Aus: Symphoniae Sacrae I. By Heinrich Schutz. Edited by Schmalzriedt, Siegfried....(+)
Aus: Symphoniae Sacrae I.
By Heinrich Schutz.
Edited by Schmalzriedt,
Siegfried. For Solo
Tenor, 2 Violins, Basso
continuo. SWV 261 (op. 6
no. 5). Full score
available separately -
see item CA.2026100.
Stuttgart Urtext
editions. Set of parts.
Language: Latin/German.
Composed 1629. 8 pages.
Duration 8 min. Published
by Carus Verlag (German
import).
By Johann Gottlieb Goldberg. For 2 violins, basso continuo. This edition: paperb...(+)
By Johann Gottlieb
Goldberg. For 2 violins,
basso continuo. This
edition: paperback.
Breitkopf
Kammermusik-Bibliothek.
44 pages. Published by
Breitkopf and Haertel
(German import).
Aus: Symphoniae Sacrae I. By Heinrich Schutz. Edited by Schmalzriedt, Siegfried....(+)
Aus: Symphoniae Sacrae I.
By Heinrich Schutz.
Edited by Schmalzriedt,
Siegfried. For Solo
Tenor, 2 Violins, Basso
continuo. SWV 261 (op. 6
no. 5). Stuttgart Urtext
editions. Score (without
envelope). Language:
Latin/German. Composed
1629. 12 pages. Duration
8 min. Published by Carus
Verlag (German import).
By Johann Heinrich Schmelzer. Edited by Ruhland, Konrad. For 2 Violins, Basso co...(+)
By Johann Heinrich
Schmelzer. Edited by
Ruhland, Konrad. For 2
Violins, Basso continuo.
Score. Language: all
languages. 8 pages.
Published by Carus Verlag
(German import).
Violin - intermediate SKU: HL.49003207 Composed by Pietro Antonio Locatel...(+)
Violin - intermediate
SKU: HL.49003207
Composed by Pietro
Antonio Locatelli. Edited
by Piera Federici. This
edition: Saddle
stitching. Sheet music.
Edition Schott.
Classical. Op. 5. 76
pages. Schott Music #ED
12453. Published by
Schott Music
(HL.49003207).
ISBN
9790220119194. UPC:
073999475760.
9.0x12.0x0.264
inches.
The 6 Trio
Sonatas, Op. V, for 2
Violins or Flutes and
Basso continuo were
originally published in
Amsterdam in 1736 under
the supervision of the
composer. The present
edition * edited by Piera
Federici with realization
of the Basso continuo by
Filippo Ravizza * is
based on the text of the
Critical Edition
published in association
with the
Stichting-Fondazione
Pietro Antonio Locatelli,
Amsterdam-Cremona, under
the direction of Albert
Dunning.
String Ensemble (Parts) SKU: HL.50483555 For Violino Concertato, Trump...(+)
String Ensemble (Parts)
SKU: HL.50483555
For Violino
Concertato, Trumpet (in
D), 3 Violins, 2 Violas,
Cell. Composed by
Georg Philipp Telemann.
Special Import. Baroque,
Classical. Softcover.
Sikorski #SIK244.
Published by Sikorski
(HL.50483555).
6.75x10.5
inches.
Concerto
for Violino concertato,
Trumpet (in D), 3
Violins, 2 Violas,
Violoncello obligato and
basso continuo. Set of
Parts.
Violin SKU: HL.50601534 Violin Concertato Solo Part. Composed by G...(+)
Violin
SKU:
HL.50601534
Violin
Concertato Solo Part.
Composed by Georg Philipp
Telemann. String.
Baroque, Classical.
Softcover. 8 pages.
Sikorski #SIK244VLN CO.
Published by Sikorski
(HL.50601534).
9.0x12.0x0.038
inches.
Concerto
for Violino concertato,
Trumpet (in D), 3
Violins, 2 Violas,
Violoncello obligato and
basso continuo. Violin
concertato solo part
only. Set of Parts HL
#50483555.
For Violin and
Orchestra. Composed
by Behzad Ranjbaran.
Contemporary. Large
Score. With Standard
notation. Composed 1994.
144 pages. Duration 31
minutes. Theodore Presser
Company #416-41366L.
Published by Theodore
Presser Company
(PR.41641366L).
UPC:
680160585755.
From
my early years studying
violin at the Tehran
Music Conservatory, I was
captivated by the sound
of the kamancheh, an
ancient Persian bowed
instrument considered one
of the ancestors to the
modern violin. I was
pleased when the National
Endowment for the Arts
awarded me a grant to
write a violin concerto
as it provided me with an
occasion to rekindle my
fascination with the
kamancheh. The notion of
writing a violin concerto
that would incorporate
the power and brilliance
of a modern instrument
with the delicate and
lyrical character of an
ancient one was simply
irresistible. Moreover,
the inspiration from the
kamancheh also informed
my use of Persian modes,
melodic, and rhythmic
figures. The notes of the
violins open strings (G,
D, A, E) also influenced
many of the melodic and
harmonic elements of my
violin concerto. The
opening tutti is mostly
based on intervals of a
perfect 4th and 5th. The
primary material for each
movement incorporates
notes of two of the open
strings of the violin,
creating a three-note
melodic motif as the
basis of themes: 1 st
movement: A-D-A 2nd
movement: D-G-D 3rd
movement: E-A-E The
overall structure of the
concerto is organic and
cyclical, as themes are
shared between the three
movements. For example,
the main musical idea of
the third movement is a
transformation of the
first movements primary
theme. While the
movements share similar
musical materials, each
one is defined by
distinguishing
characters. The first
movement is conflicted;
alternating between
sections of unabashed
lyricism and unforgiving
ferocity. The second
movement is haunting,
mysterious, and
expressive with long
melodic lines that vary
continuously. It moves
through different moods
and characters including
a reimagining of a
traditional Persian
wedding tune played by
the orchestra (m. 98).
The third movement is
festive in character and
features much brilliant
passagework for the solo
violin. At the climax of
this movement, themes
from the previous
movements re-emerge
simultaneously with
greater intensity,
propelling the concerto
to an energetic finale.
The Concerto was composed
in 1994 and is dedicated
to Joshua Bell. From
my early years studying
violin at the Tehran
Music Conservatory, I was
captivated by the sound
of the kamancheh, an
ancient Persian bowed
instrument considered one
of the ancestors to the
modern violin. I was
pleased when the National
Endowment for the Arts
awarded me a grant to
write a violin concerto
as it provided me with an
occasion to rekindle my
fascination with the
kamancheh. The notion of
writing a violin concerto
that would incorporate
the power and brilliance
of a modern instrument
with the delicate and
lyrical character of an
ancient one was simply
irresistible. Moreover,
the inspiration from the
kamancheh also informed
my use of Persian modes,
melodic, and rhythmic
figures. The notes of the
violinas open strings (G,
D, A, E) also influenced
many of the melodic and
harmonic elements of my
violin concerto. The
opening tutti is mostly
based on intervals of a
perfect 4th and 5th. The
primary material for each
movement incorporates
notes of two of the open
strings of the violin,
creating a three-note
melodic motif as the
basis of themes: 1 st
movement: A-D-A 2nd
movement: D-G-D 3rd
movement: E-A-E The
overall structure of the
concerto is organic and
cyclical, as themes are
shared between the three
movements. For example,
the main musical idea of
the third movement is a
transformation of the
first movementas primary
theme. While the
movements share similar
musical materials, each
one is defined by
distinguishing
characters. The first
movement is conflicted;
alternating between
sections of unabashed
lyricism and unforgiving
ferocity. The second
movement is haunting,
mysterious, and
expressive with long
melodic lines that vary
continuously. It moves
through different moods
and characters including
a reimagining of a
traditional Persian
wedding tune played by
the orchestra (m. 98).
The third movement is
festive in character and
features much brilliant
passagework for the solo
violin. At the climax of
this movement, themes
from the previous
movements re-emerge
simultaneously with
greater intensity,
propelling the concerto
to an energetic finale.
The Concerto was composed
in 1994 and is dedicated
to Joshua Bell. From
my early years studying
violin at the Tehran
Music Conservatory, I was
captivated by the sound
of the kamancheh, an
ancient Persian bowed
instrument considered one
of the ancestors to the
modern violin. I was
pleased when the National
Endowment for the Arts
awarded me a grant to
write a violin concerto
as it provided me with an
occasion to rekindle my
fascination with the
kamancheh. The notion of
writing a violin concerto
that would incorporate
the power and brilliance
of a modern instrument
with the delicate and
lyrical character of an
ancient one was simply
irresistible. Moreover,
the inspiration from the
kamancheh also informed
my use of Persian modes,
melodic, and rhythmic
figures. The notes of the
violin's open strings (G,
D, A, E) also influenced
many of the melodic and
harmonic elements of my
violin concerto. The
opening tutti is mostly
based on intervals of a
perfect 4th and 5th. The
primary material for each
movement incorporates
notes of two of the open
strings of the violin,
creating a three-note
melodic motif as the
basis of themes: 1 st
movement: A-D-A 2nd
movement: D-G-D 3rd
movement: E-A-E The
overall structure of the
concerto is organic and
cyclical, as themes are
shared between the three
movements. For example,
the main musical idea of
the third movement is a
transformation of the
first movement's primary
theme. While the
movements share similar
musical materials, each
one is defined by
distinguishing
characters. The first
movement is conflicted;
alternating between
sections of unabashed
lyricism and unforgiving
ferocity. The second
movement is haunting,
mysterious, and
expressive with long
melodic lines that vary
continuously. It moves
through different moods
and characters including
a reimagining of a
traditional Persian
wedding tune played by
the orchestra (m. 98).
The third movement is
festive in character and
features much brilliant
passagework for the solo
violin. At the climax of
this movement, themes
from the previous
movements re-emerge
simultaneously with
greater intensity,
propelling the concerto
to an energetic finale.
The Concerto was composed
in 1994 and is dedicated
to Joshua Bell. From
my early years studying
violin at the Tehran
Music Conservatory, I was
captivated by the sound
of the kamancheh, an
ancient Persian bowed
instrument considered one
of the ancestors to the
modern violin. I was
pleased when the National
Endowment for the Arts
awarded me a grant to
write a violin concerto
as it provided me with an
occasion to rekindle my
fascination with the
kamancheh. The notionof
writing a violin concerto
that would incorporate
the power and brilliance
of a modern instrument
with the delicate and
lyrical character of an
ancient one was simply
irresistible. Moreover,
the inspiration from the
kamancheh also informed
my use of Persian modes,
melodic, and rhythmic
figures.The notes of the
violin’s open
strings (G, D, A, E) also
influenced many of the
melodic and harmonic
elements of my violin
concerto. The opening
tutti is mostly based on
intervals of a perfect
4th and 5th. The primary
material for each
movement incorporates
notes of two of the open
strings of the violin,
creating a three-note
melodic motif as the
basis of themes:1 st
movement: A-D-A2nd
movement: D-G-D3rd
movement: E-A-EThe
overall structure of the
concerto is organic and
cyclical, as themes are
shared between the three
movements. For example,
the main musical idea of
the third movement is a
transformation of the
first movement’s
primary theme. While the
movements share similar
musical materials, each
one is definedby
distinguishing
characters. The first
movement is conflicted;
alternating between
sections of unabashed
lyricism and
unforgivingferocity. The
second movement is
haunting, mysterious, and
expressive with long
melodic lines that vary
continuously. It moves
through different moods
and characters including
a reimagining of a
traditional Persian
wedding tune played by
the orchestra (m. 98).
The third movement is
festive in character and
features much brilliant
passagework for the solo
violin. At the climax of
this movement, themes
fromthe previous
movements re-emerge
simultaneously with
greater intensity,
propelling the concerto
to an energetic finale.
The Concerto was composed
in 1994 and is dedicated
to Joshua Bell.