| Duke Ellington: Three Pieces for 4 Cellos Vol. 2 String Quartet: 2 violins, viola, cello [Score and Parts] Kunzelmann
By Duke Ellington. Edited by Werner Thomas-Mifune. For 2 violin, viola, violonce...(+)
By Duke Ellington. Edited by Werner Thomas-Mifune. For 2 violin, viola, violoncello. Three pieces by Duke Ellington arranged for string quartet by Thomas Werner-Mifune. Pieces are Credo Love Call, Sophisticated Lady, Birmingham Break-Down. Score and Parts. Published by Edition Kunzelmann.
$24.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Klezmatic Duets for Violas 2 Violas (duet) - Intermediate De Haske Publications
Viola - intermediate SKU: BT.DHP-1115172-401 Arranged by Coen Wolfgram an...(+)
Viola - intermediate SKU: BT.DHP-1115172-401 Arranged by Coen Wolfgram and Nico Dezaire. De Haske String Series. Folk Klezmer. Book Only. Composed 2011. 16 pages. De Haske Publications #DHP 1115172-401. Published by De Haske Publications (BT.DHP-1115172-401). ISBN 9789043139281. 9x12 inches. English-German-French-Dutch. Are you looking for a duet book full of surprises? Then Klezmatic Duets is just the right book for you! It is available for violin, viola and cello and each book can be combined with each other, making these truly flexible duets. The book contains a selection of well-known traditional melodies which are very different in character. These skilful arrangements allow violinists and viola players to play within the first position. Cello players play up to the fourth position.
Typisch voor klezmer is de zeer expressieve melodie die zowel heel opgewekt kan klinken als tegelijk melancholisch of weemoedig. Klezmatic Duets is dan ook een veelzijdige uitgave: tien bekende en zeer verschillende klezmermelodieënzijn bewerkt voor twee violen, twee altviolen of twee cellos's. De verschillende uitgaven zijn onderling te combineren.
Klezmatic Duets for Violas ist ein vielseitiges Buch: Zehn bekannte, sehr unterschiedliche Klezmermelodien wurden dafuÌr als Duette fuÌr zwei Violas bearbeitet; aus diesem Buch kann aber auch gemeinsam mit anderen Streichern gespielt werden, welche die entsprechende Ausgabe fuÌr Violine oder Cello besitzen. Geiger muÌssen fuÌr diese StuÌcke nur die erste Lage beherrschen.
Ten Klezmatic Duets for Violas est un recueil aux multiples facettes : dix mélodies klezmer connues et de styles différents ont été arrangées pour être jouées par deux altistes, mais également en duo avec un autre instrumentiste cordes, tel quââ¬Ëun violoniste ou un violoncelliste possédant le recueil approprié. En tant quââ¬Ëaltiste, vous devrez cependant maîtriser la première position.
Klezmatic Duets for Violas è una pubblicazione che può essere utilizzata in diverse combinazioni: 10 note melodie klezmer sono state arrangiate per due viole. Si può però suonare assieme ad un altro musicista che ha a disposizione la versione per violine o violoncello. Per lââ¬Ëesecuzione di questi brani è richiesta solo la padronanza della prima posizione. $22.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Klezmatic Duets for Cellos 2 Cellos (duet) - Intermediate De Haske Publications
Cello - intermediate SKU: BT.DHP-1115173-401 Arranged by Coen Wolfgram an...(+)
Cello - intermediate SKU: BT.DHP-1115173-401 Arranged by Coen Wolfgram and Nico Dezaire. De Haske String Series. Folk Klezmer. Book Only. Composed 2011. 16 pages. De Haske Publications #DHP 1115173-401. Published by De Haske Publications (BT.DHP-1115173-401). ISBN 9789043139298. 9x12 inches. English-German-French-Dutch. Are you looking for a duet book full of surprises? Then Klezmatic Duets is just the right book for you! It is available for violin, viola and cello and each book can be combined with each other, making these truly flexible duets. The book contains a selection of well-known traditional melodies which are very different in character. hese skilful arrangements allow violinists and viola players to play within the first position. Cello players play up to the fourth position.
Typisch voor klezmer is de zeer expressieve melodie die zowel heel opgewekt kan klinken als tegelijk melancholisch of weemoedig. Klezmatic Duets is dan ook een veelzijdige uitgave: tien bekende en zeer verschillende klezmermelodieënzijn bewerkt voor twee violen, twee altviolen of twee cellos's. De verschillende uitgaven zijn onderling te combineren.
Klezmatic Duets for Cellos ist ein vielseitiges Buch: Zehn bekannte, sehr unterschiedliche Klezmermelodien wurden dafu?r als Duette fu?r zwei Celli bearbeitet; aus diesem Buch kann aber auch gemeinsam mit anderen Streichern gespielt werden, welche die entsprechende Ausgabe fu?r Violine oder Viola besitzen. Geiger mu?ssen fu?r diese Stu?cke nur die erste Lage beherrschen; für Celiisten geht es bis zur vierten Lage.
Klezmatic Duets for Cellos est un recueil aux multiples facettes : dix mélodies klezmer connues et de styles différents ont été arrangées pour être jouées par deux violoncellistes, mais également en duo avec un autre instrumentiste cordes, tel quâ??un violoniste ou un altiste possédant le recueil approprié. En tant que violoncelliste, vous devrez cependant maîtriser les quatre premières positions.
Klezmatic Duets for Violins è una pubblicazione che può essere utilizzata in diverse combinazioni: 10 note melodie klezmer sono state arrangiate per due violoncelli. Si può però suonare assieme ad un altro musicista che ha a disposizione la versione per violine o viola. Per lâ??esecuzione di questi brani è richiesta solo la padronanza della prima posizione. $22.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| From heav'n on high Soli, Mixted choir and accompaniment Soli, mixted choir, orchestra [Set of Parts] Carus Verlag
(Christmas cantata). Composed by Felix Mendelssohn Bartholdy / Martin Luther. Ed...(+)
(Christmas cantata). Composed by Felix Mendelssohn Bartholdy / Martin Luther. Edited by Karen Lehmann. For SBar vocal soli, SSATB choir, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, 2 violins, 2 violas, 2 cellos, contrabass. Stuttgart Urtext Edition. German title: Vom Himmel hoch, da komm ich her. Cantatas, Christmas. Level 3. Complete orchestral parts. Language: German/English. Composed 1831. Duration 16 minutes. Published by Carus Verlag
$174.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Vom Himmel hoch (From heav'n on high) Soli, Mixted choir and accompaniment Soli, mixted choir, orchestra [Score] Carus Verlag
Weihnachtskantate. By Felix Mendelssohn. Edited by Lehmann, Karen. For Soli SBar...(+)
Weihnachtskantate. By Felix Mendelssohn. Edited by Lehmann, Karen. For Soli SBar, SSATB Choir, 2 Flutes, 2 Oboes, 2 Clarinets, 2 Bassoons, 2 Horns, 2 Trumpets, Timpani, 2 Violins, 2 Violas, 2 Cellos, Contrabass. Full score available separately - see item CA.4018900. Cantatas; Stuttgart Urtext editions; Use during church year: Christmas. Study score. Language: German/English. Composed 1831. 72 pages. Duration 16 min. Published by Carus Verlag (German import).
$20.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Little Heart of Ages - Instrument Cello, Viola, Violin GIA Publications
By John Foley, SJ. For String Sextet (2 Violins, Viola, 2 Cellos, Bass). Instrum...(+)
By John Foley, SJ. For String Sextet (2 Violins, Viola, 2 Cellos, Bass). Instrumental Part. Sacred. Easy. 12 pages
$17.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| 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 | | |
| Dotonbori Dash String Orchestra [Score and Parts] - Easy Carl Fischer
By Alan Lee Silva. For string orchestra. Carl Fischer Concert String Orchestra S...(+)
By Alan Lee Silva. For string orchestra. Carl Fischer Concert String Orchestra Series. Grade 3 and up. Score and parts. Published by Carl Fischer
$60.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Airborne Heroes String Orchestra Highland/Etling
Composed by Steven J. Campbell. Score; SmartMusic; String Orchestra. Highland/Et...(+)
Composed by Steven J. Campbell. Score; SmartMusic; String Orchestra. Highland/Etling String Orchestra. 4th of July; Patriotic; Summer. 8 pages. Published by Highland/Etling (AP.41254S).
$9.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Airborne Heroes String Orchestra [Score and Parts] - Beginner Highland/Etling
Composed by Steven J. Campbell. Orchestra. Part(s); Score; String Orchestra. Hig...(+)
Composed by Steven J. Campbell. Orchestra. Part(s); Score; String Orchestra. Highland String Orchestra. Patriotic. Grade 1. 62 pages. Published by Highland/Etling
$46.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Timbres, Space, Movement (orchestra) Orchestra Heugel
Orchestra (Orchestra) SKU: HL.48188488 Composed by Henri Dutilleux. Leduc...(+)
Orchestra (Orchestra) SKU: HL.48188488 Composed by Henri Dutilleux. Leduc. Classical. Softcover. 104 pages. Heugel & Cie #HE32608. Published by Heugel & Cie (HL.48188488). UPC: 888680866952. 8.5x11.75x0.543 inches. “Composed in 1978 by Henri Dutilleux, Timbres, Space, Movement is a work for Orchestra, also named ?The starry night? after a painting by Van Gogh. It was commisioned by Mstislav Rostropovich for the National Symphony Orchestra of Washington and is dedicated to Charles Münch. This great orchestral work lasts approximately 20 minutes and depicts the content of the painting. It is written for a full orchestra without Violins or Violas. A sketch of the placement of the instruments is given in the book as its disposition differs from a full orchestra: The Cellos placed in a half-circle in front of the conductor. The Cellos represents the space with twirling solos and more stagnant sections while the lack of Violins and Violas is for the quiet and motionless part of the painting. The solo of the Winds and Drums characterizes the clouds and the light of the moon and the stars. It is divided in two parts: 1. Nébuleuse (Nebula) and 2.Constellations, which are divided by a Cello interlude. Henri Dutilleux was internationally acclaimed for his work winning prizes such as the Gold Medal of the Royal Philharmonic Society and the UNESCO's International Rostrum of Composers, amongst many others. His work also includes a Piano sonata, two symphonies, the Violin concerto 'L'arbre des songes' (The tree of dreams) and the Cello concerto 'Tout un monde lointain' (A whole distant word).â€. $85.80 - See more - Buy online | | |
| O sacred head, sore wounded (O Haupt voll Blut und Wunden) Choral SATB - Easy Carus Verlag
Orchestra bass voice solo, SATB choir, 2 flutes, 2 oboes, 2 clarinets, 2 bassoon...(+)
Orchestra bass voice solo, SATB choir, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 violins, 2 violas, 2 cellos, contrabass - Grade 3 SKU: CA.4018614 Chorale cantata. Composed by Felix Bartholdy Mendelssohn. Edited by Oswald Bill. This edition: urtext. Stuttgart Urtext Edition: Mendelssohn. German title: O Haupt voll Blut. Innovative practice aids, Sacred vocal music, Cantatas, Lent and Passiontide, Holy Week, Eucharist, Communion. Single Part, Viola 2. Composed 1830. MWV. 8 pages. Duration 12 minutes. Carus Verlag #CV 40.186/14. Published by Carus Verlag (CA.4018614). ISBN 9790007064402. Language: German/English. Text: Gerhardt, Paul. Text: Paul Gerhardt. During Mendelssohns years of study with Zelter, the arrangement of chorales already played an important role, and he continued to be occupied with the protestant chorale throughout his symphonic and oratorical work. The break Bach's works in connection with the reperformance of the St. Matthew Passion led to a series of cantatas based on well-known chorale melodies for choir, instruments, and sometimes also for soloists. Score and part available separately - see item CA.4018600. $5.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Klezmatic Duets for Violins 2 Violins (duet) - Intermediate De Haske Publications
Violin Duet - intermediate SKU: BT.DHP-1115171-401 Arranged by Coen Wolfg...(+)
Violin Duet - intermediate SKU: BT.DHP-1115171-401 Arranged by Coen Wolfgram and Nico Dezaire. De Haske String Series. Folk Klezmer. Book Only. Composed 2011. 16 pages. De Haske Publications #DHP 1115171-401. Published by De Haske Publications (BT.DHP-1115171-401). ISBN 9789043142311. 9x12 inches. English-German-French-Dutch. Are you looking for a duet book full of surprises? Then Klezmatic Duets (10 pieces) is just the right book for you! It is available for violin, viola and cello and each book can be combined with each other, making these truly flexible duets. The book contains a selection of well-known traditional melodies which are very different in character. These skilful arrangements allow violinists and viola players to play within the first position. Cello players play up to the fourth position.
Typisch voor klezmer is de zeer expressieve melodie die zowel heel opgewekt kan klinken als tegelijk melancholisch of weemoedig. Klezmatic Duets is dan ook een veelzijdige uitgave: tien bekende en zeer verschillende klezmermelodieënzijn bewerkt voor twee violen, twee altviolen of twee cellos's. De verschillende uitgaven zijn onderling te combineren
Klezmatic Duets for Violins ist ein vielseitiges Buch: Zehn bekannte, sehr unterschiedliche Klezmermelodien wurden dafu?r als Duette fu?r zwei Violinen bearbeitet; aus diesem Buch kann aber auch gemeinsam mit anderen Streichern gespielt werden, welche die entsprechende Ausgabe fu?r Viola oder Cello besitzen. Geiger mu?ssen fu?r diese Stu?cke nur die erste Lage beherrschen.
Klezmatic Duets for Violins est un recueil aux multiples facettes : dix mélodies klezmer connues et de styles différents ont été arrangées pour être jouées en duo de violons mais également en duo avec un autre instrumentiste cordes, tel quâ??un altiste ou un violoncelliste possédant le recueil approprié. En tant que violoniste, vous devrez cependant maîtriser la première position.
Klezmatic Duets for Violins è una pubblicazione che può essere utilizzata in diverse combinazioni: 10 note melodie klezmer sono state arrangiate per due violini. Si può però suonare assieme ad un altro musicista che ha a disposizione la versione per viola o violoncello. Per lâ??esecuzione di questi brani è richiesta solo la padronanza della prima posizione. $22.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| We all believe in one true God (Wir glauben all an einen Gott) Choral SATB - Easy Carus Verlag
Orchestra SATB choir, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, 3 t...(+)
Orchestra SATB choir, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, 3 trombones, timpani, 2 violins, viola, 2 cellos, double bass, [organ] - Grade 3 SKU: CA.4018713 Chorale cantata. Composed by Felix Bartholdy Mendelssohn and Martin Luther. Edited by Gunter Graulich. This edition: urtext. Stuttgart Urtext Edition: Mendelssohn. German title: Wir glauben all. Sacred vocal music, Cantatas. Single Part, Viola. Composed 1831. MWV A 12. 4 pages. Duration 8 minutes. Carus Verlag #CV 40.187/13. Published by Carus Verlag (CA.4018713). ISBN 9790007064495. Language: German/English. Text: Luther, Martin. Text: Martin Luther. During Mendelssohns years of study with Zelter, the arrangement of chorales already played an important role, and he continued to be occupied with the protestant chorale throughout his symphonic and oratorical work. The break Bach's works in connection with the reperformance of the St. Matthew Passion led to a series of cantatas based on well-known chorale melodies for choir, instruments, and sometimes also for soloists. Score and part available separately - see item CA.4018700. $3.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Quintett Nr. 7 in Es-Dur [Score] Noten Roehr
2 violins, viola and 2 cellos (or for 2 violins, viola, cello and contrabass) (+)
2 violins, viola and 2 cellos (or for 2 violins, viola, cello and contrabass) SKU: NR.91374 Für zwei Violinen, Viola und zwei Violoncelli (oder für zwei. Composed by Andre Georges Louis Onslow. Chamber music (3-9 instruments). Score. Noten Roehr #91374. Published by Noten Roehr (NR.91374). Oder zwei Violinen, zwei Violen und Violoncello,, op. 23, 1825 Partitur+6Stimme, Aign, Bernhard, ed. $117.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Southland in Springtime String Orchestra [Score and Parts] - Easy Carl Fischer
By Alan Lee Silva. For string orchestra. Carl Fischer Young String Orchestra Ser...(+)
By Alan Lee Silva. For string orchestra. Carl Fischer Young String Orchestra Series. Grade 2-2.5. Score and parts. Published by Carl Fischer
$55.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| O sacred head, sore wounded (O Haupt voll Blut und Wunden) Choral SATB - Easy Carus Verlag
Orchestra bass voice solo, SATB choir, 2 flutes, 2 oboes, 2 clarinets, 2 bassoon...(+)
Orchestra bass voice solo, SATB choir, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 violins, 2 violas, 2 cellos, contrabass - Grade 3 SKU: CA.4018607 Chorale cantata. Composed by Felix Bartholdy Mendelssohn. Edited by Oswald Bill. This edition: urtext. Stuttgart Urtext Edition: Mendelssohn. German title: O Haupt voll Blut und Wunden. Innovative practice aids, Sacred vocal music, Cantatas, Lent and Passiontide, Holy Week, Eucharist, Communion. Study score. Composed 1830. MWV. Duration 12 minutes. Carus Verlag #CV 40.186/07. Published by Carus Verlag (CA.4018607). ISBN 9790007092573. Language: German/English. Text: Gerhardt, Paul. Text: Paul Gerhardt. During Mendelssohns years of study with Zelter, the arrangement of chorales already played an important role, and he continued to be occupied with the protestant chorale throughout his symphonic and oratorical work. The break Bach's works in connection with the reperformance of the St. Matthew Passion led to a series of cantatas based on well-known chorale melodies for choir, instruments, and sometimes also for soloists. Score available separately - see item CA.4018600. $12.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Richard Meyer : Chins and Pins String Orchestra [Score and Parts] Alfred Publishing
By Richard Meyer. Orchestra. Part(s); Score; String Orchestra. Highland Strin...(+)
By Richard Meyer. Orchestra. Part(s); Score; String Orchestra. Highland String Explorer. Form: Waltz. Grade .5. 72 pages. Published by Alfred Music
$46.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| O sacred head, sore wounded (O Haupt voll Blut und Wunden) Choral SATB - Easy Carus Verlag
Orchestra bass voice solo, SATB choir, 2 flutes, 2 oboes, 2 clarinets, 2 bassoon...(+)
Orchestra bass voice solo, SATB choir, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 violins, 2 violas, 2 cellos, contrabass - Grade 3 SKU: CA.4018605 Chorale cantata. Composed by Felix Bartholdy Mendelssohn. Edited by Oswald Bill. This edition: urtext. Stuttgart Urtext Edition: Mendelssohn. German title: O Haupt voll Blut. Innovative practice aids, Sacred vocal music, Cantatas, Lent and Passiontide, Holy Week, Eucharist, Communion. Choral Score. Composed 1830. MWV. Duration 12 minutes. Carus Verlag #CV 40.186/05. Published by Carus Verlag (CA.4018605). ISBN 9790007064358. Language: German/English. Text: Gerhardt, Paul. Text: Paul Gerhardt. During Mendelssohns years of study with Zelter, the arrangement of chorales already played an important role, and he continued to be occupied with the protestant chorale throughout his symphonic and oratorical work. The break Bach's works in connection with the reperformance of the St. Matthew Passion led to a series of cantatas based on well-known chorale melodies for choir, instruments, and sometimes also for soloists. Score available separately - see item CA.4018600. $5.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| O sacred head, sore wounded (O Haupt voll Blut und Wunden) Choral SATB [Score and Parts] - Easy Carus Verlag
Orchestra bass voice solo, SATB choir, 2 flutes, 2 oboes, 2 clarinets, 2 bassoon...(+)
Orchestra bass voice solo, SATB choir, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 violins, 2 violas, 2 cellos, contrabass - Grade 3 SKU: CA.4018609 Chorale cantata. Composed by Felix Bartholdy Mendelssohn. Edited by Oswald Bill. This edition: urtext. 1x 40.186/21 flute 1, 1x 40.186/22 flute 2, 1x 40.186/23 oboe 1, 1x 40.186/24 oboe 2, 1x 40.186/25 clarinet 1, 1x 40.186/26 clarinet 2, 1x 40.186/27 bassoon 1, 1x 40.186/28 bassoon 2, 1x 40.186/31 horn 1, 1x 40.186/32 horn 2. Stuttgart Urtext Edition: Mendelssohn. German title: O Haupt voll Blut 10. Innovative practice aids, Sacred vocal music, Cantatas, Lent and Passiontide, Holy Week, Eucharist, Communion. Set of Orchestra Parts. Composed 1830. MWV. 32 pages. Duration 12 minutes. Carus Verlag #CV 40.186/09. Published by Carus Verlag (CA.4018609). ISBN 9790007064365. Language: German/English. Text: Gerhardt, Paul. Text: Paul Gerhardt. During Mendelssohns years of study with Zelter, the arrangement of chorales already played an important role, and he continued to be occupied with the protestant chorale throughout his symphonic and oratorical work. The break Bach's works in connection with the reperformance of the St. Matthew Passion led to a series of cantatas based on well-known chorale melodies for choir, instruments, and sometimes also for soloists. Score and parts available separately - see item CA.4018600. $33.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Richard Meyer : Chins and Pins String Orchestra [Score] Alfred Publishing
By Richard Meyer. Orchestra. Score; String Orchestra. Highland String Explore...(+)
By Richard Meyer. Orchestra. Score; String Orchestra. Highland String Explorer. Form: Waltz. Grade .5. 8 pages. Published by Alfred Music
$6.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Two Lyric Interludes [Score] Carl Fischer
Orchestra 1st Violins, 2nd Violins, Basses, Cellos, Violas SKU: CF.CY4012F(+)
Orchestra 1st Violins, 2nd Violins, Basses, Cellos, Violas SKU: CF.CY4012F For String Orchestra. Composed by Henry Brant. SWS. Full score. With Standard notation. 16 pages. Duration 4 minutes. Carl Fischer Music #CY4012F. Published by Carl Fischer Music (CF.CY4012F). ISBN 9781491149423. UPC: 680160906925. 9 x 12 inches. Two Lyric Interludes was written by Henry Brant, America's foremost composer of acoustic spatial music. They were first performed by the Columbia Broadcasting co. Symphony on December 13, 1941, conducted by Howard Barlow. Requiem is a solemn, slow interlude, while Idyll has more of a dreamy quality. $25.99 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
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