| Concerti for Violin, Strings & Basso Continuo RV320, RV378, RV745 Ricordi
Basso Continuo, Strings, Violin (Score) SKU: HL.50601045 Critical Edit...(+)
Basso Continuo, Strings,
Violin (Score) SKU:
HL.50601045
Critical Edition
Score. Composed by
Antonio Vivaldi. String.
Classical. Softcover. 72
pages. Ricordi #PR1437.
Published by Ricordi
(HL.50601045). ISBN
9788881920082. UPC:
888680723798. 7.75x10.5
inches. Among the
hundreds of violin
concertos written by
Vivaldi, which stand at
the centre of his
activity as a virtuoso,
there are three that are
in part incomplete: RV
370, RV 378 and RV 745.
While only a portion of
the first movement has
survived in the case of
RV 378, RV 320 lacks only
a few bars at the end of
its third movement, and
only the last movement of
RV 745 is extant.
Incompleteness of this
nature does, however,
result in performable and
perfectly enjoyable
texts. The manuscripts of
these three concertos are
all autograph and datable
to Vivaldi's last
creative period (c.
1730-1741), years in
which the Red Priest
mixes his various musical
experiences to create a
language that is
increasingly disparate
and introspective. With
the major-minor
chiaroscuro of the first
movement of the concerto
RV 320, the spirited
virtuosity of the RV 378
and the more mechanical
virtuosity of RV 745,
these three concertos
offer a cross-section of
the imagination and
complexity that Vivaldi
brings to the treatment
of the violin in his late
maturity. $25.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Concerto in A minor RV 108 Amadeus Verlag
Treble recorder, 2 violins and basso continuo SKU: M7.BP-915 Composed by ...(+)
Treble recorder, 2
violins and basso
continuo SKU:
M7.BP-915 Composed by
Antonio Vivaldi. Sheet
music. RV 108. Amadeus
Verlag #BP 915. Published
by Amadeus Verlag
(M7.BP-915). ISBN
9790015091506. $21.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Sing To The Lord Of Harvest Orgue, Chorale Concordia Publishing House
By Healey Willan. For SATB choir, SA choir and organ. General, Thanksgiving, sac...(+)
By Healey Willan. For
SATB choir, SA choir and
organ. General,
Thanksgiving, sacred.
Level: Easy-Moderately
Easy. Published by
Concordia Publishing
House.
$12.00 $11.4 (- 5%) Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Concerto in C Major 2 Trompettes, Clavier (piano ou orgue) Kunzelmann
By Antonio Vivaldi. For 2 trumpet, piano. Op.46,No.1(P.75)(RV.537). Published by...(+)
By Antonio Vivaldi. For 2
trumpet, piano.
Op.46,No.1(P.75)(RV.537).
Published by Edition
Kunzelmann.
$14.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Concerti Per Vl , Archi E B C : In Sol Min Rv 325 Ricordi
Violin, Strings and BC SKU: HL.50496308 F.I-108 - Tomo 253. Compos...(+)
Violin, Strings and BC
SKU: HL.50496308
F.I-108 - Tomo
253. Composed by
Antonio Vivaldi. MGB.
Solo & Concerto. Score
Only. Composed 1984.
Ricordi #PR878. Published
by Ricordi (HL.50496308).
F.I/108 - TOMO
253. $18.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Concerto in F Major Op. 64, No. 4, RV 542/PV 274 Eulenburg
Viola Orchestra; Viola SKU: HL.49011449 Viola Part. Composed by An...(+)
Viola Orchestra; Viola
SKU: HL.49011449
Viola Part.
Composed by Antonio
Vivaldi. Sheet music.
Edition Schott.
Classical. Individual
part. Op. 64/4. 3 pages.
Duration 13'. Eulenburg
Edition #PC 108-13.
Published by Eulenburg
Edition (HL.49011449).
ISBN 9790200217513.
9.0x12.25x0.011
inches. $6.99 - Voir plus => Acheter | | |
| Concerto A Minor RV 108/PV 77 - Intermédiaire/avancé Schott
Treble recorder (flute, oboe), 2 violins and basso continuo; cello (viola da gam...(+)
Treble recorder (flute,
oboe), 2 violins and
basso continuo; cello
(viola da gamba) ad
libitum - intermediate to
advanced SKU:
HL.49000113 Score
and Parts. Composed
by Antonio Vivaldi.
Edited by Hugo Ruf.
Arranged by Hugo Ruf.
This edition: Saddle
stitching. Sheet music.
Antiqua (Chamber Music).
Classical. Score and
Parts. 23 pages. Schott
Music #ANT131. Published
by Schott Music
(HL.49000113). ISBN
9790001004374. UPC:
073999295375.
9.0x12.0x0.12
inches. Treble
Recorder (Flute, Oboe), 2
Violins and Basso
continuo; Violoncello
(Viola da gamba) ad
lib. $27.99 - Voir plus => Acheter | | |
| Vivaldi: Treble (Alto) Recorder Concerto in A Minor RV 108 Flûte à Bec [Partition + CD] Hal Leonard
Classical Play-Along Volume 13. By Antonio Vivaldi. Classical Play-Along. Play A...(+)
Classical Play-Along
Volume 13. By Antonio
Vivaldi. Classical
Play-Along. Play Along.
Softcover with CD. 8
pages. Published by Hal
Leonard.
$12.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Concerto in F Major Op. 64, No. 4, RV 542/PV 274 Orgue Eulenburg
Organ Orchestra; Organ SKU: HL.49011446 Organ Part. Composed by An...(+)
Organ Orchestra; Organ
SKU: HL.49011446
Organ Part.
Composed by Antonio
Vivaldi. Sheet music.
Edition Schott.
Classical. Solo Part. Op.
64/4. 16 pages. Duration
13'. Eulenburg Edition
#PC 108-02. Published by
Eulenburg Edition
(HL.49011446). ISBN
9790200217483.
8.25x11.75x0.039
inches. $11.99 - Voir plus => Acheter | | |
| 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 | | |
| Violin Concerto 2 S.s. Schott
Violin solo, tape, bassbariton and 33 instruments SKU: HL.49006193 For...(+)
Violin solo, tape,
bassbariton and 33
instruments SKU:
HL.49006193 For
solo violin, tape, bass
baritone and 33
instrumentalists.
Composed by Hans Werner
Henze. This edition:
Paperback/Soft Cover.
Sheet music. Edition
Schott. Classical. Study
Score. Composed 1971. 108
pages. Duration 29'.
Schott Music #ED 6332.
Published by Schott Music
(HL.49006193). ISBN
9790001067331.
9.0x12.0x0.336
inches. For many
people, Kurt Godel
(1906-1978) is the most
important logician of the
20th century. His
epistemological theorem:
'In any sufficiently
powerful logical system
statements can be
formulated which can
neither be proved nor
disproved within the
system, unless possibly
the system itself is
inconsistent' was the
central issue of Hans
Magnus Enzensberger's
poem Hommage a Godel
which served as subject
matter for the Second
Violin Concerto of Hans
Werner Henze.
3
(auch Picc.) * 1 * Engl.
Hr. * 2 (1. mit
Kontaktmikr.) * Bassklar.
* 2 - 2 * 2 * 1 (oder
Wagnertb.) * 0 - S. ( I:
Vibr. * Marimbula [oder
Psalter] * 3 Gl.; II: 3
Tomt. * Log drums *
Woodbl. * Guiro * hg.
Bambusstabe; III: 3 hg.
Beck. * gr. Tr. [mit
Ped.] * 8 Boo-bams [oder
Marimba mit Dampfer]; IV:
3 Tamt. * Dobaci * Flex.
* 2 Mar. * hg.
Donnerblech * Rohrengl.)
(4 Spieler) - Git. (mit
Kontaktmikr.) * Mand.
(mit Kontaktmikr.) * Hfe.
* Klav. * prap. Klav.
(mit Kontaktmikr.) - Str.
(0 * 0 * 4 * 3 * 2). $46.00 - Voir plus => Acheter | | |
| Piano Concerto in A minor Op. 16 Piano et Orchestre Breitkopf & Härtel
Piano/harpsichord and orchestra (solo: pno - 2(picc).2.2.2 - 4.2.3.0 - timp - st...(+)
Piano/harpsichord and
orchestra (solo: pno -
2(picc).2.2.2 - 4.2.3.0 -
timp - str) SKU:
BR.PB-15164-07
Urtext. Composed
by Edvard Grieg. Edited
by E.-G. Heinemann.
Orchestra; Softbound.
Partitur-Bibliothek
(Score Library). Solo
concerto; Romantic. Study
Score. 108 pages.
Duration 30'. Breitkopf
and Haertel #PB 15164-07.
Published by Breitkopf
and Haertel
(BR.PB-15164-07). ISBN
9790004215906. 6.5 x 9
inches. The piano
concerto in a minor
stands out in Edvard
Grieg's oeuvre. Besides
this famous concerto, he
composed only a few other
large orchestral works.
Because of its popularity
even in Grieg's lifetime,
it was often performed,
not least by the composer
himself. So it is not
surprising that Grieg
made many changes to the
score up to 1907. But at
the same time, the
concerto's size, form and
substance remained
completely unaltered.
Interventions in the
piano part basically
involved subtleties of
nuance, and only a very
few places in the music
text were altered. The
situation was different
with the orchestration.
Here Grieg was keen to
experiment and kept
filing away at the
orchestra sound right up
to the last. Melodies
were moved to other
instruments, accompanying
string chords were
reconstructed, and above
all the list of scored
instruments was changed.
The main source of the
Urtext edition by
Ernst-Gunter Heinemann is
the new edition of the
score originally
published in 1907 by C.
F. Peters, thus several
years after the first
edition of 1872. Taken
into account in the
present edition are the
changes that Grieg made
up to the time of his
death. Piano reduction
and fingering by Einar
Steen-Nokleberg. $24.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Piano Concerto in A minor Op. 16 Piano et Orchestre Breitkopf & Härtel
Piano/harpsichord and orchestra (solo: pno - 2(picc).2.2.2 - 4.2.3.0 - timp - st...(+)
Piano/harpsichord and
orchestra (solo: pno -
2(picc).2.2.2 - 4.2.3.0 -
timp - str) SKU:
BR.PB-15152
Urtext. Composed
by Edvard Grieg. Edited
by Ernst-Gunter
Heinemann. Orchestra;
Softcover.
Partitur-Bibliothek
(Score Library). In
Cooperation with G. Henle
Verlag Solo concerto;
Romantic. Full score. 108
pages. Duration 30'.
Breitkopf and Haertel #PB
15152. Published by
Breitkopf and Haertel
(BR.PB-15152). ISBN
9790004215579. 10 x 12.5
inches. The piano
concerto in a minor
stands out in Edvard
Grieg's oeuvre. Besides
this famous concerto, he
composed only a few other
large orchestral works.
Because of its popularity
even in Grieg's lifetime,
it was often performed,
not least by the composer
himself. So it is not
surprising that Grieg
made many changes to the
score up to 1907. But at
the same time, the
concerto's size, form and
substance remained
completely unaltered.
Interventions in the
piano part basically
involved subtleties of
nuance, and only a very
few places in the music
text were altered. The
situation was different
with the orchestration.
Here Grieg was keen to
experiment and kept
filing away at the
orchestra sound right up
to the last. Melodies
were moved to other
instruments, accompanying
string chords were
reconstructed, and above
all the list of scored
instruments was changed.
The main source of the
Urtext edition by
Ernst-Gunter Heinemann is
the new edition of the
score originally
published in 1907 by C.
F. Peters, thus several
years after the first
edition of 1872. Taken
into account in the
present edition are the
changes that Grieg made
up to the time of his
death. Piano reduction
and fingering by Einar
Steen-Nokleberg. $66.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Concerto for Pianoforte and Orchestra no. 2 in E-flat major - Intermédiaire Barenreiter
Piano, orchestra (Piano,Fl,2Ob,2bassoon,2H n,2Trp,Timp,2V,Va,Vc,Db) - Level 3 (+)
Piano, orchestra
(Piano,Fl,2Ob,2bassoon,2H
n,2Trp,Timp,2V,Va,Vc,Db)
- Level 3 SKU:
BA.BA11550 Composed
by Johann Joseph
Rösler. Edited by
Alena Hönigová.
This edition: urtext
edition. Paperback.
Barenreiter Urtext. First
edition. Score. No. 2.
Baerenreiter Verlag
#BA11550_00. Published by
Baerenreiter Verlag
(BA.BA11550). ISBN
9790260108608. 31 x 24.3
cm inches. Key: E-flat
major. Preface: Honigova,
Alena. Johann
Joseph Rösler
(1771–1812) was a
composer, conductor and
pianist who was active in
Prague and Vienna. Later
he was in the service of
Prince Franz Joseph von
Lobkowitz. His Piano
Concerto No. 2 in E-flat
major of 1803 is a
fitting companion to the
piano concertos of
Beethoven; indeed, his
first Piano Concerto in D
major was mistakenly
attributed to Beethoven
until 1925. Now
Rösler’s second
Piano Concerto is
appearing in print for
the first time. This is
due to editor Alena
Hönigová
discovering and
identifying an autograph
score which is the only
preserved source in the
Prague Conservatory
archive. In this Urtext
edition Hönigová
takes into account the
distinctive features of
Rösler’s
handwriting and the
division of parts in the
score, as befits the
performance practice of
his day.
About
Barenreiter
Urtext
What can I
expect from a Barenreiter
Urtext
edition?<
/p> MUSICOLOGICA
LLY SOUND - A
reliable musical text
based on all available
sources - A
description of the
sources -
Information on the
genesis and history of
the work - Valuable
notes on performance
practice - Includes
an introduction with
critical commentary
explaining source
discrepancies and
editorial decisions
... AND
PRACTICAL -
Page-turns, fold-out
pages, and cues where you
need them - A
well-presented layout and
a user-friendly
format - Excellent
print quality -
Superior paper and
binding
$53.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Concerto in C Major for Bassoon Strings and Basso Continuo RV466 Ricordi
Bassoon, Strings and BC SKU: HL.50038600 Score. Composed by Antoni...(+)
Bassoon, Strings and BC
SKU: HL.50038600
Score. Composed by
Antonio Vivaldi. Edited
by Gian Francesco
Malipiero. Woodwind Solo.
Solo & Concerto. Score
Only. Composed 1984.
Ricordi #PR899. Published
by Ricordi (HL.50038600).
UPC: 073999868739.
8.0x10.75x0.108
inches. $18.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Concerto for Violin and Orchestra in E Minor, Op. 64 Violon EMB (Editio Musica Budapest)
Score. By Felix Mendelssohn. Arranged by Gabor Darvas. EMB. 108 pages. Published...(+)
Score. By Felix
Mendelssohn. Arranged by
Gabor Darvas. EMB. 108
pages. Published by
Editio Musica Budapest.
$16.45 - Voir plus => Acheter | | |
| Concerto in A Major for Violin Strings and Basso Continuo RV352 Orchestre Ricordi
SKU: HL.50037580 Score. Composed by Antonio Vivaldi. Edited by Gia...(+)
SKU: HL.50037580
Score. Composed by
Antonio Vivaldi. Edited
by Gian Francesco
Malipiero. Orchestra. 32
pages. Ricordi #PR261.
Published by Ricordi
(HL.50037580).
7.75x10.5x0.108
inches. $17.95 - Voir plus => AcheterDélais: 3 to 5 business days | | |
| Concerto in G Minor for Strings and Basso Continuo RV155 Orchestre Ricordi
String Orchestra and B.C. SKU: HL.50037660 Score. Composed by Anto...(+)
String Orchestra and B.C.
SKU: HL.50037660
Score. Composed by
Antonio Vivaldi. Edited
by Gian Francesco
Malipiero. Orchestra.
Score Only. Composed
1984. Ricordi #PR247.
Published by Ricordi
(HL.50037660).
8.0x10.75x0.108
inches. $17.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Concerto for Piano and Orchestra in G minor, op. 33 B 63 Piano et Orchestre - Intermédiaire/avancé Barenreiter
Piano, orchestra (Piano,2Fl,2Ob,2Clar,2bas soon,2Hn,2Trp,Timp,2V,Va, Vc,Db) - Le...(+)
Piano, orchestra
(Piano,2Fl,2Ob,2Clar,2bas
soon,2Hn,2Trp,Timp,2V,Va,
Vc,Db) - Level 4 SKU:
BA.BA10420 Composed
by Antonin Dvorak. Edited
by Robbert van Steijn.
This edition: urtext
edition. Paperback.
Barenreiter Urtext.
Score. Opus 33. Duration
00:40:00. Baerenreiter
Verlag #BA10420_00.
Published by Baerenreiter
Verlag (BA.BA10420).
ISBN 9790260108387. 31
x 24.3 cm inches. Key: G
minor. Preface: David R.
Beveridge. Composed
in 1876, Dvorákâ??s
only piano concerto has
been overshadowed by his
other two concertos, for
violin and violoncello,
respectively. Performers
and editors have often
attempted to upgrade this
pianistically unassuming
work by adding
stylisations of their
own. Our Urtext edition
revaluates the sources,
frees the work from
subsequent interventions
and presents it to full
advantage in its
authentic
form.
The
principal source of our
new edition is the first
complete print issued by
the publisher Hainauer in
1883, which has been
meticulously collated
with the autograph. The
anonymous original piano
reduction is so full of
mistakes that editor
Robbert van Steijn
decided instead to
present the version by
Karel Å olc.
About
Barenreiter
Urtext
What can I
expect from a Barenreiter
Urtext
edition?<
/p> MUSICOLOGICA
LLY SOUND - A
reliable musical text
based on all available
sources - A
description of the
sources -
Information on the
genesis and history of
the work - Valuable
notes on performance
practice - Includes
an introduction with
critical commentary
explaining source
discrepancies and
editorial decisions
... AND
PRACTICAL -
Page-turns, fold-out
pages, and cues where you
need them - A
well-presented layout and
a user-friendly
format - Excellent
print quality -
Superior paper and
binding
$83.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Concerto in B flat major, RV 537 (GHEDINI) 2 Trompettes, Clavier (piano ou orgue) IMC (International Music Co.)
By Antonio Vivaldi. Two trumpets and piano. Published by International Music Co....(+)
By Antonio Vivaldi. Two
trumpets and piano.
Published by
International Music Co.
$14.25 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Concerto d-Moll op. 26/9 RV 406/481 [Partie séparée] Ernst Eulenburg
By Antonio Vivaldi. Arranged by Felix Schroeder. For Violoncello, Strings and Ha...(+)
By Antonio Vivaldi.
Arranged by Felix
Schroeder. For
Violoncello, Strings and
Harpsichord. Prae
Classica. Special Import
item. The price for this
item includes a Special
Import fee of $8.00.
Separate Part. 5 pages.
Published by Ernst
Eulenburg & Co GmbH.
$3.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Concerto in F Piano et Orchestre Breitkopf & Härtel
Piano/harpsichord and orchestra (solo: pno - picc.2.2.Eh.2.Bcl.2 - 4.3.3.1 - tim...(+)
Piano/harpsichord and
orchestra (solo: pno -
picc.2.2.Eh.2.Bcl.2 -
4.3.3.1 - timp.perc -
str) SKU:
BR.EB-10859
Urtext. Composed
by George Gershwin.
Orchestra; Softbound.
Edition Breitkopf. Solo
concerto; Early modern;
Music post-1945. Piano
reduction. 88 pages.
Duration 36'. Breitkopf
and Haertel #EB 10859.
Published by Breitkopf
and Haertel
(BR.EB-10859). ISBN
9790201808598. 9.5 x 12
inches. After
achieving sensational
success with the musical
Lady, be good! , with
evergreens such as
Fascinating Rhythm and
The Man I love, as well
as with his Rhapsody in
Blue , Gershwin premiered
his Concerto in F for
piano and orchestra as a
soloist at Carnegie Hall
in 1925. Now, the new
superstar of Broadway had
also arrived at the
center of New York's
classical music scene. In
its eventful history, the
work went through
numerous changes,
cuttings, arrangements,
many of which doubtful
and unauthorized. Even
the first and so far only
printed orchestral score,
edited by Frank
Campbell-Watson,
published in 1942 five
years after Gershwin's
death, contains many
unauthorized
interventions. Through
years of research, editor
Norbert Gertsch has
succeeded in ridding the
work of all unauthorized
additions and alterations
and thus reconstructing
an Urtext in its original
literal sense from the
complex source material -
from autograph sketches
to early recordings. The
first text-critical
edition of the work is a
joint production of
Breitkopf
(score/orchestral parts)
and G. Henle Verlag
(piano reduction). $37.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Concerto in E Minor for 4 Violins Strings and Basso Continuo, Op.3 No.4, RV550 Ricordi
4 Violins, Strings and BC SKU: HL.50053630 Score. Composed by Anto...(+)
4 Violins, Strings and BC
SKU: HL.50053630
Score. Composed by
Antonio Vivaldi. Edited
by Gian Francesco
Malipiero. String
Orchestra. Solo &
Concerto. Score Only.
Composed 1984. Ricordi
#PR1084. Published by
Ricordi (HL.50053630).
UPC: 073999861709.
8.0x10.75x0.184
inches. $25.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Second Book Of Trombone Solos Trombone et Piano Faber Music Limited
Trombone, Piano SKU: HU.F0571510841 For Trombone and Piano. Arranged by Leslie ...(+)
Trombone, Piano
SKU: HU.F0571510841
For Trombone and Piano.
Arranged by Leslie
Pearson and Peter
Goodwin. Brass,
Repertoire, Collections.
Softcover Book. 64 pages.
Faber Music #F0571510841.
Published by Faber Music
(
$22.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Giant Book of Violin Classics Violon et Piano Schirmer
Violin and Piano. Composed by Various. String. Classical. Softcover. 256 page...(+)
Violin and Piano.
Composed
by Various. String.
Classical. Softcover. 256
pages. G. Schirmer #LIB
2152. Published by G.
Schirmer
$36.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
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