| Telemann Sonatas for Two Cellos 2 Cellos (duet) Greenblatt and Seay
Arranged by Deborah Greenblatt. Cello Duet. For cello 1, cello 2. This edition: ...(+)
Arranged by Deborah Greenblatt. Cello Duet. For cello 1, cello 2. This edition: spiral-bound. Tunes for Two. Tunebook. 52 pages. Published by Greenblatt and Seay
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| Classical Tunes for Two Cellos, Volume 1 2 Cellos (duet) Greenblatt and Seay
Arranged by Deborah Greenblatt. Cello Duet. For 2 cellos. Tunes for Two. Classic...(+)
Arranged by Deborah Greenblatt. Cello Duet. For 2 cellos. Tunes for Two. Classical. Tune book. Standard Notation. 68 pages. Published by Greenblatt & Seay
$15.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Classical Fiddle Tunes for Two Cellos, Volume 2 2 Cellos (duet) Greenblatt & Seay
Arranged by Deborah Greenblatt. Cello Duet. For 2 cellos. Tunes for Two. Classic...(+)
Arranged by Deborah Greenblatt. Cello Duet. For 2 cellos. Tunes for Two. Classical. Tune book. Standard Notation. 66 pages
$15.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Easy Duos for Cello - Vol. 1 2 Cellos (duet) - Easy Schott
Easy Duos for Cello - Vol. 1 by Various. Edited by Edwin Koch. For Cello Duet. S...(+)
Easy Duos for Cello - Vol. 1 by Various. Edited by Edwin Koch. For Cello Duet. Schott. Playing score. 24 pages. Schott Music #ED6273. Published by Schott Music
$18.99 - See more - Buy online | | |
| Quantz Duets - Cello A Cello B (2 books) 2 Cellos (duet) [Set of Parts] Greenblatt and Seay
Arranged by Deborah Greenblatt. String Duo. For cello 1, cello 2. This edition: ...(+)
Arranged by Deborah Greenblatt. String Duo. For cello 1, cello 2. This edition: spiral-bound. Set of parts. Published by Greenblatt and Seay
$15.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Classical Duets For All (Cello/Bass) Cello, String Bass (duet) [Sheet music] Belwin
Arranged by William Ryden (1939-). Collection for 2 cellos/basses. 24 pages. Pub...(+)
Arranged by William Ryden (1939-). Collection for 2 cellos/basses. 24 pages. Published by Belwin.
(1)$7.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Classical Fiddle Tunes for Two Cellos, Volume 3 2 Cellos (duet) Greenblatt & Seay
Arranged by Deborah Greenblatt. Cello Duet. For 2 cellos. Tunes for Two. Classic...(+)
Arranged by Deborah Greenblatt. Cello Duet. For 2 cellos. Tunes for Two. Classical. Tune book. Standard Notation. 68 pages
$15.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Art of the Fugue: 3 Canons Violin, Cello (duet) Peters
By Johann Sebastian Bach. Edited by Forbes. For Violin, Violoncello. Canon alla ...(+)
By Johann Sebastian Bach. Edited by Forbes. For Violin, Violoncello. Canon alla duodecima (in contrapunto alla quinta) and 2 Canons per augmentationem (in contrario motu); BWV 1080. Published by C.F. Peters.
$18.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| 20 Traditional Wedding Solos for Cello or Bassoon
Cello, Piano [Reduction] - Intermediate/advanced Last Resort Music Publishing
Edited by Jan Kelley. Arranged by Daniel Kelley. For Cello and Piano. Solos. Rec...(+)
Edited by Jan Kelley. Arranged by Daniel Kelley. For Cello and Piano. Solos. Recital, Wedding. Level: Intermediate/Advanced. Piano Score and Solo Part. Published by Last Resort Music Publishing.
$24.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Music for Two, Volume 1 - Wedding and Classical Favorites - Cello/Bassoon and Cello/Bassoon |bassoon|cello| [Score and Parts] - Intermediate/advanced Last Resort Music Publishing
Arranged by Daniel Kelley. For Cello (or Bassoon) and Cello (or Bassoon). Duets....(+)
Arranged by Daniel Kelley. For Cello (or Bassoon) and Cello (or Bassoon). 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 | | |
| Sacred Duets for All Cello [Sheet music] Alfred Publishing
(From the Renaissance to the Romantic Periods). Arranged by William Ryden. For C...(+)
(From the Renaissance to the Romantic Periods). Arranged by William Ryden. For Cello/Bass. Mixed Instruments - Flexible Instrumentation. Sacred Instrumental Ensembles for All. 24 pages. Published by Alfred Publishing.
$7.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Beautiful Melodies from Around the World - Music for Two Violins Selected Cello Parts 2 Violins (duet) Mel Bay
Violin - Beginning; Intermediate; Advanced SKU: MB.30859 Saddle-stitched,...(+)
Violin - Beginning; Intermediate; Advanced SKU: MB.30859 Saddle-stitched, Wedding. World Music. Book/insert. 68 pages. Mel Bay Publications, Inc #30859. Published by Mel Bay Publications, Inc (MB.30859). ISBN 9781513465951. 8.75x11.75 inches. Imagine a campfire! Envision sitting around the bright flames with your friends and family singing songs out in the great expanse. Imagine that those melodies you sing stir up joy, hope, and belief in the great wonders of the world. Melodies have connected different kinds of people for many, many years. Music brings us closer, and music makes any occasion more festive and memorable. This book was written to promote the love of old folk melodies, provide processional music for special celebrations, and to include players of all levels. Music educators will find that there are many possibilities and combinations for practice and performance. Includes a 16-page pull-out section of twelve selected pieces for an optional cello part. It is my great hope that music students, families, and educators will all enjoy this very special collection of Beautiful Melodies from Around the World. $19.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Classical Themes for Two Cellos 2 Cellos (duet) - Easy Hal Leonard
Easy Instrumental Duets. Composed by Various. Instrumental Duet. Softcover. 4...(+)
Easy Instrumental Duets.
Composed by Various.
Instrumental Duet.
Softcover. 48 pages.
Published by Hal Leonard
$10.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| 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 | | |
| Wedding Fiddling Tunes for Two Cellos 2 Cellos (duet) [Sheet music] Greenblatt and Seay | | |
| 3 Short Canons Viola, Cello (duet) [Sheet music] Peermusic Classical
(for Viola and Cello). By Stefan Wolpe (1902-1972). For Cello, Viola, String Due...(+)
(for Viola and Cello). By Stefan Wolpe (1902-1972). For Cello, Viola, String Duet. Peermusic Classical. Softcover. Peermusic #61732-753. Published by Peermusic
$12.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| 101 Classical Themes for Cello Cello [Sheet music] Hal Leonard
Composed by Various. Instrumental Solo. Softcover. 88 pages. Published by ...(+)
Composed by Various.
Instrumental Solo.
Softcover. 88 pages.
Published by Hal Leonard
$16.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Music for Two, Volume 1 - Clarinet and Cello/Bassoon |bassoon|cello|clarinet| [Score and Parts] Last Resort Music Publishing
Arranged by Daniel Kelley. For Clarinet and Cello (or Bassoon). Duets. Music for...(+)
Arranged by Daniel Kelley. For Clarinet and Cello (or Bassoon). 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: 24 hours - In Stock | | |
| Classical Favorites for Electric Bass Bass guitar Mel Bay
Solos and Duets. Composed by Chuck Bianchi. Squareback saddle stitch, Solo...(+)
Solos and Duets. Composed by
Chuck Bianchi. Squareback
saddle stitch,
Solos/Duets/Ensembles,
Featured Products, Technique,
Theory and Reference,
Classical. Style. Book. 88
pages. Mel Bay Publications,
Inc #30654. Published by Mel
Bay Publications, Inc
$19.99 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Violoncello Duos for Beginners - Volume 2 2 Cellos (duet) - Easy Hal Leonard
By Various. Arranged by Pejtsik. EMB. Size 9.25x12.25 inches. 68 pages. Publishe...(+)
By Various. Arranged by Pejtsik. EMB. Size 9.25x12.25 inches. 68 pages. Published by Hal Leonard.
$29.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Canon (1889) Violin, Cello (duet) [Set of Parts] Boosey and Hawkes
For Violin and Cello. By Jean Sibelius. (Parts). Boosey and Hawkes Chamber Musi...(+)
For Violin and Cello. By Jean Sibelius. (Parts). Boosey and Hawkes Chamber Music. Book only. Size 8.25x11.75 inches. 4 pages. Published by Boosey & Hawkes.
$15.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Canon in D major Cello, Violin [Set of Parts] Boardman Music Publishing, LLC.
By Johann Pachelbel (1653-1706). Arranged by Carla Boardman Padron. For Violin a...(+)
By Johann Pachelbel (1653-1706). Arranged by Carla Boardman Padron. For Violin and Cello Duet. Both parts based on original violin melodies.. Classical. Set of parts. 4 pages
$6.00 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
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