Philippe Gaubert. Edited by Amy Porter. Arranged by Amy Porter. Set of Score and Parts. With Standard notation. 104+1+32 pages. Carl Fischer Music #WF228. Published by Carl Fischer Music (CF.WF228). ISBN 9781491153529. 9 x 12 inches. Compiled and edited by Amy Porter, Treasures for Flute and Piano is acollection of Philippe Gaubert’s shorter works for flute and piano. Gaubertwas a multi-talented musician, a marvelous flutist as well as a composer,teacher, and master conductor. Over his lifetime, he became one of the mostimportant musical figures in France between the World Wars in the first halfof the 20th century. Trained in theory and harmony at the Paris Conservatory,Gaubert was also deeply influenced by other composers at the time, includingDebussy, Fauré, and Dukas. Editor Amy Porter is a distinguished Professorat The University of Michigan School of Music, Theatre & Dance, and hasbeen praised by critics for her exceptional musical talent and her passion forscholarship. This edition represents eleven of the sixteen works from AmyPorter and Dr. Penelope Fischer’s video study guide, “The Gaubert Cycle: TheComplete Works for Flute and Piano by Philippe Gaubertâ€. Philippe Gaubert (1879–1941) was a very important teacher and flutist in our classical flute playing lineage. In this edition we have gathered his beautiful, shorter compositions for flute and piano all in one place, to be cherished as “Gaubert’s Treasures.â€Philippe Gaubert personified the modern French school of flute playing as introduced by his teacher Paul Taffanel (1844–1908) at the Paris Conservatory. Gaubert was a multitalented musician, a marvelous flutist as well as a gifted composer, teacher and master conductor. Over his lifetime he became one of the most important musical figures in France between the World Wars in the first half of the twentieth century. Gaubert’s musical andpedagogical gifts to us are passed along through generations of students and continue to touch the hearts of many who listen to his fine, and refined, music.Philippe Gaubert studied composition at the Paris Conservatory with Raoul Pugno, Xavier Leroux, and then for a brief time with Charles Lenepvu. It was after this study that he won the famous Prix de Rome second prize in composition. Even with his schooling of theory and harmony in Paris, he was deeply influenced by other composers of the time, namely Debussy, Fauré and Dukas. Between the years of 1905–1914 Gaubert’s early workswere arrangements and short pieces written for the year-end final exam pieces at the Conservatory.Between 1914–1918 Gaubert served in the French Army during World War I, most notably in the battle of Verdun in 1916. This was considered one of the largest battles against the Germans in WWI. He was wounded but his creativity level was not dampened. He was rewarded for his service and awarded medals for his bravery. It was during this time that he found the energy to compose his Deux Esquisses or 2 Scenes, and sketched out his first flute sonata.Gaubert composed his remaining five flute and piano works after 1922 in Paris, and clearly his poetic soul was transformed from the earlier years. He took in new forms and styles of compositions such as a Suite, a Ballade and a Sonatine. He also completed his Second and Third Sonatas for Flute and Piano, all of them dramatic works in terms of compositional techniques and grandeur of tone.Gaubert composed music easily throughout his lifetime, especially during summer breaks when the orchestra and Paris Opera seasons were on hiatus and he was not conducting. He loved literature and poetry which inspired over thirty vocal works from 1903 through 1938.He also wrote twenty-six instrumental chamber works for other instruments: oboe, cornet, clarinet, trombone, violin, viola, cello, harp and combinations of these instruments with piano. Some of these were commissioned jury pieces, but many were for his musician friends.Six full-length stage works, both ballets and operas for the stage, several tone poems and symphonies were written throughout his lifetime.This edition represents eleven out of the sixteen works from our video study guide “The Gaubert Cycle: The Complete Works for Flute and Piano by Philippe Gaubert†with guest pianist Tim Carey. Omitted in this edition are Sonatas Nos. 1–3, Ballade, and Sonatine. $29.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Intermediate Music for Four, Volume 1, Part 3 - Viola Saxophone Quartet: 4 saxophones [Part] Last Resort Music Publishing
(Mix and Match Quartets for Strings, Woodwind, Brass and Keyboard). By Various. ...(+)
(Mix and Match Quartets for Strings, Woodwind, Brass and Keyboard). By Various. Arranged by Daniel Kelley. String quartet, woodwind quartet, piano quintet, mixed quartet, clarinet quartet, saxophone quartet. For Viola in alto clef. Quartets. Intermediate Music for Four series. Classical. Intermediate. Partbook - part 3. Published by Last Resort Music Publishing
$20.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Sonata No. 2 in E flat major Op. 120/2 Viola, Piano Breitkopf & Härtel
Viola and piano SKU: BR.EB-9441 Urtext based on the Brahms Complete Ed...(+)
Viola and piano SKU: BR.EB-9441 Urtext based on the Brahms Complete Edition of the Gesellschaft der Musikfreunde in Vienna. Composed by Johannes Brahms. Solo instruments; stapled. Edition Breitkopf. Sonata; Romantic. Sheet Music. Duration 21'. Breitkopf and Haertel #EB 9441. Published by Breitkopf and Haertel (BR.EB-9441). ISBN 9790004189184. 9 x 12 inches. The two sonatas of Johannes Brahms's op. 120 are widely hailed as crowning points of the repertoire for clarinet and piano. Moreover, in the version for viola and piano arranged by Brahms himself, they rank among the most frequently played viola works of the 19th century. They far surpass in compositional substance the relatively few original sonatas written for these instrumentations during the same period.Of the two fellow works, the Sonata No. 2 in E flat major is the more accessible. Diverging from the classical-romantic tradition, Brahms used the key of E flat major here not to express the heroic or monumental, but to obtain lyrical, chiefly restrained characterizations. The serenade-like beauty of the principal theme, which opens the sonata, has always been particularly admired. In his review of the world premiere, the renowned Viennese music critic Eduard Hanslick, a friend of Brahms's, raves with the words it was as if it had fallen from the Heavens. The closing set of variations also follows with gentle gracefulness this lyrical character. However, the middle movement, with its tempestuous outer sections in E flat minor and the hymnic trio in B major provides a passionate and serious contrast, which allows the flanking idyll to unfold its beauties all the more insistently. $22.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Sonata in G minor. Op. 5 No. 9 for Viola and Piano Viola, Piano Shawnee Press | | |
| Sonata For Viola And Piano Op147 Facsimile Edition Hardcover W/preface In Eng Hal Leonard
SKU: HL.50484288 Special Import. 76 pages. Hal Leonard #SIK2222A. Publish...(+)
SKU: HL.50484288 Special Import. 76 pages. Hal Leonard #SIK2222A. Published by Hal Leonard (HL.50484288). 9.5x12.75x0.525 inches. $100.00 - See more - Buy online | | |
| Viola Sonata in B-Flat Major, Op. 36 Viola, Piano G. Henle
(With Marked and Unmarked String Part). Composed by Henry Vieuxtemps. Edited by ...(+)
(With Marked and Unmarked String Part). Composed by Henry Vieuxtemps. Edited by Peter Jost. For Viola, Piano Accompaniment. Henle Music Folios. Softcover. 34 pages. G. Henle #HN577. Published by G. Henle
$31.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Sonata Viola, Piano Schott
Piano Accompaniment; Viola - difficult SKU: HL.49018776 Viola and Pian...(+)
Piano Accompaniment; Viola - difficult SKU: HL.49018776 Viola and Piano. Composed by Emile Naoumoff. This edition: Saddle stitching. Sheet music. String. Classical. Softcover. Composed 2001/2009. 46 pages. Duration 20'. Schott Music #VAB73. Published by Schott Music (HL.49018776). ISBN 9790001174107. 9.0x12.0x0.135 inches. The one-movement, yet multiple time structured, sonata uses a gently modern tonal language and has been influenced by the French tradition. Emile Naoumoff likes to give his movements unusual headings that perfectly describe the character of the respective section. The piece for the combination of viola and piano, which is quite rare in concert life, is a valuable and fascinating addition to the repertoire in which both instruments conduct a dialogue on an equal basis.Naoumoff was born in Sofia in 1962. At the age of 8, he began his career as a pianist and composer; for ten years, he was a pupil of Nadia Boulanger until her death. At the age of 10, Naoumoff composed and performed his own piano concerto under the direction of Yehudi Menuhin. Many prizes, awards and appearances as a celebrated pianist followed. Today Naoumoff lives and works as an associate professor at the School of Music of the Indiana University in Bloomington. He holds master classes in the USA, Europe and Japan and is director of a music academy. $29.99 - See more - Buy online | | |
| Sonata from Quartet No. 15 in A minor Alto Saxophone and Piano Schott
(Alto Saxophone and Piano). Composed by Nicol�² Paganini. Arranged by Raaf ...(+)
(Alto Saxophone and Piano). Composed by Nicol�² Paganini. Arranged by Raaf Hekkema. For Alto Saxophone, Piano Accompaniment (Score and Solo Part). Woodwind Solo. Softcover. Schott Music #ED21859. Published by Schott Music
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| Suzuki Viola School, Volume 9 Viola [Solo Part] Alfred Publishing
(Viola Part). For Viola. Book; Method/Instruction; String - Viola (Suzuki). Suzu...(+)
(Viola Part). For Viola. Book; Method/Instruction; String - Viola (Suzuki). Suzuki Viola School. 36 pages. Published by Alfred Music
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| Sonata No. 2 in E flat major Op. 120/2 Clarinet and Piano Breitkopf & Härtel
Clarinet and piano SKU: BR.EB-9440 Urtext based on the Brahms Complete...(+)
Clarinet and piano SKU: BR.EB-9440 Urtext based on the Brahms Complete Edition of the Gesellschaft der Musikfreunde in Vienna. Composed by Johannes Brahms. Edited by Hans Gal. Solo instruments; stapled. Edition Breitkopf. Sonata; Romantic. Sheet Music. 40 pages. Duration 21'. Breitkopf and Haertel #EB 9440. Published by Breitkopf and Haertel (BR.EB-9440). ISBN 9790004189177. 9 x 12 inches. The two sonatas of Johannes Brahms's op. 120 are widely hailed as crowning points of the repertoire for clarinet and piano. Moreover, in the version for viola and piano arranged by Brahms himself, they rank among the most frequently played viola works of the 19th century. They far surpass in compositional substance the relatively few original sonatas written for these instrumentations during the same period.Of the two fellow works, the Sonata No. 2 in E flat major is the more accessible. Diverging from the classical-romantic tradition, Brahms used the key of E flat major here not to express the heroic or monumental, but to obtain lyrical, chiefly restrained characterizations. The serenade-like beauty of the principal theme, which opens the sonata, has always been particularly admired. In his review of the world premiere, the renowned Viennese music critic Eduard Hanslick, a friend of Brahms's, raves with the words it was as if it had fallen from the Heavens. The closing set of variations also follows with gentle gracefulness this lyrical character. However, the middle movement, with its tempestuous outer sections in E flat minor and the hymnic trio in B major provides a passionate and serious contrast, which allows the flanking idyll to unfold its beauties all the more insistently. $22.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
| Sonata, For Soprano Saxophone And Piano Leduc, Alphonse
SKU: HL.48184467 Composed by Jindrich Feld. Leduc. Classical. Softcover. ...(+)
SKU: HL.48184467 Composed by Jindrich Feld. Leduc. Classical. Softcover. Alphonse Leduc #AL27487. Published by Alphonse Leduc (HL.48184467). UPC: 888680833404. 9.0x12.0x0.166 inches. Jind?ich Feld's Sonata for Soprano Saxophone and Piano is still regularly performed by virtuoso Saxophonists. Composed in 1989, the Sonata is elaborate and quirky, and successfully exploits many extended techniques on the instrument, similar to the composer's Sonata for Alto Saxophone. Born in Prague, Feld (1925-2007) studied Violin and Viola with his parents before studying at the Conservatory and Academy of Music of his native city. His compositions, predominantly instrumental, soon became popular, being performed all over the world. As reflected in his Sonata for Soprano Saxophone and Piano, Feld's style is deeply rooted in the Czech musical tradition, but he also integrated the main styles of 20th century Western music. The Sonata is made up of three movements, 1. Molto moderato, 2. Scherzo, and 3. Finale. Each movement of the Sonata present different challenges, from fast, staccato, semiquaver flourishes to the lyrical, slurred passages. This Feld piece is highly virtuosic, yet an excellent and enjoyable performance for all advanced soprano saxophonists.. $44.70 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Music for Three, Volume 2, Part 2 - Viola Viola [Part] Last Resort Music Publishing
(Mixed Trios). By Various. Arranged by Daniel Kelley. For viola. Trios. Music fo...(+)
(Mixed Trios). By Various. Arranged by Daniel Kelley. For viola. Trios. Music for Three. Classical / Baroque. Intermediate/Advanced. Part 2
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| Sonate Viola, Piano - Advanced Schott
Piano Accompaniment; Viola - advanced SKU: HL.49019600 Viola and Piano...(+)
Piano Accompaniment; Viola - advanced SKU: HL.49019600 Viola and Piano. Composed by Eduard Pü and tz. This edition: Saddle stitching. Sheet music. String. 20Th Century, Classical. Softcover. Composed 1981-1984. 32 pages. Duration 11'. Schott Music #VAB76. Published by Schott Music (HL.49019600). ISBN 9790001177269. UPC: 884088945336. 9.25x12.0x0.112 inches. The Sonata for Viola and Piano (1984) is not based - as is common in the 'classical' sonata form - on the dualism of two opposing themes. 'The Sonata ends with the chorale Aus tiefer Not schrei ich zu dir in whose adaptation inner conflict and contrast remain the formative means until the end.' (Putz) A rewarding contemporary piece for competitions and concerts. $26.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Viola Sonata, Op. 69 Viola, Piano Schott
Piano Accompaniment; Viola (viola with piano accompaniment) - difficult SKU: ...(+)
Piano Accompaniment; Viola (viola with piano accompaniment) - difficult SKU: HL.49045870 Viola and Piano. Composed by Nikolai Kapustin. This edition: Saddle stitching. Sheet music. String Solo. Classical. Softcover. Composed 1992. Op. 69. 44 pages. Duration 1000 seconds. Schott Music #ED22918. Published by Schott Music (HL.49045870). ISBN 9790001177948. UPC: 841886034525. 9.0x12.0x0.161 inches. Nikolai Kapustin, born in 1937, is regarded as pioneer of the Soviet jazz scene. In his music he combines typical jazz idioms with classical forms. Sonata Op. 69 for viola and piano was written in 1992. Contents: Allegro Largo Vivace. $37.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Sonate Pour Saxophone Alto Et Piano Leduc, Alphonse
SKU: HL.48185318 Composed by Jindrich Feld. Leduc. Classical. CD. 44 page...(+)
SKU: HL.48185318 Composed by Jindrich Feld. Leduc. Classical. CD. 44 pages. Alphonse Leduc #AL28813. Published by Alphonse Leduc (HL.48185318). UPC: 888680858421. 9.0x12.0x0.264 inches. Jindrich Feld's Sonata for Alto Saxophone and Piano is frequently performed by virtuoso Saxophonists. Composed in 1989-90, the Sonata is elaborate and quirky, and successfully exploits many extended techniques on the instrument. Born in Prague, Feld (1925-2007) studied Violin and Viola with his parents before studying at the Conservatory and Academy of Music of his native city. His compositions, predominantly instrumental, soon became popular, being performed all over the world. As reflected in his Sonata for Alto Saxophone and Piano, Feld's style is deeply rooted in the Czech musical tradition, but he also integrated the main styles of 20th century Western music. The Sonata is made up of four movements, 1. Allegro ritmico, 2. Adagio/Bells of liberty, 3. Allegro vivo/Scherzo, and 4. Allegro con fuoco. Each movement of the Sonata presents different challenges, from fast, staccato, semiquaver flourishes to the lyrical slurred passages. This Feld piece is highly virtuosic, yet an excellent and enjoyable performance for all advanced saxophonists.. $71.10 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Music for Four, Volume 2, Part 3 - Viola Viola [Part] Last Resort Music Publishing
By Various. Arranged by Daniel Kelley. For viola. Quartets. Music for Four. Baro...(+)
By Various. Arranged by Daniel Kelley. For viola. Quartets. Music for Four. Baroque / Classical. Intermediate/Advanced. Part 3
$20.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| 3e Symphonie en ut mineur, op. 78 - Advanced Barenreiter
Orchestra, Organ (Fl1, Fl2 , Fl3(Fl-picc), 2 Ob, EnglHn, 2 clarinet, clarinet-B,...(+)
Orchestra, Organ (Fl1, Fl2 , Fl3(Fl-picc), 2 Ob, EnglHn, 2 clarinet, clarinet-B, 2 bassoon, bassoon-Co, Hn1, Hn2 , Hn3(chrom.), Hn4(chrom.), 3Trp, 3trombone, timpani, Tr-Gr, Tri, Be, Org, piano-4ms, 2 Violin, Viola, Cello, Double Bass) - Level 5 SKU: BA.BA10303-01 Composed by Camille Saint-Saens. Edited by Michael Stegemann. This edition: Edition of selected works, Urtext edition. Linen. Saint-Saens, Camille. Oevres instrumentales completes I/3. Edition of selected works, Score. Opus 78. Duration 39 minutes. Baerenreiter Verlag #BA10303_01. Published by Baerenreiter Verlag (BA.BA10303-01). ISBN 9790006559503. 33 x 26 cm inches. Key: C minor. Preface: Michael Stegemann. The third symphony by Camille Saint-Saens, known as the Organ Symphony, is the first publication in a complete historical-critical edition of the French composer's instrumental works.
I gave everything I was able to give in this work. [...] What I have done here I will never be able to do again.Camille Saint-Saens was rightly proud of his third Symphony in C minor Op.78, dedicated to the memory of Franz Liszt. Called theOrgan Symphonybecause of its novel scoring, the work was a commission from the Philharmonic Society in London, as was Beethoven's Ninth, and was premiered there on 19 May 1886. The first performance in Paris followed on 9 January 1887 and confirmed the composer's reputation asprobably the most significant, and certainly the most independent French symphonistof his time, as Ludwig Finscher wrote in MGG. In fact the work remains the only one in the history of that genre in France to the present day, composed a good half century after the Symphonie fantastique by Hector Berlioz and a good half century before Olivier Messiaen's Turangalila Symphonie.
You would think that such a famous, much-performed and much recorded opus could not hold any more secrets, but far from it: in the first historical-critical edition of the Symphony, numerous inconsistencies and mistakes in the Durand edition in general use until now, have been uncovered and corrected. An examination and evaluation of the sources ranged from two early sketches, now preserved in Paris and Washington (in which the Symphony was still in B minor!) via the autograph manuscript and a set of proofs corrected by Saint-Saens himself, to the first and subsequent editions of the full score and parts. The versions for piano duet (by Leon Roques) and for two pianos (by the composer himself) were also consulted. Further crucial information was finally found in his extensive correspondence, encompassing thousands of previously unpublished letters. The discoveries made in producing this edition include the fact that at its London premiere, the Symphony probably looked quite different from its present appearance ...
No less exciting than the work itself is the history of its composition and reception, which are described in an extensive foreword. With his Symphony, Saint-Saens entered right into the dispute which divided French musical life into pro and contra Wagner in the 1880s and 1890s. At the same time, the work succeeded in preserving the balance between tradition and modernism in masterly fashion, as a contemporary critic stated:The C minor Symphony by Saint-Saens creates a bridge from the past into the future, from immortal richness to progress, from ideas to their implementation.
On 19 March 1886 Saint-Saens wrote to the London Philharmonic Society, which commissioned the work:
Work on the symphony is in full swing. But I warn you, it will be terrible. Here is the precise instrumentation: 3 flutes / 2 oboes / 1 cor anglais / 2 clarinets / 1 bass clarinet / 2 bassoons / 1 contrabassoon / 2 natural horns / [3 trumpets / Saint-Saens had forgotten these in his listing.] 2 chromatic horns / 3 trombones / 1 tuba / 3 timpani / organ / 1 piano duet and the strings, of course. Fortunately, there are no harps. Unfortunately it will be difficult. I am doing what I can to mitigate the difficulties.
As in my 4th Concerto [for piano] and my [1st] Violin Sonata [in D minor Op.75] at first glance there appear to be just two parts: the first Allegro and the Adagio, the Scherzo and the Finale, each attacca. This fiendish symphony has crept up by a semitone; it did not want to stay in B minor, and is now in C minor.
It would be a pleasure for me to conduct this symphony. Whether it would be a pleasure for others to hear it? That is the question. It is you who wanted it, I wash my hands of it. I will bring the orchestral parts carefully corrected with me, and if anyone wants to give me a nice rehearsal for the symphony after the full rehearsal, everything will be fine.
When Saint-Saens hit upon the idea of adding an organ and a piano to the usual orchestral scoring is not known. The idea of adding an organ part to a secular orchestral work intended for the concert hall was thoroughly novel - and not without controversy. On the other hand, Franz Liszt, whose music Saint-Saens' Symphony is so close to, had already demonstrated that the organ could easily be an orchestral instrument in his symphonic poem Hunnenschlacht (1856/57). There was also a model for the piano duet part which Saint-Saens knew and may possibly have used quite consciously as an exemplar: theFantaisie sur la Tempetefrom the lyrical monodrama Lelio, ou le retour a la Vie op. 14bis (1831) by Berlioz. The name of the organist at the premiere ist unknown, as, incidentally, was also the case with many of the later performances; the organ part is indeed not soloistic, but should be understood as part of the orchestral texture.
In fact the subsequent success of the symphony seems to have represented a kind of breakthrough for the composer, who was then over 50 years of age.My dear composer of a famous symphony, wrote Saint-Saens' friend and pupil Gabriel Faure:You will never be able to imagine what a pleasure I had last Sunday [at the second performance on 16 January 1887]! And I had the score and did not miss a single note of this Symphony, which will endure much longer than we two, even if we were to join together our two lifespans!
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
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| Monumentum, Music for string sextet Kunzelmann
2 violins, 2 violas, 2 celli - Level 6 SKU: KU.GM-1911 Composed by David ...(+)
2 violins, 2 violas, 2 celli - Level 6 SKU: KU.GM-1911 Composed by David Philip Hefti. Edited by David Philip Hefti. Bach format (230 x 302). In A Folder. Full score, parts. 78 pages. Duration 19 minutes. Edition Kunzelmann #GM-1911. Published by Edition Kunzelmann (KU.GM-1911). ISBN 9790206202384. 9 x 12 inches. Monumentum, Music for String Sextet, was written in 2014 to a commission from the Moritzburg Festival, The Chamber Music Society of Lincoln Center New York and the Kathe Kollwitz House in Moritzburg. It is dedicated to the cellist Jan Vogler. The world premiere took place on 19 August 2014 at the Moritzburg Festival, performed by Timothy Chooi & Mira Wang (violins), Roberto Diaz & Hartmut Rohde (violas), Jan Vogler & Harriet Krijgh (cellos). The American premiere took place on 7 May 2015 in the Lincoln Center with the Amphion String Quartet, the violist Yura Lee and the cellist Jan Vogler.
The String Sextet Momentum commemorates the outbreak of the First World War, the death of Peter Kollwitz – who died as a volunteer, aged just 18, in the early weeks of the war – and the manner in which his mother, the artist Kathe Kollwitz, mourned the loss of her son. The artist worked through her pain by creating her most famous sculpture, The Mourning Parents. It stands today at the German soldiers’ cemetery at Vladslo in western Flanders, where her son Peter also lies buried. During the 18 years that she worked on the Parents, Kathe Kollwitz attended several concerts at the Volksbuhne in Berlin, where from January to February 1927 she heard Arthur Schnabel’s cycle of all the Beethoven piano sonatas. Schnabel performed the Sonata op. 111 in c minor on 26 February 1927, and this work touched her in particular, as we can read in her diary: “The strange flickering notes turned into flames – a moment of rapture, taking one into a different sphere, and the heavens opened almost as in the Ninth (Symphony). Then one found one’s way back – but it was a return after having been assured that there is a heaven. These notes are serene – confident – and good. Thank you, Schnabel!” This encounter with Beethoven’s last sonata inspired the artist to take up work again on her sculpture after a long interruption and to consider different possibilities for arranging the two figures. For this reason, the first minutes ofMomentum are derived from this sonata by Beethoven – though without it being quoted in an audible manner – and they leave their mark on the form of the Sextet. The number 18 and the date of Peter Kollwitz’s death (23 October 1914) also have a direct impact on the work’s dramaturgy. This music is mostly calm in nature, but is time and again interrupted unexpectedly, being disturbed by unruly sounds and vehement eruptions until time itself seems to dissolve in an aleatoric passage. The work ends with an extended lament on “seed corn should not be ground”, a line from Goethe’s Wilhelm Meister’s Journeyman Years. Kathe Kollwitz often quoted this phrase to argue for peace, and also took it as the title for a lithograph that she made in 1942. - David Philip Hefti $89.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| 101 Classical Themes for Viola Viola Hal Leonard
Composed by Various. Instrumental Solo. Softcover. 88 pages. Published by ...(+)
Composed by Various.
Instrumental Solo.
Softcover. 88 pages.
Published by Hal Leonard
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| Music for Two, Volume 2 - Flute/Oboe/Violin and Viola |violin|flute|viola|oboe| [Score and Parts] - Intermediate/advanced Last Resort Music Publishing
Edited by Briana Ackerman. Arranged by Daniel Kelley. For Flute (or Oboe or Viol...(+)
Edited by Briana Ackerman. Arranged by Daniel Kelley. For Flute (or Oboe or Violin) and Viola. Duets. Music for Two. Wedding, Classical. Level: Intermediate/Advanced. Score with 2 parts. Published by Last Resort Music Publishing.
$22.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Sonata in B-Flat Major, Op. 107 Bote and Bock
Clarinet; Piano; Viola; Violin (VIOLA/PNO) SKU: HL.48015263 Set of Par...(+)
Clarinet; Piano; Viola; Violin (VIOLA/PNO) SKU: HL.48015263 Set of Parts. Composed by Max Reger. This edition: M202580134. Boosey & Hawkes Chamber Music. Classical, Contemporary, Sonata. Book only. 35 pages. Bote & Bock #M202580134. Published by Bote & Bock (HL.48015263). UPC: 073999709650. 9.0x12.25x0.133 inches. Comes with set of parts for each instrument. $22.95 - See more - Buy online | | |
| Instrumental Sonatas for Cello/Piano, Violin/Piano, Viola/Piano DSCH
Hardcover Score Cello; Orchestra; Viola; Violin (Score) SKU: HL.50602289 ...(+)
Hardcover Score Cello; Orchestra; Viola; Violin (Score) SKU: HL.50602289 New Collected Works of Dmitri Shostakovich Volume 106, 107, 108 H. Composed by Dmitri Shostakovich. DSCH. Classical, Russian. Hardcover. 336 pages. DSCH #NCW106-108. Published by DSCH (HL.50602289). ISBN 9781540082015. UPC: 888680992224. 9.0x12.0x1.13 inches. 92 Sonatas in one book: Volume 106: Sonata for Cello and Piano Op. 40, Moderato for Cello and Piano Sans op. Volume 107: Sonata for Violin and Piano Op. 134, Unfinished Sonata for Violin and Piano Sans Op. Volume 108: Sonata for Viola and Piano op. 147 Hardcover Score. $232.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Grand Duo, Op. Post. 140 D 812 - Advanced Schott
For 9 Instruments Mixed Ensemble (Score & Parts) - advanced SKU: HL.49019418<...(+)
For 9 Instruments Mixed Ensemble (Score & Parts) - advanced SKU: HL.49019418 Score and Parts. Composed by Franz Schubert. Arranged by Gabriel Bü and rgin. This edition: Saddle stitching. Sheet music. Ensemble. Classical. Softcover. Op. post. 140. 350 pages. Duration 40'. Schott Music #ED21519. Published by Schott Music (HL.49019418). ISBN 9790001190374. 9.0x12.0x0.907 inches. It was through piano and chamber music that Schubert wanted to pave the way for himself toward 'the great symphony' after 1820. One of these works is the Sonata for piano duet D 812 in C major which has become known as 'Grand Duo' but is rarely performed. This sonata is now presented in a large-scale, virtually symphonic chamber music version. For flute, oboe, clarinet in B-flat, Bassoon, violin, viola, cello and double bass. $133.00 - See more - Buy online | | |
| Quintet Clarinet And String Quartet Score And Parts Schott
Clarinet and string quartet - difficult SKU: HL.49016243 Composed by Joha...(+)
Clarinet and string quartet - difficult SKU: HL.49016243 Composed by Johanna Senfter. Edited by Wolfgang Birtel. This edition: Saddle stitching. Sheet music. Misc. Score and parts. Composed 1950. Op. 119. 92 pages. Schott Music #ED 20070. Published by Schott Music (HL.49016243). ISBN 9790001145350. UPC: 884088202460. 9.5x12.0x0.275 inches. The number of well-known clarinet quintets is quite small. The only major composers whose clarinet quintets are relatively widespread are Mozart, Brahms, Weber and Reger.The composer Johanna Senfter (1879-1961) from Oppenheim admired the music of Johannes Brahms and of Max Reger who was her teacher. Her chamber music œuvre conveys a certain closeness to the clarinet. She even wrote a Sonata for clarinet, viola, horn and piano, op. 37, a Sonata for clarinet or viola and piano, op. 57, as well as a Trio for clarinet, horn and piano, op. 60.Continuing the historic line of Brahms and Reger, the clarinet quintet is steeped in the harmony, compositional style and expressiveness of her teacher Reger- a style which she developed even further and increased in expressiveness. This quintet is, without doubt, a valuable addition to the repertoire. $73.00 - See more - Buy online | | |
| An die Musik String Quartet: 2 violins, viola, cello [Score and Parts] - Intermediate Schott
9 Classical Pieces Arranged for String Quartet Score and Parts. By Various. Arra...(+)
9 Classical Pieces Arranged for String Quartet Score and Parts. By Various. Arranged by John Kember. Schott. Softcover. Size 9x12 inches. 68 pages. Published by Schott.
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