| Joseph Haydn: Divertimenti for Piano (Cembalo), 2 Violins and Violoncello Piano Quartet: piano, 2 violins, cello [Sheet music] G. Henle
For 2 Violins, Violoncello and Piano (Harpsichord) - Score with Parts. By Franz ...(+)
For 2 Violins, Violoncello and Piano (Harpsichord) - Score with Parts. By Franz Joseph Haydn. Edited by H. Walter. This edition: HN453. Piano Quartets. Henle Music Folios. Pages: Score = VI and 57 * Vl I Part = 12 * Vl II Part = 12 * Vc Part = 12. Urtext edition without fingering-paper bound. 100 pages. Published by G. Henle.
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| Orchestersuite Nr. 3 Harpsichord Carus Verlag
2 Violins, Viola, Cello/Contrabass, Harpsichord SKU: CA.4052919 Overtu...(+)
2 Violins, Viola, Cello/Contrabass, Harpsichord SKU: CA.4052919 Overture in E minor. Composed by Johann Bernhard Bach. Edited by Hans Bergmann. Arranged by Hans Bergmann. German title: Orchestersuite Nr.3 In E. Set of Orchestra Parts. Duration 20 minutes. Carus Verlag #CV 40.529/19. Published by Carus Verlag (CA.4052919). ISBN 9790007137984. Key: E minor. Language: all languages. Score and parts available separately - see item CA.4052900. $93.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Piano (Harpsichord) Concerto in F Major, Piano Quintet: piano, 2 violins, viola, cello [Sheet music] - Advanced G. Henle
(Hob. XVIII:3 - String Quartet with Piano - Figured Bass Realization by S. Petre...(+)
(Hob. XVIII:3 - String Quartet with Piano - Figured Bass Realization by S. Petrenz -Score with Parts). By Franz Joseph Haydn (1732-1809). Edited by Horst Walter. This edition: HN682. Piano quintets. Henle Music Folios. Pages: Score = III and 52 * Vl I Part = 7 * Vl II Part = 7 * Va Part = 7 * Basso = 7. SMP Level 8 (Early Advanced). Urtext edition (Paper-bound). 92 pages
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| Progressive Trios for Strings 3 double basses [Sheet music] Carl Fischer
(26 Trios That Can Be Played by Any Combination of String Instruments). By Doris...(+)
(26 Trios That Can Be Played by Any Combination of String Instruments). By Doris Gazda. Arranged by Doris Gazda. For String Bass. Book. 48 pages. Published by Carl Fischer
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| Concerto Grosso 3 Op.6/3 Cmincem Eulenburg
2 violins, cello and orchestra (CEMB) SKU: HL.49011581 Composed by Arcang...(+)
2 violins, cello and orchestra (CEMB) SKU: HL.49011581 Composed by Arcangelo Corelli. Sheet music. Edition Schott. Classical. Separate part, Harpsichord. Op. 6/3. 5 pages. Duration 15'. Eulenburg Edition #PC33-15. Published by Eulenburg Edition (HL.49011581). ISBN 9790200213478. $7.95 - See more - Buy online | | |
| Concerto - Piano And Orchestra - Solo Part Schott
Piano and orchestra - difficult SKU: HL.49046544 For piano and orchest...(+)
Piano and orchestra - difficult SKU: HL.49046544 For piano and orchestra. Composed by Gyorgy Ligeti. This edition: Saddle stitching. Sheet music. Edition Schott. Softcover. Composed 1985-1988. Duration 24'. Schott Music #ED23178. Published by Schott Music (HL.49046544). ISBN 9781705122655. UPC: 842819108726. 9.0x12.0x0.224 inches. I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. The markings of the movements are the following: 1. Vivace molto ritmico e preciso 2. Lento e deserto 3. Vivace cantabile 4. Allegro risoluto 5. Presto luminoso.The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale; my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. In the Piano Concerto I realized new concepts of harmony and rhythm. The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time 'rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form; later in the fourth movement it will be considerably developed. The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement; however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly; they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales; in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting; illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated; the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus; indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. (Gyorgy Ligeti). $34.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Concertini for Piano (Harpsichord) with Two Violins and Violoncello Cello G. Henle
Cello (Violoncello) SKU: HL.51480311 Cello. Composed by Franz Jose...(+)
Cello (Violoncello) SKU: HL.51480311 Cello. Composed by Franz Joseph Haydn. Edited by Horst Walter. Sheet Music. Paperbound. Henle Music Folios. Pages: Vc Part = 12. Classical. Individual instrument part. 12 pages. G. Henle #HN311. Published by G. Henle (HL.51480311). ISBN 9790201803111. UPC: 884088175061. 9.25x12.25x0.032 inches. About Henle Urtext What I can expect from Henle Urtext editions: - error-free, reliable musical texts based on meticulous musicological research - fingerings and bowings by famous artists and pedagogues
- preface in 3 languages with information on the genesis and history of the work
- Critical Commentary in 1 – 3 languages with a description and evaluation of the sources and explaining all source discrepancies and editorial decisions
- most beautiful music engraving
- page-turns, fold-out pages, and cues where you need them
- excellent print quality and binding
- largest Urtext catalogue world-wide
- longest Urtext experience (founded 1948 exclusively for Urtext editions)
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| Brandenburg Concerto No. 3 (First Movement) String Orchestra [Score and Parts] - Easy Alfred Publishing
By Johann Sebastian Bach (1685-1750). Arranged by Richard Meyer. Orchestra. Mast...(+)
By Johann Sebastian Bach (1685-1750). Arranged by Richard Meyer. Orchestra. Masterworks; Part(s); Score; String Orchestra. Highland String Explorer. Form: Transcription. Baroque; Masterwork Arrangement. Grade 2. 88 pages. Published by Alfred Music Publishing
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| Concerto op. 1 n. 3 |harpsichord|violin|cello|harp| Ut Orpheus
By Johann Christian Bach. For Harpsichord or Harp, 2 Violins and Violoncello. (...(+)
By Johann Christian Bach. For Harpsichord or Harp, 2 Violins and Violoncello. (Harpsichord or Harp, Violin I [3], Violin II [3], Cello [2]). Parts. Published by Ut Orpheus. (MAG 173B)
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| Sonata E Minor Op. 34, No. 3 Orchestra - Intermediate Schott
Orchestra - intermediate SKU: HL.49001988 Set of Solo Parts. Compo...(+)
Orchestra - intermediate SKU: HL.49001988 Set of Solo Parts. Composed by Joseph Bodin de Boismortier. Edited by Hugo Ruf. Sheet music. Concertino (Chamber Orchestra). Classical. Set of solo parts. Op. 34/3. 18 pages. Duration 6'. Schott Music #CON 32-71. Published by Schott Music (HL.49001988). ISBN 9790001021586. 8.25x11.75x0.053 inches. 3 melodic instruments (violins, flutes, oboes) or string orchestra and basso continuo (harpsichord, piano); cello (viola da gamba, bassoon) ad lib. $23.99 - See more - Buy online | | |
| Brandenburg Concerto No. 3 (First Movement) String Orchestra [Score] - Easy Alfred Publishing
By Johann Sebastian Bach (1685-1750). Arranged by Richard Meyer. Orchestra. Mast...(+)
By Johann Sebastian Bach (1685-1750). Arranged by Richard Meyer. Orchestra. Masterworks; Score; String Orchestra. HighlandåÊString Explorer. Form: Transcription. Baroque; Masterwork Arrangement. Grade 2. 8 pages. Published by Alfred Music Publishing
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| Sonata E Minor Op. 34, No. 3 Orchestra - Intermediate Schott
Orchestra - intermediate SKU: HL.49001987 Set of Parts. Composed b...(+)
Orchestra - intermediate SKU: HL.49001987 Set of Parts. Composed by Joseph Bodin de Boismortier. Edited by Hugo Ruf. This edition: CON32-70. Sheet music. Concertino (Chamber Orchestra). Classical. Set of choral parts. Op. 34/3. 50 pages. Duration 6'. Schott Music #CON 32-70. Published by Schott Music (HL.49001987). ISBN 9790001021579. UPC: 073999264371. 8.5x11.75x0.128 inches. 3 melodic instruments (violins, flutes, oboes) or string orchestra and basso continuo (harpsichord, piano); cello (viola da gamba, bassoon) ad lib. $56.00 - See more - Buy online | | |
| Flute concerto in D major (Flotenkonzert in D) Harpsichord Carus Verlag
Flute, 2 Violins, Viola, Cello/Contrabass, Harpsichord SKU: CA.3231519 (+)
Flute, 2 Violins, Viola, Cello/Contrabass, Harpsichord SKU: CA.3231519 Concerto per il Flauto traverso in D. Composed by Wilhelm Friedemann Bach. Edited by Peter Wollny, Sergej Kudriachov. Stuttgart Urtext edition. German title: Flotenkonzert In D C15. Set of Orchestra Parts. BR-WFB C 15. Duration 18 minutes. Carus Verlag #CV 32.315/19. Published by Carus Verlag (CA.3231519). ISBN 9790007139001. Key: D major. Language: all languages. With the first appearance of this three-movement concerto for flute, 2 violins, viola and basso continuo, Wilhelm Friedemann Bach's only surviving flute concerto is made accessible to a wider musical audience. The transparent delicacy of the composition is visible in the orchestral movement. Almost continuously written in 3 parts the concerto clearly bears the individual artistic traits of the eldest of Bach's sons. The critical edition is based on the only known source, from the library of the 'Berliner Singakademie', will be contained in volume IV/2 of the complete edition of Wilhelm Friedemann Bach's works. Score and parts available separately - see item CA.3231500. $136.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| String Quartet No. 3 String Quartet: 2 violins, viola, cello [full score - study] Theodore Presser Co.
Composed by Lowell Liebermann. For string quartet (2 violins, viola, cello). Con...(+)
Composed by Lowell Liebermann. For string quartet (2 violins, viola, cello). Contemporary. Full score - study. Standard Notation. Op.102. Duration 16 minutes. Theodore Presser Company #114-41424S. Published by Theodore Presser Company
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| Sonata E Minor Op. 34, No. 3 Orchestra [Score] - Intermediate Schott
Orchestra (Score) - intermediate SKU: HL.49001986 Full Score. Comp...(+)
Orchestra (Score) - intermediate SKU: HL.49001986 Full Score. Composed by Joseph Bodin de Boismortier. Edited by Hugo Ruf. This edition: Saddle stitching. Sheet music. Concertino (Chamber Orchestra). Classical. Score. Op. 34/3. 24 pages. Duration 6'. Schott Music #CON 32. Published by Schott Music (HL.49001986). ISBN 9790001021562. UPC: 073999490541. 9.0x12.0x0.094 inches. 3 melodic instruments (violins, flutes, oboes) or string orchestra and basso continuo (harpsichord, piano); cello (viola da gamba, bassoon) ad lib. $27.99 - See more - Buy online | | |
| Triple concerto [Score and Parts] Edition HH
By Johann Sebastian Bach (1685-1750). Edited by Christopher Hogwood. For 3 violi...(+)
By Johann Sebastian Bach (1685-1750). Edited by Christopher Hogwood. For 3 violins, viola (optional) and basso continuo. Full score and parts. Published by Edition HH Music Publishers
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| Concerto Grosso Op. 3, No. 12 Orchestra - Intermediate Schott
Orchestra - intermediate SKU: HL.49002150 Set of Parts. Composed b...(+)
Orchestra - intermediate SKU: HL.49002150 Set of Parts. Composed by Francesco Manfredini. Edited by Helmut W. May. This edition: Saddle stitching. Sheet music. Concertino (Chamber Orchestra). Classical. Set of Parts. Composed 1718. Op. 3/12. 98 pages. Duration 10'. Schott Music #CON94-70. Published by Schott Music (HL.49002150). ISBN 9790001022866. UPC: 073999473469. 9.0x12.0x0.46 inches. 2 violins, violoncello, string orchestra and harpsichord. $68.00 - See more - Buy online | | |
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