| Classic String Quartets for Festivals, Weddings, and All Occasions String Quartet: 2 violins, viola, cello [Score] Alfred Publishing
(Conductor Score). Arranged by Andrew H. Dabczynski. Orchestra. For Conductor Sc...(+)
(Conductor Score). Arranged by Andrew H. Dabczynski. Orchestra. For Conductor Score. Score; String Quartet. Alfred's Ovation String Quartet Series. Wedding. 104 pages. Published by Alfred Music Publishing
$27.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| String Trio Op. 57 Violin Schott
String Trio (Study Score) SKU: HL.49014311 For violin, viola and cello...(+)
String Trio (Study Score) SKU: HL.49014311 For violin, viola and cello. Composed by Elisabeth Lutyens. This edition: Saddle stitching. Sheet music. Edition Schott. Classical. Study Score. Composed 1964. Op. 57. 20 pages. Duration 10'. Schott Music #ED10945. Published by Schott Music (HL.49014311). ISBN 9790220106453. UPC: 841886028869. 6.0x9.0x0.08 inches. $18.99 - See more - Buy online | | |
| String Quartet in C Major Op.54/2 Hob.III:58 String Quartet: 2 violins, viola, cello Eulenburg
String Quartet (Study Score) SKU: HL.49015925 Tost-Quartets I No. 1(+)
String Quartet (Study Score) SKU: HL.49015925 Tost-Quartets I No. 1. Composed by Franz Joseph Haydn. Edited by Wilhelm Altmann. This edition: Saddle stitching. Sheet music. Edition Schott. Classical. Study Score. Op. 54/2. 20 pages. Eulenburg Edition #ETP66. Published by Eulenburg Edition (HL.49015925). ISBN 9783795769697. UPC: 841886005181. 5.25x7.5x0.083 inches. With more than 1,200 titles from the orchestral and choral repertoire, from chamber music and musical theatre, Edition Eulenburg is the world's largest series of scores, covering large part of music history from the Baroque to the Classical era and looking back on a long tradition. $12.99 - See more - Buy online | | |
| Evolution - Advanced Music Distribution Services
String quintet (2 violins, viola, cello and double bass) - advanced SKU: M7.A...(+)
String quintet (2 violins, viola, cello and double bass) - advanced SKU: M7.AST-7419 Orto sinfonico per archi. Composed by Peter Michael Braun. This edition: Saddle-wire stitching. Sheet music. Score and parts. Composed 2006 - 2008. 220 pages. Duration 50'. MDS (Music Distribution Services) #AST 7419. Published by MDS (Music Distribution Services) (M7.AST-7419). ISBN 9790203892908. $79.95 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| String Quartet No. 2 String Quartet: 2 violins, viola, cello Seesaw Music Corp | | |
| Trioline 7 Miniatures 3 Violins - Easy Schott
3 violins or 2 violins and viola (soloistsstisch or choirisch) (3VN) - easy S...(+)
3 violins or 2 violins and viola (soloistsstisch or choirisch) (3VN) - easy SKU: HL.49008169 7 Miniatures. Composed by Hermann Regner. This edition: Saddle stitching. Sheet music. Edition Schott. Classical. Playing score. 16 pages. Schott Music #ED 8810. Published by Schott Music (HL.49008169). ISBN 9790001123082. 9.0x12.0x0.079 inches. 'Trioline' is a collection of seven short, very easy pieces, intended for one or several players to a part. A much needed and enjoyable addition to the contemporary violin repertoire for teaching ensemble playing to beginners. $16.99 - See more - Buy online | | |
| Classic String Quartets for Festivals, Weddings, and All Occasions (1st Violin). String Quartet: 2 violins, viola, cello Alfred Publishing
(1st Violin). Arranged by Andrew H. Dabczynski. Orchestra. For Violin 1. Part(s)...(+)
(1st Violin). Arranged by Andrew H. Dabczynski. Orchestra. For Violin 1. Part(s); String Quartet. Alfred's Ovation String Quartet Series. Wedding. 32 pages. Published by Alfred Music Publishing
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| String Quartet Op. 20, No. 4 in D Major String Quartet: 2 violins, viola, cello [Study Score / Miniature] Hal Leonard
By Franz Joseph Haydn (1732-1809). Study Score. Eulenburg Taschenpartituren (Poc...(+)
By Franz Joseph Haydn (1732-1809). Study Score. Eulenburg Taschenpartituren (Pocket Scores). Study Score. 28 pages. Hal Leonard #ETP93. Published by Hal Leonard
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| String Quartet S.s. (1934) String Quartet: 2 violins, viola, cello Schott
String quartet SKU: HL.49004152 For two violins, violo and violoncello...(+)
String quartet SKU: HL.49004152 For two violins, violo and violoncello. Composed by Jean Francaix. This edition: Saddle stitching. Sheet music. Edition Schott. Classical. Study Score. Composed 1938. 24 pages. Duration 16'. Schott Music #ED 3523. Published by Schott Music (HL.49004152). ISBN 9790001043151. 7.5x10.75x0.1 inches. $24.99 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| String Quartet No. 3 in D Major, Op. 44/1 String Quartet: 2 violins, viola, cello [Study Score / Miniature] Eulenburg | | |
| Presto (from Symphony No. 1) (Full Score) - Intermediate Kendor Music Inc.
String Orchestra string orchestra with opt. 3rd Violin/Viola TC 3 - Grade 3 S...(+)
String Orchestra string orchestra with opt. 3rd Violin/Viola TC 3 - Grade 3 SKU: KN.10123S (from Symphony No. 1). Composed by Wolfgang Amadeus Mozart. Arranged by Deborah Baker Monday. Solo or Ensemble. Apex String Orchestra. Kendor Music Inc #10123S. Published by Kendor Music Inc (KN.10123S). UPC: 822795101232. What better way to introduce Mozart to students than with the finale of his first symphony, written when he was just 8 years old? Transposed to D major, this arrangement provides many opportunities for teaching classical form and style. Clean harmonies with exhilarating dissonances and huge dynamic contrasts will propel your students towards a great concert or festival performance. Duration 2:35. $7.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| String Quartet 1 Parts (1947) String Quartet: 2 violins, viola, cello Schott
String quartet SKU: HL.49005729 Composed by Hans Werner Henze. This editi...(+)
String quartet SKU: HL.49005729 Composed by Hans Werner Henze. This edition: Saddle stitching. Sheet music. Edition Schott. Classical. Set of Parts. Composed 1947. Duration 20'. Schott Music #ED 5497. Published by Schott Music (HL.49005729). ISBN 9790001061988. UPC: 884088097080. 9x12 inches. $44.00 - See more - Buy online | | |
| String Quartet in E-flat Major, Op. 76/6, Hob.III:80 String Quartet: 2 violins, viola, cello [Study Score / Miniature] Eulenburg
By Franz Joseph Haydn. (Study Score). Schott. Size 5.25x7.5 inches. 28 pages. P...(+)
By Franz Joseph Haydn. (Study Score). Schott. Size 5.25x7.5 inches. 28 pages. Published by Eulenburg London (Schott).
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| Classic String Quartets for Festivals, Weddings, and All Occasions (Cello) String Quartet: 2 violins, viola, cello Alfred Publishing
(Cello). Arranged by Andrew H. Dabczynski. Orchestra. For Cello. Part(s); String...(+)
(Cello). Arranged by Andrew H. Dabczynski. Orchestra. For Cello. Part(s); String Quartet. Alfred's Ovation String Quartet Series. Wedding. 32 pages. Published by Alfred Music Publishing
$7.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Presto for String Quartet String Quartet: 2 violins, viola, cello [Score and Parts] Belmont-Universal Edition
By Arnold Schoenberg (1874-1951). For string quartet. 20th Century. Score and pa...(+)
By Arnold Schoenberg (1874-1951). For string quartet. 20th Century. Score and parts. Published by Belmont Music Publishers
$60.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| String Quartet in C Major, Op. 74/1, Hob.III:72 String Quartet: 2 violins, viola, cello [Study Score / Miniature] Eulenburg
Appony Quartet No. 4. By Franz Joseph Haydn. (Study Score). Schott. Size 5.25x7...(+)
Appony Quartet No. 4. By Franz Joseph Haydn. (Study Score). Schott. Size 5.25x7.5 inches. 28 pages. Published by Eulenburg London (Schott).
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| Cosmosis Maximus DVD GIA Publications
SKU: GI.G-DVD-795 Composed by Eugene M. Corporon. GIA WindWorks. Music Ed...(+)
SKU: GI.G-DVD-795 Composed by Eugene M. Corporon. GIA WindWorks. Music Education. DVD. GIA Publications #795. Published by GIA Publications (GI.G-DVD-795). UPC: 785147079552. Three major works are captured on this audiophile DVD: Cosmosis by Susan Botti, Concerto for String Quartet by ErvÃn Schulhoff, and Symphony No. 3 “Circus Maximus†by John Corgliano. Eugene Corporon and the North Texas Wind Symphony, with the help Women of the A Cappella Choir, Jerry McCoy, Conductor, and the DaPonte String Quartet, and other guest musicians capture virtuoso musicians at the height of their powers. A remarkable achievement. 90 minutes, available only on DVD. CONTENTS: Cosmosis (2004), Susan Botti (b. 1962) (SUBO Music) (Poetry of May Swenson) Overboard (Prologue) The 1st Night Interlude The 2nd Night Julie Whittington McCoy, soprano Women of the A Cappella Choir Jerry McCoy, conductor Concerto for String Quartet (1930), ErvÃn Schulhoff (1894-1942) (Panton International) Allegro moderato Largo Finale (Allegro con brio) Ferdinand Liva, violin, DaPonte String Quartet Susan Demetris, violin, concertmaster, The Dallas Opera Mark Preston, viola, DaPonte String Quartet Myles Jordan, DaPonte String Quartet Symphony No. 3 “Circus Maximus†(2005), John Corigliano (b. 1938) (G, Schirmer, Inc.) Introitus Screen/Siren Channel Surfing Night Music I Night Music II Circus Maximus Prayer Coda: Veritas. $24.95 - 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 | | |
| Chamber Music Volume 1 Full Score Hal Leonard
(Score) SKU: HL.14037523 Carl Nielsen Collected Works Section II: Vol....(+)
(Score) SKU: HL.14037523 Carl Nielsen Collected Works Section II: Vol. 10. Composed by Carl August Nielsen. Music Sales America. Classical. Hardcover. Hal Leonard #CN00025. Published by Hal Leonard (HL.14037523). UPC: 888680073206. 10.25x13.25 inches. Contents: Prelude, Theme and Variations for Solo Violin, op.48; Preludio E Presto for Solo Violin, op. 52; Quartet for Two Violins, Viola and Cello in G Minor, op.13; Quartet for Two Violins, Viola and Cello in F Minor, op.5; Quartet for Two Violins, Viola and Cello in E Flat Major, op.14; Quartet for Two Violins, Viola and Cello in F Major, op. 44; Quintet for Two Violins, Two Violas and Cello. $227.95 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Major Works For Orchestra Orchestra [CD Sheet Music] Theodore Presser Co.
Orchestra - all SKU: PR.816600040 Composed by Wolfgang Amadeus Mozart. CD...(+)
Orchestra - all SKU: PR.816600040 Composed by Wolfgang Amadeus Mozart. CD Sheet Music (Version 1). Full Scores to all of the major works for orchestra by Mozart - parts not included. Classical Period. CD Sheet Music. 2000 printable pages. Published by Theodore Presser Company (PR.816600040). UPC: 680160600045. 5.5x5 inches. This disk contains study scores of all 41 of Mozart's Symphonies, as well as Concertos for Winds and Strings (Piano Concertos are on a companion CD-ROM), Serenades, Opera Overtures, Divertimentos, and other works. About CD Sheet Music (Version 1) CD Sheet Music (Version 1) was the initial CD Sheet Music series distributed by Theodore Presser. The CDs include thousands of pages of music that are viewable and printable on Mac or PC. Version 1 titles are a great value at 40% off, as we make room in our warehouse for the newly enhanced CD Sheet Music (Version 2.0) series. $18.95 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Fidelio Overture - Intermediate/advanced Carl Fischer
Orchestra Cello, Contrabass, Timpani, Viola, Violin 1, Violin 2 - Grade 4 SKU...(+)
Orchestra Cello, Contrabass, Timpani, Viola, Violin 1, Violin 2 - Grade 4 SKU: CF.SAS1F Composed by Ludwig van Beethoven. Arranged by Todd Parrish. Sws. Cas. Full score. 20 pages. Carl Fischer Music #SAS1F. Published by Carl Fischer Music (CF.SAS1F). ISBN 9781491157510. UPC: 680160916092. 9 x 12 inches. Written in 1814, the Fidelio Overture was the fourth and final version chosen to open Beethoven's only opera by the same name. Though not as lengthy or grand as its three predecessors (the Leonore Overtures 1 - 3), it served its purpose as an opening statement without overshadowing the music to come. This string arrangement transposes the original key of E Major into the much more playable key of D Major. It retains the original opening which alternates between powerful majestic bursts and lyrical harmonic progressions while finishing with the energetic presto to the end. Rhythms have been simplified but are very much in the spirit of Beethoven's writing. The optional timpani gives this arrangement a symphonic quality that closely resembles the original. Written in 1814, the Fidelio Overture was the fourth and final version chosen to open Beethoven's only opera by the same name. Though not as lengthy or grand as its three predecessors (the Leonore Overtures 1 – 3), it served its purpose as an opening statement without overshadowing the music to come. This string arrangement transposes the original key of E Major into the much more playable key of D Major. It retains the original opening which alternates between powerful majestic bursts and lyrical harmonic progressions while finishing with the energetic presto to the end. Rhythms have been simplified but are very much in the spirit of Beethoven’s writing. The optional timpani gives this arrangement a symphonic quality that closely resembles the original. $10.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Fidelio Overture - Intermediate/advanced Carl Fischer
Orchestra Cello, Contrabass, Timpani, Viola, Violin 1, Violin 2 - Grade 4 SKU...(+)
Orchestra Cello, Contrabass, Timpani, Viola, Violin 1, Violin 2 - Grade 4 SKU: CF.SAS1 Composed by Ludwig van Beethoven. Arranged by Todd Parrish. Folio. Cas. Set of Score and Parts. 15+32+24+15+15+2+20 pages. Duration 4 minutes, 35 seconds. Carl Fischer Music #SAS1. Published by Carl Fischer Music (CF.SAS1). ISBN 9781491157718. UPC: 680160916290. 9 x 12 inches. Written in 1814, the Fidelio Overture was the fourth and final version chosen to open Beethoven's only opera by the same name. Though not as lengthy or grand as its three predecessors (the Leonore Overtures 1 - 3), it served its purpose as an opening statement without overshadowing the music to come. This string arrangement transposes the original key of E Major into the much more playable key of D Major. It retains the original opening which alternates between powerful majestic bursts and lyrical harmonic progressions while finishing with the energetic presto to the end. Rhythms have been simplified but are very much in the spirit of Beethoven's writing. The optional timpani gives this arrangement a symphonic quality that closely resembles the original. Written in 1814, the Fidelio Overture was the fourth and final version chosen to open Beethoven's only opera by the same name. Though not as lengthy or grand as its three predecessors (the Leonore Overtures 1 – 3), it served its purpose as an opening statement without overshadowing the music to come. This string arrangement transposes the original key of E Major into the much more playable key of D Major. It retains the original opening which alternates between powerful majestic bursts and lyrical harmonic progressions while finishing with the energetic presto to the end. Rhythms have been simplified but are very much in the spirit of Beethoven’s writing. The optional timpani gives this arrangement a symphonic quality that closely resembles the original. $70.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Concerto Theodore Presser Co.
Orchestra Bassoon 1, Bassoon 2, Clarinet 1, Clarinet 2, Contrabass, Flute, Flute...(+)
Orchestra Bassoon 1, Bassoon 2, Clarinet 1, Clarinet 2, Contrabass, Flute, Flute 1, Flute 2, Harp, Horn 1, Horn 2, Oboe 1, Oboe 2, Percussion, Piano, Timpani, Trumpet 1, Trumpet 2, Viola, Violin 1, Violin 2, Violoncello SKU: PR.11641142S Op. 39. Composed by Lowell Liebermann. Study Score. 84 pages. Duration 25 minutes. Theodore Presser Company #116-41142S. Published by Theodore Presser Company (PR.11641142S). ISBN 9781491134030. UPC: 680160683772. The Concerto for Flute and Orchestra, Op. 39 was completed in September of 1992. It was commissioned by James Galway, and is dedicated to him. The work is scored for an orchestra comprised of piccolo, flute, oboe, english horn, clarinet, bass clarinet, bassoon, contrabassoon, two horns, two trumpets, timpani, percussion, harp, piano and strings. The Concerto is in three movements. The first movement, Moderato, is an arc-like form, all of whose components are in fact variations on the harmonic progression of its principal theme. The central section of this movement is a set of explicit chaconne variations on a chorale-version of this progression. The second movement, Adagio molto, presents a lyrical melody which is spun out over a pulsating syncopated ostinato which persists through the entire length of the movement. The final movement, Presto, is a virtuoso work-out for the flutist in a rondo-like form which closes with a Prestissimo coda. The Concerto for Flute and Orchestra has been recorded for release on the BMG label by James Galway with the London Mozart Players conducted by the composer. The Concerto for Flute and Orchestra, Op. 39 was completed in September of 1992. It was commissioned by James Galway, and is dedicated to him.The work is scored for an orchestra comprised of piccolo, flute, oboe, english horn, clarinet, bass clarinet, bassoon, contrabassoon, two horns, two trumpets, timpani, percussion, harp, piano and strings.The Concerto is in three movements. The first movement, Moderato, is an arc-like form, all of whose components are in fact variations on the harmonic progression of its principal theme. The central section of this movement is a set of explicit chaconne variations on a chorale-version of this progression.The second movement, Adagio molto, presents a lyrical melody which is spun out over a pulsating syncopated ostinato which persists through the entire length of the movement.The final movement, Presto, is a virtuoso work-out for the flutist in a rondo-like form which closes with a Prestissimo coda.The Concerto for Flute and Orchestra has been recorded for release on the BMG label by James Galway with the London Mozart Players conducted by the composer. $50.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| The Island of Saints and Scholars - Intermediate/advanced Carl Fischer
Orchestra Cello, Contrabass, Viola, Violin 1, Violin 2 - Grade 4 SKU: CF.SAS7...(+)
Orchestra Cello, Contrabass, Viola, Violin 1, Violin 2 - Grade 4 SKU: CF.SAS7F Composed by David O'Fallon. Full score. 16 pages. Carl Fischer Music #SAS7F. Published by Carl Fischer Music (CF.SAS7F). ISBN 9781491160879. UPC: 680160919475. The Island of Saints and Scholars is an old nickname for Ireland dating back to the early Middle Ages. This original work is a reflection upon Ireland's rich and turbulent history, which can be heard in the lyrical melodic phrases, ever-changing meter, and moments of dissonance. The rhythmic profile of the piece was suggested by a type of Old Irish verse that, among other features, carries seven syllables per line. The quiet opening gains in intensity during an extended stringendo into the fast-paced middle section (Vigorously), where watching and listening carefully are imperative. Later, a second extended stringendo guides the ensemble into the spirited finale (Presto). The Island of Saints and Scholars is an old nickname for Ireland dating back to the early Middle Ages. This original work is a reflection upon Ireland’s rich and turbulent history, which can be heard in the lyrical melodic phrases, ever-changing meter, and moments of dissonance. The rhythmic profile of the piece was suggested by a type of Old Irish verse that, among other features, carries seven syllables per line. The quiet opening gains in intensity during an extended stringendo into the fast-paced middle section (Vigorously), where watching and listening carefully are imperative. Later, a second extended stringendo guides the ensemble into the spirited finale (Presto). $9.50 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Examine me, God, and inquire of my heart (Erforsche mich, Gott, und erfahre mein Herz) Choral SATB Carus Verlag
ATB vocal soli, SATB choir, horn, oboe, oboe d'amore, 2 violins, viola, basso co...(+)
ATB vocal soli, SATB choir, horn, oboe, oboe d'amore, 2 violins, viola, basso continuo SKU: CA.3113613 Cantata for the 8th Sunday after Trinity. Composed by Johann Sebastian Bach. Edited by Christiane Hausmann. This edition: urtext. Stuttgart Urtext Edition: Bach vocal. Viola. Sacred vocal music, Cantatas, Trinity. Single Part, Viola. Composed 1723. BWV 136. 4 pages. Duration 22 minutes. Carus Verlag #CV 31.136/13. Published by Carus Verlag (CA.3113613). ISBN 9790007208134. Text language: German/English. The cantata Erforsche mich Gott und erfahre mein Herz BWV 136 was composed in Bach's first year as Kantor of St. Thomas's in Leipzig and was first performed on the 8th Sunday after Trinity, the 18th July 1723. The librettist is unknown. The title of the cantata is taken from verse 23 of Psalm 139: Erforsche mich Gott und erfahre mein Herz; prufe mich und erfahre, wie ich's meine. (Search me, O God, and know my heart: try me, and know my thoughts) The opening chorus forms an extended fugue, framed by string writing bursting with energy. The obbligato horn accentuates and enriches the movement with a special tonal color. The alto aria in F sharp minor (movement 3) comprises a trio movement with an oboe d'amore as solo instrument in a contrasting range - a presto middle section which dramatically charges the words Denn seines Eifers Grimm vernichtet (For the fury of its zeal will destroy). In the duet (movement 5) the text is sung by tenor and bass line by line, sometimes imitating contrapuntally, and sometimes both singing together dramatically in homophonic writing. A simple chorale setting to the melody Auf meinen lieben Gott concludes the cantata. Particularly charming here is the violin which joins the four vocal parts as an independent part. Score and part available separately - see item CA.3113600. $8.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| The Music of Leroy Osmon Volume IV Zeraim Seeds Mark Custom Music
By Tennessee Technological University Department of Music and Art Faculty. By Le...(+)
By Tennessee Technological University Department of Music and Art Faculty. By Leroy Osmon. Classical. Performance CD
$14.99 - See more - Buy onlinePre-shipment lead time: 4 to 6 weeks | | |
| Septet Op.20 In E Flat (score) Heugel
Clarinet, Bassoon, French Horn, Violin, Viola, Cello, Double Bass (Chamber Ensem...(+)
Clarinet, Bassoon, French Horn, Violin, Viola, Cello, Double Bass (Chamber Ensemble) SKU: HL.48187693 Composed by Ludwig van Beethoven. Leduc. Classical. Softcover. Heugel & Cie #HE31489. Published by Heugel & Cie (HL.48187693). UPC: 888680849191. 5.5x7.5x0.284 inches. Adagio - Allegro con Brio; Adagio cantabile; Tempo di Menuetto; Tema con Variazioni; Scherzo; Andante con Moto alla Marcia - Presto (for clarinet, bassoon, horn, violin, viola, cello and double bass). $13.50 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| Capriol Dances - Intermediate Carl Fischer
Orchestra Cello, Contrabass, Viola, Violin 1, Violin 2 - Grade 3 SKU: CF.CAS1...(+)
Orchestra Cello, Contrabass, Viola, Violin 1, Violin 2 - Grade 3 SKU: CF.CAS148 Composed by Peter Warlock. Arranged by Caryn Wiegand Neidhold. Set of Score and Parts. Duration 3 minutes. Carl Fischer Music #CAS148. Published by Carl Fischer Music (CF.CAS148). ISBN 9781491162804. UPC: 680160921553. Key: D minor. The enigmatic composer Peter Warlock is best known for his exciting Capriol Suite, which has become a favorite for adjudicated orchestra events. Two of the most famous movements, Basse-Danse and Mattachins (Sword Dance), are presented here in a set adapted for intermediate orchestra, allowing younger students to experience the high-energy melodies and unique harmonies of these popular dances. These thoughtfully-arranged pieces work well at a variety of tempi, from moderate to presto, according to the ensemble’s ability. An exciting concert opener or closer! About Carl Fischer Concert String Orchestra Series This series of pieces (Grade 3 and higher) is designed for advancing ensembles. The pieces in this series are characterized by: - Expanded use of rhythms, ranges and keys but technical demands are still carefully considered
- More comprehensive bowing techniques
- Viola T.C. included
- Careful selection of keys and degree of difficulty for advancing musicians
$60.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Leonore Op. 72 Breitkopf & Härtel
Viola (2.2.2.2. - 4.2.3.0. - timp - str) SKU: BR.OB-5512-19 Overture N...(+)
Viola (2.2.2.2. - 4.2.3.0. - timp - str) SKU: BR.OB-5512-19 Overture No. 3 to the Opera - Urtext. Composed by Ludwig van Beethoven. Edited by Christian Rudolf Riedel. This edition: viola. Stapled. Orchester-Bibliothek (Orchestral Library). For his new edition of the Leonore Overture, which is still wrongly labeled as No. 3 to this day, Christian Rudolf Riedel based himself for the first time on the Prague copy of the score that was rediscovered in 1977. Overture; Classical. Part. 12 pages. Duration 12'. Breitkopf and Haertel #OB 5512-19. Published by Breitkopf and Haertel (BR.OB-5512-19). ISBN 9790004339022. 10 x 12.5 inches. Urtext virgin territory: the overture Leonore No. 3 To this day, the two major Fidelio overtures are still performed from music texts that go back to the imprecise and corrupted first editions of the parts. In the meantime, however, the state of the sources for both works has significantly improved through many new findings. For his new edition of the Leonore Overture, which is still wrongly labeled as No. 3 to this day, Christian Rudolf Riedel based himself for the first time on the Prague copy of the score that was rediscovered in 1977. This score was most likely used by the conductor in 1806, and it helps clear up the previously unresolved textual problems of the work, such as, for example, the famous Presto passage in m. 514.
For his new edition of the Leonore Overture, which is still wrongly labeled as No. 3 to this day, Christian Rudolf Riedel based himself for the first time on the Prague copy of the score that was rediscovered in 1977. $8.95 - See more - Buy onlinePre-shipment lead time: 3 to 4 weeks | | |
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