for String Sextett-For String Sextet (2 Violins 2 Violas 2 Cellos Bass) set of parts.Mozart?s Sinfonia Concertante for Violin and Viola K. 364 (320d) is his only complete surviving work in this genre. He wrote it in 1779 after returning from Paris and Mannheim.For two decades it was known only in a few copyists? manuscripts. The first edition did not appear until 1802. The work achieved great popularity that same year particularly the arrangements for Piano four-hands and Piano trio.This arrangement for String Sextet dating from 1808 is interesting not only for its unusual scoring but also for the way the two concertante instrumentsinteract with the other strings.This edition revives this arrangement after almost two centuries drawing primarily on the sole surviving source: the first edition in parts published by the Vienna Stamperia Chimica in 1808.The editor Christopher Hogwood recounts the history of the work and the particulars of the arrangement in a trilingual preface (Eng ./ Ger./ Cz .) and a critical report. Barenreiter's new edition takes into account both the original print and the text from the ?New Mozart Edition?.New edition of a historical transcription for String Sextet (1808)Available in print again after almost two centuriesAlso suitable for Chamber OrchestraDetailed preface and critical report (Eng./Ger./ Cz .)Includes facsimiles

These are the Parts for Eleanor's Piece composed by Hugh Wood for two string quartets. This beautiful work lasts around 3 minutes and the music includes parts for 2 Violin I 2Violin II 2 Violas and 2 Cellos. Born in Lancashire and enjoying a thoroughly musical upbringing Hugh Wood graduated from Oxford after studying History and decided that composition was his truecalling. His works are characterised by divine expressionism and subtle lyricism with Eleanor's Wood being no exception.

Into the faded air was commissioned by Britten Sinfonia for first performance at Filharmonic Hall Krakow Poland on Sunday 13th January 2008 with Jacqueline Shave (Violin) Miranda Dale (Violin) Clare Finnimore(Viola) Catherine Musker (Viola) Caroline Dearnley (Cello) and Banjamin Chappell (Cello).Scoring: String Sextet (2 Violins 2 Violas and 2 Cellos)Duration: 10 minutes Composer'sNotes 'Into The Faded Air is cast in four movements although the last three movements are played without a break.In the first movement the sextet is divided into twogroups. The first group consisting of violin viola and cello plays a sustained melody while the second group (also violin viola and cello) contributes more jagged and intricate material. The second movement is an extended duetfor two violas accompanied by the other instruments. As the movement progresses the accompanying instruments become more prominent. The third movement is the only fast movement in the piece with rapid semiquavers and much useof pizzicato throughout. This leads into a serene chorale where the three upper instruments (two violins and first viola) are set against the second viola and two cellos.' - HelenGrime

This Chamber Music book is to be started when the pupil reaches page 24 of the Samuel Applebaum String Method. However, it can be used in conjunction with any good string method. Published for two violins, two violas, two cellos, two basses, and piano accompaniment.

Par MILHAUD DARIUS. 1. Moderement anime; 2. Etude du Hasard dirige; 3. Moderement expressif; 4. Alerte (for 2 violins, 2 violas, 2 cellos and double bass)/ RĂ©pertoire / 2 Violons, 2 Altos, 2 Violoncelles et Contrebasse

Opus post. 163 D 956. Parts only.No music lover can remain untouched by the emotional quality of this work composed in Schubert's last year. The monumental weight of the outer movements the intimate lyricism of the'Adagio' as well as the unusual timbre ensure the uniqueness of this quintet. An additional cello which takes on an essential melodic role joins the classical string quartet. The editor of this Urtext edition Egon Voss notonly does justice to the difficult source situation; with new and convincing solutions for difficult page turns he also takes into account the demands of musical practice.