| Vivaldi : Concerto for Four Cellos Orchestre à Cordes [Conducteur et Parties séparées] - Intermédiaire/avancé Grand Mesa Music
Composed by Antonio Vivaldi (1678-1741). Arranged by J. Cameron Law. For 4 s...(+)
Composed by Antonio
Vivaldi
(1678-1741). Arranged by
J.
Cameron Law. For 4 solo
cellos
and string orchestra.
Grade 4
(section), Grade 5
(solo).
Score and set of parts.
Duration 3 minutes, 30
seconds. Published by
Grand
Mesa Music
$60.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Bridal Chorus From Lohengrin For 4 Cellos Score And Parts 4 Violoncelles [Conducteur et Parties séparées] Schott
Bridal Chorus from Lohengrin. Composed by Richard Wagner (1813-1883). Arranged b...(+)
Bridal Chorus from
Lohengrin. Composed by
Richard Wagner
(1813-1883). Arranged by
Wolfgang Birtel. This
edition: Saddle
stitching. Sheet music.
Cello-Bibliothek (Cello
Library). Classical,
Wedding. Score and parts.
16 pages. Schott Music
#CB 207. Published by
Schott Music
$24.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Andante From Symphony No. 4 Orchestre à Cordes [Conducteur et Parties séparées] - Intermédiaire/avancé Kendor Music Inc.
By Felix Bartholdy Mendelssohn (1809-1847). Arranged by Robert Frost. For string...(+)
By Felix Bartholdy
Mendelssohn (1809-1847).
Arranged by Robert Frost.
For string orchestra
(88555). Standard string
orchestra (88555).
Concert String Orchestra
Series. Grade 4. Score
and parts. Duration 5:10.
Published by Kendor Music
Inc
$56.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Trois Soeurs - Alto Saxophone And String Orchestra Saxophone et Orchestre [Conducteur et Parties séparées] - Intermédiaire FLEX Editions
By Arnaud Meier. Chamber orchestra. For Chamber orchestra (alto saxophone solo (...(+)
By Arnaud Meier. Chamber
orchestra. For Chamber
orchestra (alto saxophone
solo (1 part), violins 1
(6 parts), violins 2 (6
parts), violas (4 parts),
cellos (3 parts)).
Classical. Grade 3. Score
and Set of Parts. 9 pages
(score); 40 pages
(parts). Publishe
$27.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Progressive Quartets for Strings - Cello 4 Violoncelles [Partition] Carl Fischer
32 Quartets That Can Be Played by Any Combination of String Instruments. Compose...(+)
32 Quartets That Can Be
Played by Any Combination
of String Instruments.
Composed by Bernard De La
Monnoye, Christopf Von
Gluck, etc., J. Spilman,
Spiritual American, Willy
Geisler, Stephen Foster
(1826-1864), Edvard Grieg
(1843-1907), Engelbert
Humperdinck (1854-1921),
French carol,
Traditional, American
Folk Song, English Folk
Song, Henry Carey, and
Catalonian Carol.
Arranged by Doris Gazda.
SWS. Back To School.
Book. With Standard
notation. Carl Fischer
Music #BF71. Published by
Carl Fischer Music
$16.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Doug Spata : Dragonfly Orchestre à Cordes [Conducteur et Parties séparées] - Facile Alfred Publishing
By Doug Spata. Orchestra. Part(s); Score; SmartMusic; String Orchestra. Highland...(+)
By Doug Spata. Orchestra.
Part(s); Score;
SmartMusic; String
Orchestra. Highland
String Orchestra. Grade
2.5. 124 pages. Published
by Alfred Music
$49.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Doug Spata : Dragonfly Orchestre à Cordes [Conducteur] - Facile Alfred Publishing
By Doug Spata. Orchestra. Score; SmartMusic; String Orchestra. Highland String O...(+)
By Doug Spata. Orchestra.
Score; SmartMusic; String
Orchestra. Highland
String Orchestra. Grade
2.5. 12 pages. Published
by Alfred Music
$9.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Dance of the Tumblers Orchestre à Cordes [Conducteur] - Intermédiaire/avancé Highland/Etling
(From the Opera Snow Maiden). Composed by Nickolay [Nikolai] Rimsky-Korsa...(+)
(From the Opera Snow
Maiden). Composed by
Nickolay [Nikolai]
Rimsky-Korsakov. Arranged
by Todd Parrish.
Orchestra. Masterworks;
Score; String Orchestra.
Highland String
Orchestra. Form: Dance;
Transcription. Masterwork
Arrangement; Romantic.
Grade 4. 28 pages.
Published by
Highland/Etling
$8.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Iroquois Journey Orchestre à Cordes - Facile Highland/Etling
Composed by Doug Spata. Orchestra. Score; String Orchestra. Highland String Orch...(+)
Composed by Doug Spata.
Orchestra. Score; String
Orchestra. Highland
String Orchestra.
Multicultural. Grade 2.
12 pages. Published by
Highland/Etling
$9.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Iroquois Journey Orchestre à Cordes [Conducteur et Parties séparées] - Facile Highland/Etling
Composed by Doug Spata. Orchestra. Part(s); Score; String Orchestra. Highland St...(+)
Composed by Doug Spata.
Orchestra. Part(s);
Score; String Orchestra.
Highland String
Orchestra. Multicultural.
Grade 2. 124 pages.
Published by
Highland/Etling
$49.00 - Voir plus => AcheterDélais: 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 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Dance of the Tumblers Orchestre à Cordes [Set de Parties séparées] Highland/Etling
From the Opera Snow Maiden. Composed by Nikolay Andreyevich Rimsky...(+)
From the Opera Snow
Maiden. Composed
by Nikolay Andreyevich
Rimsky-Korsakov
(1844-1908). Arranged by
Todd Parrish.
Masterworks; Part(s);
Score; SmartMusic; String
Orchestra.
Highland/Etling String
Orchestra. Form: Dance;
Transcription. Masterwork
Arrangement; Romantic.
124 pages. Published by
Highland/Etling
(AP.41263).
$62.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Dance Scenario Orchestre à Cordes [Conducteur et Parties séparées] - Facile Kendor Music Inc.
By Elliot Del Borgo. Cadet String Orchestra. Level: Grade 2. Published by Kendor...(+)
By Elliot Del Borgo.
Cadet String Orchestra.
Level: Grade 2. Published
by Kendor Music Inc.
(4)$52.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Da Pacem Domine Ensemble de Violoncelles [Conducteur et Parties séparées] Universal Edition
(For 8 (Or 4) Violoncellos). By Arvo Part (1935-). For 8 cellos. Score and parts...(+)
(For 8 (Or 4)
Violoncellos). By Arvo
Part (1935-). For 8
cellos. Score and parts.
4 1 pages. Duration 6
minutes. Published by
Universal Edition
$27.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Andante from Trio Sonata Opus 5, No. 1 Orchestre - Intermédiaire Highland/Etling
Orchestra - Grade 3 SKU: AP.41264 Composed by George Frideric Handel. Arr...(+)
Orchestra - Grade 3
SKU: AP.41264
Composed by George
Frideric Handel. Arranged
by Robert Sieving.
MakeMusic Cloud;
Masterworks; Performance
Music Ensemble; Single
Titles; String Orchestra.
Highland/Etling String
Orchestra. Form:
Transcription. Baroque;
Masterwork Arrangement.
Score and Part(s). 124
pages. Duration 4:30.
Highland/Etling
#00-41264. Published by
Highland/Etling
(AP.41264). UPC:
038081480770.
English. This trio
shines as transcribed for
string orchestra and
makes possible the
inclusion of a viola
part, both as an equal
player in the primary
melodic material and in
fulfilling harmonic
realizations. All parts
are playable in first
position with the
exception of fourth
position required
occasionally for cellos.
Opportunities abound for
students to polish
Baroque bowing
techniques. (4:30) This
title is available in
MakeMusic Cloud. $48.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Andante from Trio Sonata Opus 5, No. 1 Orchestre - Intermédiaire Highland/Etling
Orchestra - Grade 3 SKU: AP.41264S Composed by George Frideric Handel. Ar...(+)
Orchestra - Grade 3
SKU: AP.41264S
Composed by George
Frideric Handel. Arranged
by Robert Sieving.
MakeMusic Cloud;
Masterworks; Performance
Music Ensemble; Single
Titles; String Orchestra.
Highland/Etling String
Orchestra. Form:
Transcription. Baroque;
Masterwork Arrangement.
Score. 124 pages.
Duration 4:30.
Highland/Etling
#00-41264S. Published by
Highland/Etling
(AP.41264S). UPC:
038081480787.
English. This trio
shines as transcribed for
string orchestra and
makes possible the
inclusion of a viola
part, both as an equal
player in the primary
melodic material and in
fulfilling harmonic
realizations. All parts
are playable in first
position with the
exception of fourth
position required
occasionally for cellos.
Opportunities abound for
students to polish
Baroque bowing
techniques. (4:30) This
title is available in
MakeMusic Cloud. $7.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Andante From Symphony No. 4 (Full Score) - Intermédiaire/avancé Kendor Music Inc.
String Orchestra - Grade 4 SKU: KN.09956S Composed by Felix Bartholdy Men...(+)
String Orchestra - Grade
4 SKU: KN.09956S
Composed by Felix
Bartholdy Mendelssohn.
Arranged by Robert S.
Frost. Solo or Ensemble.
Apex String Orchestra.
Kendor Music Inc #09956S.
Published by Kendor Music
Inc (KN.09956S). UPC:
822795099560. The
music of Mendelssohn is
delightful to hear, but
often challenging to
perform. This selection,
however, is accessible
for developing string
orchestras. The cellos
and basses will find it
particularly rewarding as
they are featured with a
walking bass line. In all
respects this arrangement
follows the original
closely, with the
necessary wind parts
carried by upper strings.
Duration 5:10. Available
in SmartMusic. $7.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| New Orleans Blues Orchestre à Cordes [Conducteur et Parties séparées] - Intermédiaire Alfred Publishing
Including Joe Turner and Worried Man Blues. By Traditional. Arranged by Bert Lig...(+)
Including Joe Turner and
Worried Man Blues. By
Traditional. Arranged by
Bert Ligon. Traditional.
For String Orchestra.
String Orchestra. String
Alternatives. Level: 3.5
(grade 3.5). Conductor
Score and Parts. 132
pages. Published by
Alfred Publishing.
$55.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Basses Rule Orchestre à Cordes [Conducteur et Parties séparées] - Intermédiaire Imagine Music
Composed by Gary Edwards. For string orchestra. Pathways Series. Grade 3. Fu...(+)
Composed by Gary Edwards.
For
string orchestra.
Pathways
Series. Grade 3. Full
set.
Duration 3 minutes, 45
seconds. Published by
Imagine
Music
$40.00 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Symphony No. 2 "Romantic" - 1st Mvt Orchestre [Conducteur et Parties séparées] Carl Fischer
Composed by Hanson Howard. Arranged by Todd Parrish. Folio. Score and part(s...(+)
Composed by Hanson
Howard.
Arranged by Todd Parrish.
Folio. Score and part(s).
138+Cover pages. Duration
4
minutes, 47 seconds. Carl
Fischer Music #AS66.
Published by Carl Fischer
Music
$75.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Symphony No. 44 "Trauer" (4th Movement) (score only) Orchestre à Cordes - Intermédiaire/avancé Highland/Etling
Orchestra String Orchestra - 4 (grade 4) SKU: AP.31595S Composed by Franz...(+)
Orchestra String
Orchestra - 4 (grade 4)
SKU: AP.31595S
Composed by Franz Joseph
Haydn. Arranged by Todd
Parrish. String
Orchestra.
Highland/Etling String
Orchestra. Form:
Transcription. Classical;
Masterwork Arrangement.
Score. 20 pages.
Highland/Etling
#00-31595S. Published by
Highland/Etling
(AP.31595S). UPC:
038081343105.
English. Celebrate
Haydn's 200th anniversary
with this outstanding
symphony! This exciting
and energetic work is a
rare example of Haydn's
use of the minor tonality
in symphonic writing,
which is aptly subtitled
Trauer, translated
Mourning. The string
parts are very close to
the original with changes
made only to accommodate
the important lines of
the original oboe and
horn parts. Students will
thoroughly enjoy the
contrapuntal style
allowing simultaneous
independent melodies.
Some shifting is required
through third position
for violins and fourth
position for cellos and
basses. This title is
available in MakeMusic
Cloud. $10.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Concerto No.4 In G Major, Opus 65: Commentary And Preparatory Accompaniment 2 Violoncelles (duo) IMC (International Music Co.)
Two cellos SKU: IM.3790 Commentary and Preparatory Accompaniment. ...(+)
Two cellos SKU:
IM.3790 Commentary
and Preparatory
Accompaniment.
Composed by Georg
Goltermann. Arranged by
Daniel Morganstern and
Susan Moses. Score and
part. International Music
Co. #3790. Published by
International Music Co.
(IM.3790). With
its soaring melodies and
accessibility, this work
remains a favorite for
cellists. Orchestra part
condensed in the second
cello. $22.25 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Time-colour (orchestra) Orchestre Leduc, Alphonse
Orchestra SKU: HL.48182136 Composed by Olivier Messiaen. Leduc. Classical...(+)
Orchestra SKU:
HL.48182136 Composed
by Olivier Messiaen.
Leduc. Classical.
Softcover. 226 pages.
Alphonse Leduc #AL23077.
Published by Alphonse
Leduc (HL.48182136).
UPC: 888680835514.
7.25x10.75x0.704
inches. Completed
in 1960, Time-Colour by
Olivier Messiaen is a
famous orchestral piece
composed by this author.
This edition, published
as a book, features the
conductor?s score with
all the following
instruments: 16 First
Violins, 16 Second
Violins, 14 Violas, 12
Cellos, 10 Double Basses,
1 Piccolo, 3 Flutes, 3
Oboes, 4 Clarinets, 3
Bassoons, 1 Piccolo
Trumpet, 3 C Trumpets, 4
F Horns, 3 Trombones, 1
Tuba, Suspended And
Chinese Cymbal, 1
Glockenspiel, 1
Xylophone, 1 Marimba. It
is written in seven
movements: Introduction,
Strophe I, Antistrophe I,
Strophe II, Antistrophe
II, Epode and Coda; and
The Epode features
birdsong and is played by
18 of the string
instruments. Olivier
Messiaen (1908-1992) was
a French organist and
composer passionate about
Ornithology and one of
the most important
composer of his century.
Inspired by Japanese
music, he had a very
special way of composing
and his work can be
identified by its
complexity, its diatonic
aspect, its harmony with
limited transposition,
its colour and its
additive rhythms. He
composed many works
related to ornithology
and birdsong, including
the 'Bird Catalogue' in 7
volumes.. $194.10 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Symphony No. 5 Orchestre [Conducteur et Parties séparées] - Facile Highland/Etling
(1st Movement). Composed by Ludwig van Beethoven (1770-1827). Arranged by Richar...(+)
(1st Movement). Composed
by Ludwig van Beethoven
(1770-1827). Arranged by
Richard Rigg. Orchestra.
Full Orchestra;
Masterworks; Part(s);
Score. Highland Full
Orchestra. Form:
Transcription. Classical;
Masterwork Arrangement;
Romantic. Grade 2.5. 214
pages. Published by
Highland/Etling
$73.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Symphony No. 5 Orchestre [Conducteur] Highland/Etling
1st Movement. Composed by Ludwig van Beethoven (1770-1827). Arranged by R...(+)
1st Movement.
Composed by Ludwig van
Beethoven (1770-1827).
Arranged by Richard Rigg.
Full Orchestra;
Masterworks; Score.
Highland/Etling Full
Orchestra. Form:
Transcription. Classical;
Masterwork Arrangement;
Romantic. 20 pages.
Published by
Highland/Etling
(AP.42070S).
$8.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
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