By Louis Spohr (1784-1859). Arranged by Schwenke. For clarinet (violin 2), violin, viola, cello, double bass ad lib. and piano. Facsimile Editions - Winds, Strings and Piano. Unusual instrumentation, but enjoyable to play and perform. Fine arrangement of Spohr's Octet. Schwenke was a masterful arranger. Classical

By Ludwig van Beethoven (1770-1827). Edited by Jonathan Del Mar. Arranged by Martin Schelhaas. For Piano/Violin/Violoncello (Solo Piano/Solo Violin/Solo Violoncello/Flute/2 Oboes/2 Clarinets/2 Bassoons/2 Horns/2 Clarions/Timpani/2 Violins/Viola/Violoncello/Contrabass). This edition: Paperback, Urtext edition. Piano reduction, Set of parts. Opus 56. 91/44/19/19 pages. Duration 35'. Published by Baerenreiter Verlag

Concerto fur Violin and Orchestra D major op. 61 by Ludwig van Beethoven (1770-1827). Edited by Jonathan Del Mar. Arranged by Martin Schelhaas. For solo violin, piano (solo violin/flute/2 oboes/2 clarinets/2 bassoons/2 horns/2 clarin trumpets/timpani/2 violins/viola/cello/double bass). This edition: Stapled, Urtext edition. Gleichzeitig auch Auffuhrungsmaterial fur BA 9013. Piano reduction, Part(s). Opus 61. 48/22/22 pages. Duration 42'. Published by Baerenreiter Verlag

Orchestra Bass Clarinet, Bassoon 1, Bassoon 2, Bongos, Cello, Clarinet, Contrabass, Crotales, Cymbals, English Horn, Field Drum, Flute, Glockenspiel, Horn 1, Horn 2, Oboe 1, Oboe 2, Percussion, Piano, Snare Drum, Triangle, Trumpet, Vibraphone, Viola and more.

SKU: PR.416411770

For Violin, Piano, and Chamber Orchestra. Composed by William Kraft. Full score. With Standard notation. Duration 17 minutes. Theodore Presser Company #416-41177. Published by Theodore Presser Company (PR.416411770).

UPC: 680160091508.

I was tempted to call the piece Throw Back because it consciously employs rhythmic and harmonic approaches characteristic of the earlier part of the twentieth century, much of which plays a part in forging my musical personality. Going along with the impetus, I have paid homage by subtly interpolating stylistic or actual references to such unexpected bedfellows as Scriabin, Ravel, Debussy, Piston, Roussel, and Ysaye. I hope I will be musically forgiven. In one continuous movement, there are three definite internal sections: Presto-Largo-Allegro. The first section opens with a very soft percussion cadenza. If the acoustics allow it, the player will use sponge pottery mallets (sponge-headed mallets employed to smooth the interior of a pot as it is being spin-dried). No matter how hard the percussionist strikes the drums, the dynamic cannot go above pp (pianissimo). This cadenza serves as a basis for the first movement. The elements of the cadenza are taken by the orchestra to make the first major statement, similar to the classical concerto; but rather than making a restatement, the soloists, when they come in, begin with variational ideas. The second section is given over to the soloists, and is lyrical. The third section begins with an alternation between strict rhythmic pulsation and free-sounding timbres, as if reluctant to leave the second section behind. The rhythmic aspect takes over more and more as the piece progresses toward its conclusion. Double Play was commissioned by the Saint Paul Chamber Orchestra with financial assistance from the Northwest Area Foundation. It received its premiere on January 7, 1983, in St. Paul, with the St. Paul Chamber Orchestra; Pinchas Zukerman, violinist; Marc Neikrug, piano; and the composer conducting.

Oboe d'amore

SKU: HL.50564517

Oboe d'amore Part. Composed by Charles Koechlin. Editions Durand. Part. Composed 2001. Hal Leonard #ME8791. Published by Hal Leonard (HL.50564517).

8.25x11.75x0.071 inches.

Scored for oboe d'amore or soprano saxophone, flute, clarinet, 2 violins, 2 violas, 2 violoncellos, and piano.