Librairie musicale avec livraison
Violon, Alto (duo) (18) 2 Flûtes traversières (duo) (17) Violon, Guitare (duo) (10) 2 Violons (duo) (9) Violon, Violoncelle (duo) (7) Flûte à bec, Guitare (duo) (4) Voix duo (4) 2 Flûte à bec (duo) (4) Hautbois, Piano (duo) (4) Harpe, Violon (duo) (3) Flûte, Alto et Guitare (3) 2 Saxophones (duo) (3) Flûte et Guitare (3) Quatuor de Flûtes : 4 flûtes… (2) Flûte, Violoncelle (2) Ensemble de Percussions (2) Flûte, Hautbois (duo) (2) Trio à Cordes: 2 violons, vio… (2) Flûte traversière (2) Flûte, Clarinette (duo) (2) 2 Clarinettes (duo) (2) Basson, Piano (duo) (2) Clarinette, Guitare (duo) (1) Mandoline, Guitare (duo) (1) Contre Basse (1) 2 Trombones (duo) (1) Flûte traversière et Piano (1) 2 Flûtes traversières, Piano… (1) 2 Mandolines (duo) (1) 1 Piano, 4 mains (1) 2 Trompettes (duo) (1) 2 Hautbois (duo) (1) Chorale SATB (1) Trio de Flûtes: 3 flûtes (1) Piano seul (1) Flûte traversière, Orgue (du… (1) Clarinette (1) Clarinette et Piano (1)
Depuis le 1er juillet 2021, Sheet Music Plus n'expédie plus d'articles physiques en zone Européenne!
Page suivante 1 31 61 ... 121
44 Duos for Two Flutes 2 Flûtes traversières (duo) Boosey and Hawkes
From 44 Duos for Two Violins. Composed by Bela Bartok (1881-1945). Boosey and ...(+)
From 44 Duos for Two
Violins.
Composed by Bela Bartok
(1881-1945). Boosey and
Hawkes
Chamber Music. Classical.
Softcover. Boosey and
Hawkes
#UE38018. Published by
Boosey
and Hawkes
$25.99 - Voir plus => Acheter Délais: 24 hours - In Stock
Duo For Flute And Violin Score Wilhelm Hansen
Flute and Violin SKU: HL.14042444 Composed by Anders Nordentoft. Music Sa...(+)
Flute and Violin
SKU:
HL.14042444
Composed
by Anders Nordentoft.
Music Sales America.
Classical. Softcover.
Composed 2014. Edition
Wilhelm Hansen #WH31742.
Published by Edition
Wilhelm Hansen
(HL.14042444).
ISBN
9788759827086.
<
strong>Duo for
Flute And Violin by
Anders Nordentoft
(1975).
$14.95 - Voir plus => Acheter Délais: 2 to 3 weeks
3 Pieces (flute/oboe) Flûte, Hautbois (duo) Leduc, Alphonse
SKU: HL.48184462 Leduc. Post-1900. Softcover. 16 pages. Alphonse Leduc #A...(+)
SKU: HL.48184462
Leduc. Post-1900.
Softcover. 16 pages.
Alphonse Leduc #AL27481.
Published by Alphonse
Leduc (HL.48184462).
UPC: 888680907396.
9.0x12.0x0.08
inches.
ââ¬
To this day,
Eugène Bozza
(1905-1991) remains one
of the most prolific
composers for wind
instruments, despite
being a violinist
himself. His Three Pieces
for Flute and Oboe, or
two Flutes is an
exquisite addition to the
repertoire. During his
studies at the Paris
Conservatoire, Bozza won
prizes for Violin,
conducting and
composition, as well as
the Grand Prix de Rome.
He then conducted the
orchestra of the
Opéra-Comique and
became Head of the
Conservatoire in
Valenciennes, whilst
remaining a prominent
composer. Bozza's Three
Pieces are exciting duets
containing much musical
variation and contrast.
As music educationalist,
Paul Griffiths has
written of Bozza's
compositions,
ââ¬Âââ¬
his works reveal
melodic fluency, elegance
of structure and a
consistently sensitive
concern of instrumental
capabilities.ââ¬Â
ââ¬Åââ
Â.
$28.60 - Voir plus => Acheter Délais: 24 hours - In Stock
Quintet in F Major, K. 497 Carl Fischer
Chamber Music Cello, Flute, Viola 1, Viola 2, Violin SKU: CF.MXE219 Compo...(+)
Chamber Music Cello,
Flute, Viola 1, Viola 2,
Violin
SKU:
CF.MXE219
Composed by
Wolfgang Amadeus Mozart.
Arranged by Robert
Stallman. Sws.
56+16+16+16+16+12 pages.
Carl Fischer Music
#MXE219. Published by
Carl Fischer Music
(CF.MXE219).
ISBN
9781491157794. UPC:
680160916399. 9 x 12
inches.
Preface In
1990, during an intense
rehearsal of a Mozart
Quartet transcription for
flute and strings by
Franz Anton Hoffmeister,
at the Marblehead Summer
Music Festival, a
disgruntled violist
friend complained about
HoffmeisterAs awkward
string writing, suddenly
daring me to create my
own arrangement. I
balked. But the following
winterA3despite scruples
about treading on
hallowed groundA3I grew
curious and began to
experiment. Soon I was
hooked on the challenge
of learning to speak
MozartAs language with
conviction. This
fascination, encouraged
by pianist Richard Goode
and other Mozarteans,
would eventually generate
a total of thirty-nine
recreations of Mozart
piano sonatas as works
for flute and strings.
With zero tolerance for
alteration of melodic or
harmonic
materialA3MozartAs friend
Hoffmeister had
regrettably attempted
such
A!improvementsA(r)A3I
always tried to envision
what Mozart himself would
have desired. Many of the
sonatas can be heard as
if they were MozartAs
A!blueprintsA(r) of
imagined chamber works.
Hence my task was to
A!flesh outA(r) the
keyboard versions as
Mozart might have done,
had a commission or
performance opportunity
arisen. I spent hours
pondering how Mozart
might have set these
sonatas in four- or
five-part form, providing
the needed textural or
contrapuntal
enhancements. With
immersion in the
composerAs dialect,
various apt solutions
presented themselves. The
search for the
A!rightA(r) one then
became a most absorbing
study. On the eve of
releasing my BognerAs
CafA recording of
Mozart-Stallman New
Quintets (2006), I
discovered to my delight
that a prominent scholar
had long before endorsed
such an effort. Eric Blom
(1888A+-1959), author of
Mozart (1935), had taken
note of the four-hand
piano works as A!a kind
of keyboard chamber
music.A(r) Regarding
Sonata, K. 497, Mr. Blom
had observed that Mozart
is often dealing with,
not the expected four
voices (one to a hand),
but five. Blom states:
A!The F major Sonata (K.
497) removes us to
another worldA3the world
of the great chamber
music, especially of the
string quintets. Indeed
an arrangement of some
sort for a combination of
instruments would make a
magnificent concert work
of this almost
uncomfortably great piece
of domestic music.A(r)
That Mozart was in 1786
writing for piano duo
from a quintet
perspective makes sense,
as we find him returning
to the quintet form with
keen interest in his last
years, writing four
String Quintets, the
Clarinet Quintet,
rearranging a wind
serenade for String
Quintet, and leaving
several other quintets
incomplete. My
arrangement presented
here is made for flute
and strings but is also
intended for string
quintet. Quintet in F
Major for Flute and
Strings, K. 497, was
completed in 1999 and
performed with the Martin
Quartet in the Czech
Republic prior to
recording it in 2004.
Mozart had finished the
original Sonata in F
Major for Piano,
Four-Hands, K. 497, on
August 1, 1786. It shows
the unmistakable
influence of Figaro,
completed and premiered
exactly three months
prior. As signaled by the
imposing introductory
Adagio, the conception is
on a grand symphonic
scale, all three
movements being richly
developed with
contrapuntal episodes and
an abundance of
marvelously contrasting
textures and themes
throughout. Called A!the
crowning work of its
kindA(r) by Alfred
Einstein, the Sonata is
laden with examples of
MozartAs mercurial
originality. Here we have
a perfect synthesis of
concertante brilliance,
operatic intensity and
intimate dialogue. The
work opens in unison with
a probing, minor-tinged
Adagio, whose question
comes to a pause on the
dominant, before being
answered with jaunty
certainty by the opening
theme of the Allegro di
moltoA3an F-major tune as
sunny and confident as an
aria from Figaro itself.
This movementAs
declamatory A!opera
chorusA(r) persistently
intones its rhythmic
motto over a swirling
scale figure. The amorous
second theme (initially
presented in the first
viola) also seems to be
plucked from Figaro. The
Andante opens with a
heavenly melody, which
takes as its springboard
the Romanza theme from
the Horn Concerto in E
Major, K. 495, written
only five weeks before.
The A!love duetA(r)
between flute and first
viola seems to anticipate
the impassioned
A!duettingA(r) between
violin and viola in the
Andante of the String
Quintet in C Major, K.
515, written about nine
months later. The
ingenious stretto canon
of the AndanteAs middle
section requires the
precision of a Swiss
clock (which its chiming
thirds recall). Affecting
bucolic codettas close
each of the main sections
of the movement. In the
final Allegro, a rondo in
6/8a time, the puckish,
yet aristocratic
character of the opening
theme contrasts with the
bumptious, popular tune
used for the second theme
(heard first in the
violin and then the
flute, over pizzicato
cello). Lilting hymn-like
episodes in three, four-
and finally five-part
counterpoint are
repeatedly interrupted by
startling scale figures
that rise up in furioso
episodes throughout the
movement. As in the
A!Swiss clockA(r) section
of the Andante, Mozart
uses a stretto imitation
treatment with this
tempest theme, thereby
heightening both
intensity and sense of
instability. I am most
grateful to the
adventuresome Martin
Quartet for their warm
support and collaboration
over the years with
several of my
arrangements, and to my
friend Edwin Swanborn for
the original typesetting
of this score. Gratitude
is also due Weekend
Edition, Performance
Today and innumerable
classical stations across
the United States for
their enthusiastic and
repeated airings of my
A!newA(r) Mozart Quintet
endeavorsA3and most of
all, to violist Katherine
Murdock for that dare in
1990. A3Compiled from the
writings of Robert
Stallman by Hannah Woods
Stallman, February 2,
2020. Preface In 1990,
during an intense
rehearsal of a Mozart
Quartet transcription for
flute and strings by
Franz Anton Hoffmeister,
at the Marblehead Summer
Music Festival, a
disgruntled violist
friend complained about
Hoffmeisteris awkward
string writing, suddenly
daring me to create my
own arrangement. I
balked. But the following
winterodespite scruples
about treading on
hallowed groundoI grew
curious and began to
experiment. Soon I was
hooked on the challenge
of learning to speak
Mozartis language with
conviction. This
fascination, encouraged
by pianist Richard Goode
and other Mozarteans,
would eventually generate
a total of thirty-nine
recreations of Mozart
piano sonatas as works
for flute and strings.
With zero tolerance for
alteration of melodic or
harmonic
materialoMozartis friend
Hoffmeister had
regrettably attempted
such iimprovementsioI
always tried to envision
what Mozart himself would
have desired. Many of the
sonatas can be heard as
if they were Mozartis
iblueprintsi of imagined
chamber works. Hence my
task was to iflesh outi
the keyboard versions as
Mozart might have done,
had a commission or
performance opportunity
arisen. I spent hours
pondering how Mozart
might have set these
sonatas in four- or
five-part form, providing
the needed textural or
contrapuntal
enhancements. With
immersion in the
composeris dialect,
various apt solutions
presented themselves. The
search for the irighti
one then became a most
absorbing study. On the
eve of releasing my
Bogneris CafE recording
of Mozart-Stallman New
Quintets (2006), I
discovered to my delight
that a prominent scholar
had long before endorsed
such an effort. Eric Blom
(1888n1959), author of
Mozart (1935), had taken
note of the four-hand
piano works as ia kind of
keyboard chamber music.i
Regarding Sonata, K. 497,
Mr. Blom had observed
that Mozart is often
dealing with, not the
expected four voices (one
to a hand), but five.
Blom states: iThe F major
Sonata (K. 497) removes
us to another worldothe
world of the great
chamber music, especially
of the string quintets.
Indeed an arrangement of
some sort for a
combination of
instruments would make a
magnificent concert work
of this almost
uncomfortably great piece
of domestic music.i That
Mozart was in 1786
writing for piano duo
from a quintet
perspective makes sense,
as we find him returning
to the quintet form with
keen interest in his last
years, writing four
String Quintets, the
Clarinet Quintet,
rearranging a wind
serenade for String
Quintet, and leaving
several other quintets
incomplete. My
arrangement presented
here is made for flute
and strings but is also
intended for string
quintet. Quintet in F
Major for Flute and
Strings, K. 497, was
completed in 1999 and
performed with the Martin
Quartet in the Czech
Republic prior to
recording it in 2004.
Mozart had finished the
original Sonata in F
Major for Piano,
Four-Hands, K. 497, on
August 1, 1786. It shows
the unmistakable
influence of Figaro,
completed and premiered
exactly three months
prior. As signaled by the
imposing introductory
Adagio, the conception is
on a grand symphonic
scale, all three
movements being richly
developed with
contrapuntal episodes and
an abundance of
marvelously contrasting
textures and themes
throughout. Called ithe
crowning work of its
kindi by Alfred Einstein,
the Sonata is laden with
examples of Mozartis
mercurial originality.
Here we have a perfect
synthesis of concertante
brilliance, operatic
intensity and intimate
dialogue. The work opens
in unison with a probing,
minor-tinged Adagio,
whose question comes to a
pause on the dominant,
before being answered
with jaunty certainty by
the opening theme of the
Allegro di moltooan
F-major tune as sunny and
confident as an aria from
Figaro itself. This
movementis declamatory
iopera chorusi
persistently intones its
rhythmic motto over a
swirling scale figure.
The amorous second theme
(initially presented in
the first viola) also
seems to be plucked from
Figaro. The Andante opens
with a heavenly melody,
which takes as its
springboard the Romanza
theme from the Horn
Concerto in E Major, K.
495, written only five
weeks before. The ilove
dueti between flute and
first viola seems to
anticipate the
impassioned iduettingi
between violin and viola
in the Andante of the
String Quintet in C
Major, K. 515, written
about nine months later.
The ingenious stretto
canon of the Andanteis
middle section requires
the precision of a Swiss
clock (which its chiming
thirds recall). Affecting
bucolic codettas close
each of the main sections
of the movement. In the
final Allegro, a rondo in
6/8+time, the puckish,
yet aristocratic
character of the opening
theme contrasts with the
bumptious, popular tune
used for the second theme
(heard first in the
violin and then the
flute, over pizzicato
cello). Lilting hymn-like
episodes in three, four-
and finally five-part
counterpoint are
repeatedly interrupted by
startling scale figures
that rise up in furioso
episodes throughout the
movement. As in the
iSwiss clocki section of
the Andante, Mozart uses
a stretto imitation
treatment with this
tempest theme, thereby
heightening both
intensity and sense of
instability. I am most
grateful to the
adventuresome Martin
Quartet for their warm
support and collaboration
over the years with
several of my
arrangements, and to my
friend Edwin Swanborn for
the original typesetting
of this score. Gratitude
is also due Weekend
Edition, Performance
Today and innumerable
classical stations across
the United States for
their enthusiastic and
repeated airings of my
inewi Mozart Quintet
endeavorsoand most of
all, to violist Katherine
Murdock for that dare in
1990. oCompiled from the
writings of Robert
Stallman by Hannah Woods
Stallman, February 2,
2020. Preface In 1990,
during an intense
rehearsal of a Mozart
Quartet transcription for
flute and strings by
Franz Anton Hoffmeister,
at the Marblehead Summer
Music Festival, a
disgruntled violist
friend complained about
Hoffmeister's awkward
string writing, suddenly
daring me to create my
own arrangement. I
balked. But the following
winter--despite scruples
about treading on
hallowed ground--I grew
curious and began to
experiment. Soon I was
hooked on the challenge
of learning to speak
Mozart's language with
conviction. This
fascination, encouraged
by pianist Richard Goode
and other Mozarteans,
would eventually generate
a total of thirty-nine
recreations of Mozart
piano sonatas as works
for flute and strings.
With zero tolerance for
alteration of melodic or
harmonic
material--Mozart's friend
Hoffmeister had
regrettably attempted
such improvements--I
always tried to envision
what Mozart himself would
have desired. Many of the
sonatas can be heard as
if they were Mozart's
blueprints of imagined
chamber works. Hence my
task was to flesh out the
keyboard versions as
Mozart might have done,
had a commission or
performance opportunity
arisen. I spent hours
pondering how Mozart
might have set these
sonatas in four- or
five-part form, providing
the needed textural or
contrapuntal
enhancements. With
immersion in the
composer's dialect,
various apt solutions
presented themselves. The
search for the right one
then became a most
absorbing study. On the
eve of releasing my
Bogner's Cafe recording
of Mozart-Stallman New
Quintets (2006), I
discovered to my delight
that a prominent scholar
had long before endorsed
such an effort. Eric Blom
(1888-1959), author of
Mozart (1935), had taken
note of the four-hand
piano works as a kind of
keyboard chamber music.
Regarding Sonata, K. 497,
Mr. Blom had observed
that Mozart is often
dealing with, not the
expected four voices (one
to a hand), but five.
Blom states: The F major
Sonata (K. 497) removes
us to another world--the
world of the great
chamber music, especially
of the string quintets.
Indeed an arrangement of
some sort for a
combination of
instruments would make a
magnificent concert work
of this almost
uncomfortably great piece
of domestic music. That
Mozart was in 1786
writing for piano duo
from a quintet
perspective makes sense,
as we find him returning
to the quintet form with
keen interest in his last
years, writing four
String Quintets, the
Clarinet Quintet,
rearranging a wind
serenade for String
Quintet, and leaving
several other quintets
incomplete. My
arrangement presented
here is made for flute
and strings but is also
intended for string
quintet. Quintet in F
Major for Flute and
Strings, K. 497, was
completed in 1999 and
performed with the
Martinu Quartet in the
Czech Republic prior to
recording it in 2004.
Mozart had finished the
original Sonata in F
Major for Piano,
Four-Hands, K. 497, on
August 1, 1786. It shows
the unmistakable
influence of Figaro,
completed and premiered
exactly three months
prior. As signaled by the
imposing introductory
Adagio, the conception is
on a grand symphonic
scale, all three
movements being richly
developed with
contrapuntal episodes and
an abundance of
marvelously contrasting
textures and themes
throughout. Called the
crowning work of its kind
by Alfred Einstein, the
Sonata is laden with
examples of Mozart's
mercurial originality.
Here we have a perfect
synthesis of concertante
brilliance, operatic
intensity and intimate
dialogue. The work opens
in unison with a probing,
minor-tinged Adagio,
whose question comes to a
pause on the dominant,
before being answered
with jaunty certainty by
the opening theme of the
Allegro di molto--an
F-major tune as sunny and
confident as an aria from
Figaro itself. This
movement's declamatory
opera chorus persistently
intones its rhythmic
motto over a swirling
scale figure. The amorous
second theme (initially
presented in the first
viola) also seems to be
plucked from Figaro. The
Andante opens with a
heavenly melody, which
takes as its springboard
the Romanza theme from
the Horn Concerto in E<=
Major, K. 495, written
only five weeks before.
The love duet between
flute and first viola
seems to anticipate the
impassioned duetting
between violin and viola
in the Andante of the
String Quintet in C
Major, K. 515, written
about nine months later.
The ingenious stretto
canon of the Andante's
middle section requires
the precision of a Swiss
clock (which its chiming
thirds recall). Affecting
bucolic codettas close
each of the main sections
of the movement. In the
final Allegro, a rondo in
6/8 time, the puckish,
yet aristocratic
character of the opening
theme contrasts with the
bumptious, popular tune
used for the second theme
(heard first in the
violin and then the
flute, over pizzicato
cello). Lilting hymn-like
episodes in three, four-
and finally five-part
counterpoint are
repeatedly interrupted by
startling scale figures
that rise up in furioso
episodes throughout the
movement. As in the Swiss
clock section of the
Andante, Mozart uses a
stretto imitation
treatment with this
tempest theme, thereby
heightening both
intensity and sense of
instability. I am most
grateful to the
adventuresome Martinu
Quartet for their warm
support and collaboration
over the years with
several of my
arrangements, and to my
friend Edwin Swanborn for
the original typesetting
of this score. Gratitude
is also due Weekend
Edition, Performance
Today and innumerable
classical stations across
the United States for
their enthusiastic and
repeated airings of my
new Mozart Quintet
endeavors--and most of
all, to violist Katherine
Murdock for that dare in
1990. --Compiled from the
writings of Robert
Stallman by Hannah Woods
Stallman, February 2,
2020. PrefaceIn 1990,
during an intense
rehearsal of a Mozart
Quartet transcription for
flute and strings by
Franz Anton Hoffmeister,
at the Marblehead Summer
Music Festival, a
disgruntled violist
friend complained about
Hoffmeister’s
awkward string writing,
suddenly daring me to
create my own
arrangement. I balked.
But the following
winter—despite
scruples about treading
on hallowed
ground—I grew
curious and began to
experiment. Soon I was
hooked on the challenge
of learning to speak
Mozart’s language
with conviction. This
fascination, encouraged
by pianist Richard Goode
and other Mozarteans,
would eventually generate
a total of thirty-nine
recreations of Mozart
piano sonatas as works
for flute and
strings.With zero
tolerance for alteration
of melodic or harmonic
material—Mozartâ
™s friend Hoffmeister
had regrettably attempted
such
“improvementsâ€
—I always tried
to envision what Mozart
himself would have
desired. Many of the
sonatas can be heard as
if they were
Mozart’s
“blueprintsâ€
of imagined chamber
works. Hence my task was
to “flesh
out†the keyboard
versions as Mozart might
have done, had a
commission or performance
opportunity arisen. I
spent hours pondering how
Mozart might have set
these sonatas in four- or
five-part form, providing
the needed textural or
contrapuntal
enhancements. With
immersion in the
composer’s
dialect, various apt
solutions presented
themselves. The search
for the
“right†one
then became a most
absorbing study.On the
eve of releasing my
Bogner’s Café
recording of
Mozart-Stallman New
Quintets (2006), I
discovered to my delight
that a prominent scholar
had long before endorsed
such an effort. Eric Blom
(1888–1959),
author of Mozart (1935),
had taken note of the
four-hand piano works as
“a kind of keyboard
chamber music.â€
Regarding Sonata, K. 497,
Mr. Blom had observed
that Mozart is often
dealing with, not the
expected four voices (one
to a hand), but five.
Blom states: “The F
major Sonata (K. 497)
removes us to another
world—the world of
the great chamber music,
especially of the string
quintets. Indeed an
arrangement of some sort
for a combination of
instruments would make a
magnificent concert work
of this almost
uncomfortably great piece
of domestic music.â€
That Mozart was in 1786
writing for piano duo
from a quintet
perspective makes sense,
as we find him returning
to the quintet form with
keen interest in his last
years, writing four
String Quintets, the
Clarinet Quintet,
rearranging a wind
serenade for String
Quintet, and leaving
several other quintets
incomplete. My
arrangement presented
here is made for flute
and strings but is also
intended for string
quintet.Quintet in F
Major for Flute and
Strings, K. 497, was
completed in 1999 and
performed with the
Martinů Quartet in the
Czech Republic prior to
recording it in 2004.
Mozart had finished the
original Sonata in F
Major for Piano,
Four-Hands, K. 497, on
August 1, 1786. It shows
the unmistakable
influence of Figaro,
completed and premiered
exactly three months
prior. As signaled by the
imposing introductory
Adagio, the conception is
on a grand symphonic
scale, all three
movements being richly
developed with
contrapuntal episodes and
an abundance of
marvelously contrasting
textures and themes
throughout. Called
“the crowning work
of its kind†by
Alfred Einstein, the
Sonata is laden with
examples of
Mozart’s mercurial
originality. Here we have
a perfect synthesis of
concertante brilliance,
operatic intensity and
intimate dialogue.The
work opens in unison with
a probing, minor-tinged
Adagio, whose question
comes to a pause on the
dominant, before being
answered with jaunty
certainty by the opening
theme of the Allegro di
molto—an F-major
tune as sunny and
confident as an aria from
Figaro itself. This
movement’s
declamatory “opera
chorusâ€
persistently intones its
rhythmic motto over a
swirling scale figure.
The amorous second theme
(initially presented in
the first viola) also
seems to be plucked from
Figaro.The Andante opens
with a heavenly melody,
which takes as its
springboard the Romanza
theme from the Horn
Concerto in E≤
Major, K. 495, written
only five weeks before.
The “love
duet†between flute
and first viola seems to
anticipate the
impassioned
“duettingâ€
between violin and viola
in the Andante of the
String Quintet in C
Major, K. 515, written
about nine months later.
The ingenious stretto
canon of the
Andante’s middle
section requires the
precision of a Swiss
clock (which its chiming
thirds recall). Affecting
bucolic codettas close
each of the main sections
of the movement.In the
final Allegro, a rondo in
6/8Â time, the puckish,
yet aristocratic
character of the opening
theme contrasts with the
bumptious, popular tune
used for the second theme
(heard first in the
violin and then the
flute, over pizzicato
cello). Lilting hymn-like
episodes in three, four-
and finally five-part
counterpoint are
repeatedly interrupted by
startling scale figures
that rise up in furioso
episodes throughout the
movement. As in the
“Swiss clockâ€
section of the Andante,
Mozart uses a stretto
imitation treatment with
this tempest theme,
thereby heightening both
intensity and sense of
instability.I am most
grateful to the
adventuresome Martinů
Quartet for their warm
support and collaboration
over the years with
several of my
arrangements, and to my
friend Edwin Swanborn for
the original typesetting
of this score. Gratitude
is also due Weekend
Edition, Performance
Today and innumerable
classical stations across
the United States for
their enthusiastic and
repeated airings of my
“new†Mozart
Quintet
endeavors—and most
of all, to violist
Katherine Murdock for
that dare in
1990.—Compiled
from the writings of
Robert Stallmanby Hannah
Woods Stallman,February
2, 2020.
$42.00 - Voir plus => Acheter Délais: 24 hours - In Stock
Four Christmas Carols for Flute and Organ Flûte traversière, Orgue (duo) [Conducteur et Parties séparées] - Intermédiaire MorningStar Music Publishers
By Robert J Powell. For Organ or Piano, Flute, Violin, or Clarinet. Organ with I...(+)
By Robert J Powell. For
Organ or Piano, Flute,
Violin, or Clarinet.
Organ with Instruments.
Christmas. Moderately
Easy
$20.50 - Voir plus => Acheter Délais: 24 hours - In Stock
Duet in E minor (G major), H. 598 (W. 140) for Flute and Violin (or Two Violins) (STEPHEN) 2 Violons (duo) IMC (International Music Co.)
By Carl Philipp Emanuel Bach. Woodwind and string ensemble: WITHOUT PIANO Duets....(+)
By Carl Philipp Emanuel
Bach. Woodwind and string
ensemble: WITHOUT PIANO
Duets. Published by
International Music Co.
$9.75 - Voir plus => Acheter Délais: 1 to 2 weeks
Progressive Duets, Volume 2 - Flute 2 Flûtes traversières (duo) Carl Fischer
For Flute. Composed by Johann Sebastian Bach (1685-1750), Muzio Clementi (1752-1...(+)
For Flute. Composed by
Johann Sebastian Bach
(1685-1750), Muzio
Clementi (1752-1832),
Wolfgang Amadeus Mozart
(1756-1791), Larry Clark,
Jacques Fereol Mazas
(1782-1849), Giuseppe
Gariboldi, and Ernesto
Kohler (1849-1907).
Arranged by Larry Clark.
SWS. Back To School.
Softcover. With Standard
notation. Carl Fischer
Music #WF104. Published
by Carl Fischer Music
$16.99 - Voir plus => Acheter Délais: 1 to 2 weeks
Georg Philipp Telemann : 6 Sonatas for 2 Flutes (Or Violins) 2 Flûtes traversières (duo) Wiener Urtext
Composed by Georg Philipp Telemann (1681-1767). Edited by Jochen Reutter. Fo...(+)
Composed by Georg Philipp
Telemann (1681-1767).
Edited
by Jochen Reutter. For 2
Flutes (Or Violins).
Study
score. Op.2. 58 pages.
Published by Wiener
Urtext/Vienna Urtext
$29.95 - Voir plus => Acheter Délais: 1 to 2 weeks
Violin Classics fur two Violins 2 Violons (duo) Barenreiter
Edited by Vladimir Bodunov. For first Violin/second Violin. This edition: Staple...(+)
Edited by Vladimir
Bodunov. For first
Violin/second Violin.
This edition: Stapled.
Ready to Play.
Performance score and
parts. Text Language:
German/English. 19/16
pages. Published by
Baerenreiter Verlag
$22.95 - Voir plus => Acheter Délais: 1 to 2 weeks
Music for Two, Volume 1 - Flute/Oboe/Violin and Viola Violon, Alto (duo) [Conducteur et Parties séparées] - Intermédiaire/avancé Last Resort Music Publishing
Edited by Briana Ackerman. Arranged by Daniel Kelley. For Flute (or Oboe or Viol...(+)
Edited by Briana
Ackerman. Arranged by
Daniel Kelley. For Flute
(or Oboe or Violin) and
Viola. Duets. Music for
Two. Wedding, Classical.
Level:
Intermediate/Advanced.
Score with 2 parts.
Published by Last Resort
Music Publishing.
$22.00 - Voir plus => Acheter Délais: 1 to 2 weeks
18 Duos for Two Flutes 2 Violons (duo) Boosey and Hawkes
From 44 Duos for 2 Violins. By Bela Bartok. (Flute). Boosey and Hawkes Chamber ...(+)
From 44 Duos for 2
Violins. By Bela Bartok.
(Flute). Boosey and
Hawkes Chamber Music.
Published by Boosey &
Hawkes.
$26.00 - Voir plus => Acheter Délais: 24 hours - In Stock
Classical Duets for Flute (book/Cd) 2 Flûtes traversières (duo) [Partition + CD] De Haske Publications
A Journey Through the History of Classical Music. Arranged by Nico Dezaire and R...(+)
A Journey Through the
History of Classical
Music. Arranged by Nico
Dezaire and Robert van
Beringen. De Haske
Play-Along Book. Size
9x12 inches. 28 pages.
Published by De Haske
Publications.
(7) $21.00 - Voir plus => Acheter Délais: 2 to 3 weeks
Music for Two, Volume 2 - Flute/Oboe and Clarinet Flûte, Clarinette (duo) [Conducteur et Parties séparées] - Intermédiaire/avancé Last Resort Music Publishing
Arranged by Daniel Kelley. For Flute (or Oboe) and Clarinet. Duets. Music for Tw...(+)
Arranged by Daniel
Kelley. For Flute (or
Oboe) and Clarinet.
Duets. Music for Two.
Wedding, Classical.
Level:
Intermediate/Advanced.
Score with 2 parts.
Published by Last Resort
Music Publishing.
$22.00 - Voir plus => Acheter Délais: 1 to 2 weeks
Second book of sonatas for two violins without bass. Opus V 2 Violons (duo) [Conducteur] Fuzeau
By Louis Gabriel Guillemain (1705-1770). Edited by Philippe Lescat, Jean Saint-A...(+)
By Louis Gabriel
Guillemain (1705-1770).
Edited by Philippe
Lescat, Jean
Saint-Arroman. For 2 solo
violins, 2 solo flutes.
This edition: Facsimile.
La Musique Francaise
Classique de 1650 a 1800.
Score. 68 pages.
Published by Anne Fuzeau
Productions - France
$35.95 - Voir plus => Acheter Délais: 4 to 6 weeks
There Will I Be - SATB score and parts Violon, Violoncelle (duo) [Conducteur] Beckenhorst Press
Composed by Craig Courtney. For violin and cello (or flute and bassoon). Full sc...(+)
Composed by Craig
Courtney. For violin and
cello (or flute and
bassoon). Full score and
parts. Published by
Beckenhorst Press
$20.00 - Voir plus => Acheter Délais: 1 to 2 weeks
Duo C-Dur Moseler Verlag
By Gerhard Maasz (1906-1984). For flute and violin. Hausmusik. Performance score...(+)
By Gerhard Maasz
(1906-1984). For flute
and violin. Hausmusik.
Performance score. 10
pages
$8.95 - Voir plus => Acheter Délais: 4 to 6 weeks
3 Duos for flute and violin Kunzelmann
Flute, violin SKU: KU.EKB-88 Composed by Francois Devienne. Edited by Fri...(+)
Flute, violin
SKU:
KU.EKB-88
Composed by
Francois Devienne. Edited
by Fritz Kneusslin. Bach
format (230 x 302).
Staple Bound. Set of
parts. 26 pages. Edition
Kunzelmann #EKB-88.
Published by Edition
Kunzelmann (KU.EKB-88).
$22.95 - Voir plus => Acheter Délais: 1 to 2 weeks
18 Traditional Christmas Solos for Flute/Oboe/Violin Hautbois, Piano (duo) [Reduction] - Intermédiaire/avancé Last Resort Music Publishing
Edited by Florence Titmus. Arranged by Daniel Kelley. For Violin/Flute/Oboe and ...(+)
Edited by Florence
Titmus. Arranged by
Daniel Kelley. For
Violin/Flute/Oboe and
Piano. Solos. Christmas.
Level:
Intermediate/Advanced.
Piano Score and Solo
Part. Published by Last
Resort Music Publishing.
$24.00 - Voir plus => Acheter Délais: 1 to 2 weeks
Six Duos for Flute (or Violin) and Guitar, Volume 1: Opus 104 and 105 Flûte et Guitare [Set de Parties séparées] Trillenium Music Company
By Ferdinando Carulli (1770-1841). Arranged by William Ghezzi. For flute (or vio...(+)
By Ferdinando Carulli
(1770-1841). Arranged by
William Ghezzi. For flute
(or violin) and guitar. 2
parts
(1) $25.00 - Voir plus => Acheter Délais: 3 to 4 weeks
Duo for Flute and Violin Schott
By Robert Parris. For Flute, Violin (Score & Parts). Schott. Softcover. 14 pages...(+)
By Robert Parris. For
Flute, Violin (Score &
Parts). Schott.
Softcover. 14 pages.
Schott Music #B16150.
Published by Schott Music
$10.00 - Voir plus => Acheter Délais: 24 hours - In Stock
Johann Sebastian Bach: Trio sonata for two Flutes and Basso Continuo in G major BWV 1039 with reconstructed version for two Violins 2 Violons (duo) [Partition] G. Henle
And B.c. - Figured Bass Realization by H. Eppstein - with the reconstructed Vers...(+)
And B.c. - Figured Bass
Realization by H.
Eppstein - with the
reconstructed Version for
2 Violins. By Johann
Sebastian Bach. Edited by
H. Eppstein. Trio
Sonatas. Pages: Score = V
and 23 * Fl I (Vl I) Part
= 7 * Fl II (Vl II) Part
= 7 * Vc Part = 7. Urtext
edition without
fingering-paper bound.
Published by G. Henle.
$31.95 - Voir plus => Acheter Délais: 24 hours - In Stock
Duets for Fun 2 Saxophones (duo) - Facile Schott
For 2 Alto Saxophones Performance Score. Composed by Various. Edited by Ulri...(+)
For 2 Alto Saxophones
Performance Score.
Composed
by Various. Edited by
Ulrich
Junk. This edition:
Saddle
stitching. Sheet music.
Woodwind. Leichte Stucke
fur
2 Alt-Saxophone.
Performance
score. 72 pages. Schott
Music #ED 23306.
Published
by Schott Music
$19.99 - Voir plus => Acheter Délais: 24 hours - In Stock
Telemann for Two Mandolins 2 Mandolines (duo) - Intermédiaire Mel Bay
Mandolin - Intermediate SKU: MB.30653 64 Compositions Chosen from the ...(+)
Mandolin - Intermediate
SKU: MB.30653
64 Compositions Chosen
from the Works of Georg
Philipp Telemann .
Composed by John Goodin.
Solos and Duets,
Squareback saddle stitch.
Classical. Book. 120
pages. Mel Bay
Publications, Inc #30653.
Published by Mel Bay
Publications, Inc
(MB.30653).
ISBN
9781513463810. 8.75 x
11.75
inches.
As one of the most
productive composers in
history, Georg Philipp
Telemann endeavored to
supply a steady stream of
new music for both
professional and amateur
musicians. The 64
compositions in this
collection fall into
three
categories:
Sonatas for two
treble-clef instruments
without bass
accompaniment.
Pieces for solo
instrument and
bass. Movements
from Telemannâ??s many
trio sonatas and
overture-suites for two
melody instruments and
bass. Written
in standard notation only
for two mandolins, or
mandolin with violin,
flute, recorder, or any
other instrument of
similar range.
$22.99 - Voir plus => Acheter Délais: 1 to 2 weeks
Flute Chamber / Huilukamari II 2 Flûtes traversières (duo) Fennica Gehrman
2 flutes SKU: FG.55011-090-8 Duets for Young Flutists . Composed by...(+)
2 flutes
SKU:
FG.55011-090-8
Duets for Young
Flutists . Composed by
Laszlo Rossa & Jaana
Laasonen. Album.
Published by Fennica
Gehrman (FG.55011-090-8).
ISBN
979-0-55011-090-8.
Chamber music for young
flutists based on
original versions for
violin duos by Laszlo
Rossa and Geza Szilvay.
All the Flute Chamber
books are suitable for
flute ensembles both
large and small. Flute
Chamber II is a book of
duets in which both parts
are of the same technical
standard and the
accompanying part is a
melodic or rhythmic
obligato.
$23.95 - Voir plus => Acheter Délais: 4 to 6 weeks
Quartets for flute Quatuor de Flûtes : 4 flûtes [Conducteur et Parties séparées] EMB (Editio Musica Budapest)
Flute Quartet SKU: BT.EMBZ14973 Some with alto flute . By Lászl...(+)
Flute Quartet
SKU:
BT.EMBZ14973
Some
with alto flute . By
László Zempléni.
By Bela Bartok. EMB Music
of Bela Bartok. Set
(Score & Parts). Composed
2016. 52 pages. Editio
Musica Budapest
#EMBZ14973. Published by
Editio Musica Budapest
(BT.EMBZ14973).
English-German-Hungari
an.
The volume
contains selected
transcriptions from
well-known sets that
Bartók wrote for
children and young
people: For Children,
Children's and Female
Choruses, 44 Duos and
Mikrokosmos. Some are
based on folk melodies
and some on original
themes. The volume
consists of 16 pieces. In
nine, the bottom part is
set for alto flute. The
collections serve to draw
music students into the
realm of a great genius
of 20th-century music,
while concurrently
introducing them to the
basic techniques of
playing chamber
music.
$17.95 - Voir plus => Acheter Délais: 2 to 3 weeks
Christmas Duet Fun Book for Violin and Viola Violon, Alto (duo) - Intermédiaire Childrens Music Workshop
Violin/Viola - Intermediate SKU: CZ.9798870828015 Composed by Various. Ed...(+)
Violin/Viola -
Intermediate
SKU:
CZ.9798870828015
Composed by Various.
Edited by Larry Newman.
Arranged by Larry Newman.
Book. Children's Music
Workshop #9798870828015.
Published by Children's
Music Workshop
(CZ.9798870828015).
The Christmas
Duet Fun Book
Series is the ultimate
holiday music resource
for young music students
who want to enjoy the
magic of Christmas
through the joy of
playing music! In this
series, we've compiled a
collection of duet books
for flute, clarinet,
saxophone, trumpet,
french horn, trombone,
violin, viola, and cello
that are perfect for
beginners and
intermediate players. The
music is easy to play,
yet still engaging and
fun, making it the
perfect tool for music
educators looking to
introduce their students
to the world of duet
playing. The duet books
can be mixed and matched,
allowing for
heterogeneous groupings
of instruments, and the
songs included in the
series cover both
traditional hymns and
popular secular music.
With a variety of classic
and contemporary holiday
tunes, players can have
fun while developing
their technique,
intonation, and rhythm.
The series is designed to
inspire and motivate
young musicians during
the holiday season, as
they work together to
create beautiful music
and memories that will
last a lifetime. With the
Christmas Duet Fun Books,
young musicians can
experience the joy of
playing music with others
and the magic of the
holiday season. Whether
it's for a school
performance, family
gathering, or just for
fun, this series is the
perfect choice for anyone
who wants to celebrate
the holiday season with
music. Easy to play
Christmas and Hanukkah
duets for a festive
holiday season include O'
Come Little Children,
Bring a Torch, Jeanette
Isabella, Jolly Old St.
Nick, O Come, O Come
Emmanuel, Ding Dong
Merrily on High, Silent
Night, Jingle Bells, O
Come All Ye Faithful,
Angels We Have Heard on
High, We Three Kings, Joy
to the World, Hark, the
Herald Angels Sing, Up On
the Housetop, Toyland, O
Holy Night, Away in a
Manger, Go Tell It on the
Mountain, The First Noel,
I Have a Little Dreidel,
Dreidel Turn, and The
Hanukkah Song.
$12.95 - Voir plus => Acheter Délais: 2 to 3 weeks
Page suivante 1 31 61 ... 121