Composed by Lieberman. For string orchestra (88555) with optional 3rd violin/viola TC (3 copies). Cadet String Orchestra Series. Grade 2.5. Score and set of parts. Duration 5 minutes, 10 seconds. Published by Kendor Music Inc

String orchestra

SKU: M2.MOS-10014-70

Orgelstuck fur eine Uhr. Composed by Wolfgang Amadeus Mozart. Set of string parts. Möseler Verlag #MOS 10014-70. Published by Möseler Verlag (M2.MOS-10014-70).

ISBN 9790203735670.

Ein Stuck fur ein Orgelwerk in einer Uhr lautet eine undatierte handschriftliche Eintragung Mozarts (zwischen Dezember 1790 und 5. Januar 1791) in sein Verzeichnuss aller meiner Werke, etwas spater finden wir unter dem 3. Marz 1791 Ein OrgelStucke fur eine Uhr. Gemeint sind die beiden ublicherweise als Fantasie bezeichneten Werke in f-Moll, KV 594 und KV 608, die Mozart mit grosser Wahrscheinlichkeit fur eine mit einem Uhrwerk verbundene mechanische Orgel - also einen Orgel-Automaten - im Mausoleum Laudons der Mullerschen Kunstgalerie geschrieben hat. Wer unter diesen so harmlos wirkenden Titeln eine ebenso harmlose, hubsche und unterhaltende Musik erwartet, wird schon durch die Tonart der beiden in Mozarts letztem Lebensjahr entstandenen Musiken uberrascht sein - vielmehr noch durch ihre konzentrierte Form und Ausdruckstiefe. Stucke fur ein mechanisches Orgelwerk zu schreiben war durchaus eine Aufgabe, der sich viele der grossen Meister des 18. Jahrhunderts unterzogen. Wir haben kostliche Miniaturen fur eine Flotenuhr von Handel, Haydn, Beethoven u.a., die heute in der Regel auf einer Orgel wiedergegeben werden. Umso verwunderlicher ist es, dass Mozart mit diesen beiden Kompositionen eine ganz andere Musik geschaffen hat: gross dimensioniert schon in der Ausdehnung, die der Lange eines Sinfoniesatzes entspricht, erst recht aber in ihrer inhaltlichen Ausarbeitung! Vom dusteren Adagio am Beginn der Fantasie KV 594 uber das triumphierend auffahrende Allegro bis zum ersterbenden Ende wird der Horer gleichermassen wie in der entgegengesetzt aufgebauten Fantasie KV 608 von dem mit dramatisch-heroischem Impetus anpackenden Themenkopf uber das durch 2 Fugen von allerhochster Meisterschaft umrahmten innig beruhrenden Andante bis zum letzten Ton in Atem gehalten. War es die vermutete Bestimmung der Kompositionen als Trauermusik oder Mozarts Beschaftigung mit Handel und Bach, die so ungewohnlich ergreifende Musik entstehen liess? Unuberhorbar ist jedenfalls ihre Nahe zu seinen letzten grossen Kirchenmusiken, der Messe c-Moll und dem Requiem! Wolfgang Helbich in seinem Vorwort zu den beiden Fantasien fur eine Uhr.

Composed by Julie Lyonn Lieberman. Orchestra. For string w/ drumset. Part(s); Score; String Orchestra. Highland String Alternatives. Blues; Jazz; Light Concert. Grade 3. 128 pages. Published by Highland/Etling

By Doris Gazda. For Full Score, Violin I, Violin II, Violin III (Viola Tc), Viola, Cello, Bass, Piano. Carl Fischer Concert String Orchestra Series. Grade 3 and up. Score and part(s). Published by Carl Fischer

Orchestra String Orchestra - Grade 3

SKU: CF.CAS7

Composed by Doris Gazda. Edited by Amy Rosen. FS-SWs. Carl Fischer Concert String Orchestra Series. Score and Parts. With Standard notation. 20+24+24+6+15+15+15 pages. Carl Fischer Music #CAS7. Published by Carl Fischer Music (CF.CAS7).

ISBN 9780825847578. UPC: 798408047573. 8.5 X 11 inches. Key: D major.

When you have the good fortune to visit Red Rock country in the southwestern United States, you will all at once feel that majesty and beauty in the towering red landscape. You can trek, bike, paddle, ride horseback or drive through the canyons, past the strangely shaped rocks and over the enormous boulders. Each time you turn a corner you will be dazzled by yet another magnificent vista. The Red Rock areas in Utah, Nevada, Arizona and New Mexico formed millions of years ago when that part of North America was primarily under water. The water left behind the shells and skeletons of sea creatures that gradually turned into limestone and similar rocks. Beginning 225 million years ago, the earth's crust began to move and the seabed slowly rose. Streams entering the shallow water deposited mud and sand that turned into shale and marine sandstone. As the land continued to rise and dry out, some of the rocks oxidized (combined with oxygen) and turned red in color. Subsequently the area was covered with sands that eventually compressed into what is called Aztec sandstone. Sometimes, when iron was concentrated in the rock, the sandstone turned a bright red color. Following the introduction, the music in Red Rock Rag takes on a typical ragtime melody and rhythm. It then transitions by changing key, time signature and the structure into a swing waltz. At m. 60, it moves into a combined time signature of one measure of 3/4 time and two measures of 2/4 time with an occasional lick in the bass line. Finally, it moves back into the swing-waltz style and finishes with the original ragtime melody. Red Rock Rag is challenging stylistically and rhythmically. It would be appropriate to study both the ragtime and swing styles while working on it.
When you have the good fortune to visit Red Rock country in the southwestern United States, you will all at once feel that majesty and beauty in the towering red landscape. You can trek, bike, paddle, ride horseback or drive through the canyons, past the strangely shaped rocks and over the enormous boulders. Each time you turn a corner you will be dazzled by yet another magnificent vista. The Red Rock areas in Utah, Nevada, Arizona and New Mexico formed millions of years ago when that part of North America was primarily under water. The water left behind the shells and skeletons of sea creatures that gradually turned into limestone and similar rocks. Beginning 225 million years ago, the earth's crust began to move and the seabed slowly rose. Streams entering the shallow water deposited mud and sand that turned into shale and marine sandstone. As the land continued to rise and dry out, some of the rocks oxidized (combined with oxygen) and turned red in color. Subsequently the area was covered with sands that eventually compressed into what is called Aztec sandstone. Sometimes, when iron was concentrated in the rock, the sandstone turned a bright red color. Following the introduction, the music in Red Rock Rag takes on a typical ragtime melody and rhythm. It then transitions by changing key, time signature and the structure into a swing waltz. At m. 60, it moves into a combined time signature of one measure of 3/4 time and two measures of 2/4 time with an occasional lick in the bass line. Finally, it moves back into the swing-waltz style and finishes with the original ragtime melody.A Red Rock RagA is challenging stylistically and rhythmically. It would be appropriate to study both the ragtime and swing styles while working on it.
When you have the good fortune to visit Red Rock country in the southwestern United States, you will all at once feel that majesty and beauty in the towering red landscape. You can trek, bike, paddle, ride horseback or drive through the canyons, past the strangely shaped rocks and over the enormous boulders. Each time you turn a corner you will be dazzled by yet another magnificent vista. The Red Rock areas in Utah, Nevada, Arizona and New Mexico formed millions of years ago when that part of North America was primarily under water. The water left behind the shells and skeletons of sea creatures that gradually turned into limestone and similar rocks. Beginning 225 million years ago, the earth's crust began to move and the seabed slowly rose. Streams entering the shallow water deposited mud and sand that turned into shale and marine sandstone. As the land continued to rise and dry out, some of the rocks oxidized (combined with oxygen) and turned red in color. Subsequently the area was covered with sands that eventually compressed into what is called Aztec sandstone. Sometimes, when iron was concentrated in the rock, the sandstone turned a bright red color. Following the introduction, the music in Red Rock Rag takes on a typical ragtime melody and rhythm. It then transitions by changing key, time signature and the structure into a swing waltz. At m. 60, it moves into a combined time signature of one measure of 3/4 time and two measures of 2/4 time with an occasional lick in the bass line. Finally, it moves back into the swing-waltz style and finishes with the original ragtime melody.A Red Rock RagA is challenging stylistically and rhythmically. It would be appropriate to study both the ragtime and swing styles while working on it.
When you have the good fortune to visit Red Rock country in the southwestern United States, you will all at once feel that majesty and beauty in the towering red landscape. You can trek, bike, paddle, ride horseback or drive through the canyons, past the strangely shaped rocks and over the enormous boulders. Each time you turn a corner you will be dazzled by yet another magnificent vista. The Red Rock areas in Utah, Nevada, Arizona and New Mexico formed millions of years ago when that part of North America was primarily under water. The water left behind the shells and skeletons of sea creatures that gradually turned into limestone and similar rocks. Beginning 225 million years ago, the earth's crust began to move and the seabed slowly rose. Streams entering the shallow water deposited mud and sand that turned into shale and marine sandstone. As the land continued to rise and dry out, some of the rocks oxidized (combined with oxygen) and turned red in color. Subsequently the area was covered with sands that eventually compressed into what is called Aztec sandstone. Sometimes, when iron was concentrated in the rock, the sandstone turned a bright red color. Following the introduction, the music in Red Rock Rag takes on a typical ragtime melody and rhythm. It then transitions by changing key, time signature and the structure into a swing waltz. At m. 60, it moves into a combined time signature of one measure of 3/4 time and two measures of 2/4 time with an occasional lick in the bass line. Finally, it moves back into the swing-waltz style and finishes with the original ragtime melody. Red Rock Rag is challenging stylistically and rhythmically. It would be appropriate to study both the ragtime and swing styles while working on it.
When you have the good fortune to visit Red Rock country in the southwestern United States, you will all at once feel that majesty and beauty in the towering red landscape. You can trek, bike, paddle, ride horseback or drive through the canyons, past the strangely shaped rocks and over the enormous boulders. Each time you turn a corner you will be dazzled by yet another magnificent vista. The Red Rock areas in Utah, Nevada, Arizona and New Mexico formed millions of years ago when that part of North America was primarily under water. The water left behind the shells and skeletons of sea creatures that gradually turned into limestone and similar rocks. Beginning 225 million years ago, the earth's crust began to move and the seabed slowly rose. Streams entering the shallow water deposited mud and sand that turned into shale and marine sandstone. As the land continued to rise and dry out, some of the rocks oxidized (combined with oxygen) and turned red in color. Subsequently the area was covered with sands that eventually compressed into what is called Aztec sandstone. Sometimes, when iron was concentrated in the rock, the sandstone turned a bright red color. Following the introduction, the music in Red Rock Rag takes on a typical ragtime melody and rhythm. It then transitions by changing key, time signature and the structure into a swing waltz. At m. 60, it moves into a combined time signature of one measure of 3/4 time and two measures of 2/4 time with an occasional lick in the bass line. Finally, it moves back into the swing-waltz style and finishes with the original ragtime melody. Red Rock Rag is challenging stylistically and rhythmically. It would be appropriate to study both the ragtime and swing styles while working on it.
When you have the good fortune to visit Red Rock country in the southwestern United States, you will all at once feel that majesty and beauty in the towering red landscape. You can trek, bike, paddle, ride horseback or drive through the canyons, past the strangely shaped rocks and over the enormous boulders. Each time you turn a corner you will be dazzled by yet another magnificent vista.The Red Rock areas in Utah, Nevada, Arizona and New Mexico formed millions of years ago when that part of North America was primarily under water. The water left behind the shells and skeletons of sea creatures that gradually turned into limestone and similar rocks. Beginning 225 million years ago, the earth's crust began to move and the seabed slowly rose. Streams entering the shallow water deposited mud and sand that turned into shale and marine sandstone. As the land continued to rise and dry out, some of the rocks oxidized (combined with oxygen) and turned red in color. Subsequently the area was covered with sands that eventually compressed into what is called Aztec sandstone. Sometimes, when iron was concentrated in the rock, the sandstone turned a bright red color.Following the introduction, the music in Red Rock Rag takes on a typical ragtime melody and rhythm. It then transitions by changing key, time signature and the structure into a swing waltz. At m. 60, it moves into a combined time signature of one measure of 3/4 time and two measures of 2/4 time with an occasional lick in the bass line. Finally, it moves back into the swing-waltz style and finishes with the original ragtime melody. Red Rock Rag is challenging stylistically and rhythmically. It would be appropriate to study both the ragtime and swing styles while working on it.

Composed by Ludwig van Beethoven (1770-1827). Arranged by Deborah Baker Monday. For string orchestra (88555). Concert String Orchestra Series. Grade 4.5. Score and set of parts. Duration 4 minutes, 50 seconds. Published by Kendor Music Inc

Orchestra String Orchestra - Grade 2-2.5

SKU: CF.YAS13F

Composed by Muzio Clementi. Arranged by Douglas Townsend. Carl Fischer Young String Orchestra Series. Classical. Full score. With Standard notation. 12 pages. Carl Fischer Music #YAS13F. Published by Carl Fischer Music (CF.YAS13F).

ISBN 9780825848339. UPC: 798408048334. 8.5 X 11 inches. Key: G major.

IApart from some of his Sonatinas, Opus 36, Clementi's life and music are hardly known to the piano teachers and students of today. For example, in addition to the above mentioned Sonatinas, Clementi wrote sixty sonatas for the piano, many of them unjustly neglected, although his friend Beethoven regarded some of them very highly. Clementi also wrote symphonies (some of which he arranged as piano sonatas), a substantial number of waltzes and other dances for the piano as well as sonatas and sonatinas for piano four-hands.In addition to composing, Clementi was a much sought after piano teacher, and included among his students John Field (Father of the 'Nocturne'), and Meyerbeer.In his later years, Clementi became a very successful music publisher, publishing among other works the first English edition of Beethoven's Violin Concerto, in the great composer's own arrangement for the piano, as well as some of his string quartets. Clementi was also one of the first English piano manufacturers to make pianos with a metal frame and string them with wire.The Sonatina in C, Opus 36, No. 1 was one of six such works Clementi wrote in 1797. He must have been partial to these little pieces (for which he also provided the fingerings), since they were reissued (without the fingering) by the composer shortly after 1801. About 1820, he issued ''the sixth edition, with considerable improvements by the author;· with fingerings added and several minor changes, among which were that many of them were written an octave higher.IIIt has often been said, generally by those unhampered by the facts, that composers of the past (and, dare we add, the present?), usually handled their financial affairs with their public and publishers with a poor sense of business acumen or common sense. As a result they frequently found themselves in financial straits.Contrary to popular opinion, this was the exception rather than the rule. With the exception of Mozart and perhaps a few other composers, the majority of composers then, as now, were quite successful in their dealings with the public and their publishers, as the following examples will show.It was not unusual for 18th- and 19th-century composers to arrange some of their more popular compositions for different combinations of instruments in order to increase their availability to a larger music-playing public. Telemann, in the introduction to his seventy-two cantatas for solo voice and one melody instrument (flute, oboe or violin, with the usual continua) Der Harmonische Gottesdienst, tor example, suggests that if a singer is not available to perform a cantata the voice part could be played by another instrument. And in the introduction to his Six Concertos and Six Suites for flute, violin and continua, he named four different instrumental combinations that could perform these pieces, and actually wrote out the notes for the different possibilities. Bach arranged his violin concertos for keyboard, and Beethoven not only arranged his Piano Sonata in E Major, Opus 14, No. 1 for string quartet, he also transposed it to the key of F. Brahm's well-known Quintet in F Minor for piano and strings was his own arrangement of his earlier sonata for two pianos, also in F Minor.IIIWe come now to Clementi. It is well known that some of his sixty piano sonatas were his own arrangements of some of his lost symphonies, and that some of his rondos for piano four-hands were originally the last movements of his solo sonatas or piano trios.In order to make the first movement of his delightful Sonatina in C, Opus 36, No. 1 accessible to young string players, I have followed the example established by the composer himself by arranging and transposing one of his piano compositions from one medium (the piano) to another. (string instruments). In order to simplify the work for young string players, in the process of adapting it to the new medium it was necessary to transpose it from the original key of C to G, thereby doing away with some of the difficulties they would have encountered in the original key. The first violin and cello parts are similar to the right- and left-hand parts of the original piano version. The few changes I have made in these parts have been for the convenience of the string players, but in no way do they change the nature of the music.Since the original implied a harmonic framework in many places, I have added a second violin and viola part in such a way that they not only have interesting music to play, but also fill in some of the implied harmony without in any way detracting from the composition's musical value. Occasionally, it has been necessary to raise or lower a few passages an octave or to modify others slightly to make them more accessible for young players.It is hoped that the musical value of the composition has not been too compromised, and that students and teachers will come to enjoy this little piece in its new setting as much as pianists have in the original one. This arrangement may also be performed by a solo string quartet. When performed by a string orchestra, the double bass part may be omitted.- Douglas TownsendString editing by Amy Rosen.

About Carl Fischer Young String Orchestra Series

Thi s series of Grade 2/Grade 2.5 pieces is designed for second and third year ensembles. The pieces in this series are characterized by:
--Occasionally extending to third position
--Keys carefully considered for appropriate difficulty
--Addition of separate 2nd violin and viola parts
--Viola T.C. part included
--Increase in independence of parts over beginning levels

String orchestra

SKU: BR.PB-4879-07

Study score. Composed by Jean Sibelius. Softcover. Partitur-Bibliothek (Score Library).

Sibelius composed this short (only five minutes long) Romance in C Op. 42 in 1903; the work was first performed in Turku in March 1904. The Romance is not a concerto movement in disguise, but features the dark, dense string writing typical of Sibelius. Early modern; Late-romantic. Study Score. 8 pages. Duration 5'. Breitkopf and Haertel #PB 4879-07. Published by Breitkopf and Haertel (BR.PB-4879-07).

ISBN 9790004206768. 5.5 x 7.5 inches.

Sibelius composed this short (only five minutes long) Romance in C Op. 42 in 1903; the work was first performed in Turku in March 1904. The Romance is not a concerto movement in disguise, but features the dark, dense string writing typical of Sibelius. Fast alle Orchesterbearbeitungen sind Jahre nach den Originalkompositionen fur Singstimme und Klavier entstanden.

Trotz der Tatsache dass sie rasch hingeworfen sind zeigt sich in allen Liedern Sibelius' Meisterschaft als Orchesterliederkomponist. Manchmal vermag er eine dustere dramatische Atmosphare (in ,,Pa verandan vid havet) zu erzeugen manchmal gelingen ihm leuchtend farbige Impressionen (in ,,Soluppgang) oder zart transparente Gewebe (in ,,Varen flyktar hastigt) - immer jedoch sind die Lieder ganz aus deren poetischer Idee heraus gestaltet und differenziert nachgezeichnet. In den meisten Fallen beschrankte sich Sibelius auf ein relativ kleines Orchester. In ,,Varen flyktar hastigt sind neben den Streichern nur zwei Floten und vier Horner besetzt. Nearly all of the orchestral arrangements were made years after the original compositions for voice and piano.

Yet even though the arrangements were made in a very short period of time Sibelius handled the combination of solo voice and orchestra in all songs with equal mastery sometimes creating dark and dramatic atmospheres (in Pa verandan vid havet) sometimes radiant colorful impressions (in Soluppgang) or light-colored transparent textures (in Varen flyktar hastigt) and always basing his ideas on the poetic idea of the song while discovering refined ways of supporting it.

Orchestra String Orchestra - Grade 2-2.5

SKU: CF.YAS33

Composed by Sean O'Loughlin. SWS - FS. Carl Fischer Young String Orchestra Series. Classical. Score and Parts. With Standard notation. 8+16+16+4+10+10+10+3 pages. Carl Fischer Music #YAS33. Published by Carl Fischer Music (CF.YAS33).

ISBN 9780825858468. UPC: 798408058463. 8.5 X 11 inches. Key: G major.

A walk through the park or a morning stroll through the forest is what this piece best calls to mind. With its pastoral setting and lush melodies, Velvet Morning will truly showcase your group's mastery of legato playing.
Velvet Morning is a warm and colorful work for string orchestra. Please play con sordino if available. The music is a reflection of my love for the orchestral music of Barber, Ravel, Debussy and Satie. It should have the same sense of passion and intensity that those masters employ in their music.The opening tempo is marked rubato, and should speed up then slow down based on the phrases. The main melody appears at m. 11 in the first violins and should have a flowing quality. The harmony does utilize some slight dissonances from time to time which should be emphasized. The violas and cellos take over the melody at m.19 with a counter line in the violins. The melody returns to the violin at m. 27 with a pianistic cello line punctuated by pizzicato in the bass. Some transitional material follows that builds up to a full presentation at m. 47. Let the ensemble open up here with an intense, full sound. This winds down to a return of the introduction at m. 60. The ending should be tender and deliberate all the way to the last plush chord.

About Carl Fischer Young String Orchestra Series

Thi s series of Grade 2/Grade 2.5 pieces is designed for second and third year ensembles. The pieces in this series are characterized by:
--Occasionally extending to third position
--Keys carefully considered for appropriate difficulty
--Addition of separate 2nd violin and viola parts
--Viola T.C. part included
--Increase in independence of parts over beginning levels

Orchestra String Orchestra - Grade 2-2.5

SKU: CF.YAS33F

Full Score. Composed by Sean O'Loughlin. Carl Fischer Young String Orchestra Series. Full score. With Standard notation. 8 pages. Carl Fischer Music #YAS33F. Published by Carl Fischer Music (CF.YAS33F).

ISBN 9780825858475. UPC: 798408058470. 8.5 X 11 inches. Key: G major.

A walk through the park or a morning stroll through the forest is what this piece best calls to mind. With its pastoral setting and lush melodies, Velvet Morning will truly showcase your group's mastery of legato playing.
Velvet Morning is a warm and colorful work for string orchestra. Please play con sordino if available. The music is a reflection of my love for the orchestral music of Barber, Ravel, Debussy and Satie. It should have the same sense of passion and intensity that those masters employ in their music.The opening tempo is marked rubato, and should speed up then slow down based on the phrases. The main melody appears at m. 11 in the first violins and should have a flowing quality. The harmony does utilize some slight dissonances from time to time which should be emphasized. The violas and cellos take over the melody at m.19 with a counter line in the violins. The melody returns to the violin at m. 27 with a pianistic cello line punctuated by pizzicato in the bass. Some transitional material follows that builds up to a full presentation at m. 47. Let the ensemble open up here with an intense, full sound. This winds down to a return of the introduction at m. 60. The ending should be tender and deliberate all the way to the last plush chord.

About Carl Fischer Young String Orchestra Series

Thi s series of Grade 2/Grade 2.5 pieces is designed for second and third year ensembles. The pieces in this series are characterized by:
--Occasionally extending to third position
--Keys carefully considered for appropriate difficulty
--Addition of separate 2nd violin and viola parts
--Viola T.C. part included
--Increase in independence of parts over beginning levels

(La plus que lente). Composed by Claude Debussy (1862-1918). Arranged by Matthew Moreno. For string orchestra. FJH String Orchestra. Grade 4. Score and parts. Duration 2 minutes, 45 seconds. Published by The FJH Music Company Inc

Composed by Deborah Baker Monday. For string orchestra. Christmas/Holiday. Grade 1. Score and set of parts. Duration 1:54. Published by Wingert-Jones Publications

(based on Moonlight Sonata). Composed by Ludwig van Beethoven (1770-1827). Arranged by Deborah Baker Monday. For standard string orchestra (88555) with opt. 3rd Violin/Viola TC (3) and piano. Cadet String Orchestra Series. Grade 2.5. Score and set of parts. Published by Kendor Music Inc

String orchestra

SKU: M2.MOS-40162-70

Sinfonien 1-3. Composed by Wolfgang Amadeus Mozart. Corona - Werkreihe fur Kammerorchester. Set of string parts. Möseler Verlag #MOS 40162-70. Published by Möseler Verlag (M2.MOS-40162-70).

ISBN 9790203743620.

Die Mailander Sinfonien, KV 155-160 schrieb Mozart wahrend seiner dritten Italien-Reise, Oktober 1772 bis Marz 1773, die er zusammen mit seinem Vater unternahm. Im Mittelpunkt der Reise stand die erste Auffuhrung der Oper Lucio Silla in Mailand. Am 28. Oktober schrieb Leopold Mozart in einem Brief aus Bozen ... Der Wolfg. befindet sich auch wohl; er schreibt eben fur die lange Weile ein Quatro ... und am 6. Februar teilt er aus Mailand mit ... der Wolfgang schreibt ein Quartetto .... Lange Zeit wurden die erwahnten Quatros als Streichquartette angesehen. Erst in der Auflage des Kochel-Verzeichnisses von 1965 wurden drei der sechs Stucke als Divertimenti klassifiziert und zwar aufgrund der von Mozart eigenhandig vermerkten Instrumentenverzeichnung Violini / Viole / Violoncello / Basso bzw. Violini / Viole / Basso. Eine Ausgabe als Orchesterquartette ist von daher, auch wegen der musikalischen Faktur der Stucke, gerechtfertigt. Die Werke stehen in der Tradition Samartinis; sie sind eine Weiterentwicklung der Salzburger Sinfonien, KV 136-138.

String orchestra

SKU: M2.MOS-40163-70

Sinfonien 4-6. Composed by Wolfgang Amadeus Mozart. Corona - Werkreihe fur Kammerorchester. Set of string parts. Möseler Verlag #MOS 40163-70. Published by Möseler Verlag (M2.MOS-40163-70).

ISBN 9790203743637.

Die Mailander Sinfonien, KV 155-160 schrieb Mozart wahrend seiner dritten Italien-Reise, Oktober 1772 bis Marz 1773, die er zusammen mit seinem Vater unternahm. Im Mittelpunkt der Reise stand die erste Auffuhrung der Oper Lucio Silla in Mailand. Am 28. Oktober schrieb Leopold Mozart in einem Brief aus Bozen ... Der Wolfg. befindet sich auch wohl; er schreibt eben fur die lange Weile ein Quatro ... und am 6. Februar teilt er aus Mailand mit ... der Wolfgang schreibt ein Quartetto .... Lange Zeit wurden die erwahnten Quatros als Streichquartette angesehen. Erst in der Auflage des Kochel-Verzeichnisses von 1965 wurden drei der sechs Stucke als Divertimenti klassifiziert und zwar aufgrund der von Mozart eigenhandig vermerkten Instrumentenverzeichnung Violini / Viole / Violoncello / Basso bzw. Violini / Viole / Basso. Eine Ausgabe als Orchesterquartette ist von daher, auch wegen der musikalischen Faktur der Stucke, gerechtfertigt. Die Werke stehen in der Tradition Samartinis; sie sind eine Weiterentwicklung der Salzburger Sinfonien, KV 136-138.

Composed by Greg Bartholomew. For "trumpet, timpani & string orchestra". Pathways Series. Level 4. Score and set of parts. Duration "3 minutes, 40 seconds". Published by Imagine Music

Composed by Greg Bartholomew. For "trumpet, percussion & string orchestra". Pathways Series. Level 4. Score and set of parts. Duration "3 minutes, 40 seconds". Published by Imagine Music

String orchestra

SKU: M2.MOS-40162

Sinfonien 1-3. Composed by Wolfgang Amadeus Mozart. Corona - Werkreihe fur Kammerorchester. Score. Möseler Verlag #MOS 40162. Published by Möseler Verlag (M2.MOS-40162).

ISBN 9790203741626.

Die Mailander Sinfonien, KV 155-160 schrieb Mozart wahrend seiner dritten Italien-Reise, Oktober 1772 bis Marz 1773, die er zusammen mit seinem Vater unternahm. Im Mittelpunkt der Reise stand die erste Auffuhrung der Oper Lucio Silla in Mailand. Am 28. Oktober schrieb Leopold Mozart in einem Brief aus Bozen ... Der Wolfg. befindet sich auch wohl; er schreibt eben fur die lange Weile ein Quatro ... und am 6. Februar teilt er aus Mailand mit ... der Wolfgang schreibt ein Quartetto .... Lange Zeit wurden die erwahnten Quatros als Streichquartette angesehen. Erst in der Auflage des Kochel-Verzeichnisses von 1965 wurden drei der sechs Stucke als Divertimenti klassifiziert und zwar aufgrund der von Mozart eigenhandig vermerkten Instrumentenverzeichnung Violini / Viole / Violoncello / Basso bzw. Violini / Viole / Basso. Eine Ausgabe als Orchesterquartette ist von daher, auch wegen der musikalischen Faktur der Stucke, gerechtfertigt. Die Werke stehen in der Tradition Samartinis; sie sind eine Weiterentwicklung der Salzburger Sinfonien, KV 136-138.

String orchestra

SKU: M2.MOS-40163

Sinfonien 4-6. Composed by Wolfgang Amadeus Mozart. Corona - Werkreihe fur Kammerorchester. Score. Möseler Verlag #MOS 40163. Published by Möseler Verlag (M2.MOS-40163).

ISBN 9790203741633.

Die Mailander Sinfonien, KV 155-160 schrieb Mozart wahrend seiner dritten Italien-Reise, Oktober 1772 bis Marz 1773, die er zusammen mit seinem Vater unternahm. Im Mittelpunkt der Reise stand die erste Auffuhrung der Oper Lucio Silla in Mailand. Am 28. Oktober schrieb Leopold Mozart in einem Brief aus Bozen ... Der Wolfg. befindet sich auch wohl; er schreibt eben fur die lange Weile ein Quatro ... und am 6. Februar teilt er aus Mailand mit ... der Wolfgang schreibt ein Quartetto .... Lange Zeit wurden die erwahnten Quatros als Streichquartette angesehen. Erst in der Auflage des Kochel-Verzeichnisses von 1965 wurden drei der sechs Stucke als Divertimenti klassifiziert und zwar aufgrund der von Mozart eigenhandig vermerkten Instrumentenverzeichnung Violini / Viole / Violoncello / Basso bzw. Violini / Viole / Basso. Eine Ausgabe als Orchesterquartette ist von daher, auch wegen der musikalischen Faktur der Stucke, gerechtfertigt. Die Werke stehen in der Tradition Samartinis; sie sind eine Weiterentwicklung der Salzburger Sinfonien, KV 136-138.

By André Campra. Arranged by Douglas E. Wagner. Orchestra. Part(s); Score; SmartMusic; String Orchestra. Belwin Very Beginning String Orchestra. Baroque; Masterwork Arrangement. Grade 1. 66 pages. Published by Belwin Music