| String Trio Op. 57 Violon Schott
String Trio (Study Score) SKU: HL.49014311 For violin, viola and cello...(+)
String Trio (Study Score)
SKU: HL.49014311
For violin, viola and
cello. Composed by
Elisabeth Lutyens. This
edition: Saddle
stitching. Sheet music.
Edition Schott.
Classical. Study Score.
Composed 1964. Op. 57. 20
pages. Duration 10'.
Schott Music #ED10945.
Published by Schott Music
(HL.49014311). ISBN
9790220106453. UPC:
841886028869.
6.0x9.0x0.08
inches. $18.99 - Voir plus => Acheter | | |
| String Quartet in C Major Op.54/2 Hob.III:58 Quatuor à cordes: 2 violons, alto, violoncelle Eulenburg
String Quartet (Study Score) SKU: HL.49015925 Tost-Quartets I No. 1(+)
String Quartet (Study
Score) SKU:
HL.49015925
Tost-Quartets I No.
1. Composed by Franz
Joseph Haydn. Edited by
Wilhelm Altmann. This
edition: Saddle
stitching. Sheet music.
Edition Schott.
Classical. Study Score.
Op. 54/2. 20 pages.
Eulenburg Edition #ETP66.
Published by Eulenburg
Edition (HL.49015925).
ISBN 9783795769697.
UPC: 841886005181.
5.25x7.5x0.083
inches. With more
than 1,200 titles from
the orchestral and choral
repertoire, from chamber
music and musical
theatre, Edition
Eulenburg is the world's
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covering large part of
music history from the
Baroque to the Classical
era and looking back on a
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| Evolution [Conducteur et Parties séparées] - Avancé Music Distribution Services
String quintet (2 violins, viola, cello and double bass) - advanced SKU: M7.A...(+)
String quintet (2
violins, viola, cello and
double bass) - advanced
SKU: M7.AST-7419
Orto sinfonico per
archi. Composed by
Peter Michael Braun. This
edition: Saddle-wire
stitching. Sheet music.
Score and parts. Composed
2006 - 2008. 220 pages.
Duration 50'. MDS (Music
Distribution Services)
#AST 7419. Published by
MDS (Music Distribution
Services) (M7.AST-7419).
ISBN
9790203892908. $79.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| String Quartet No. 2 Quatuor à cordes: 2 violons, alto, violoncelle Seesaw Music Corp
| | |
| Trioline 7 Miniatures 3 Violins - Facile Schott
3 violins or 2 violins and viola (soloistsstisch or choirisch) (3VN) - easy S...(+)
3 violins or 2 violins
and viola (soloistsstisch
or choirisch) (3VN) -
easy SKU:
HL.49008169 7
Miniatures. Composed
by Hermann Regner. This
edition: Saddle
stitching. Sheet music.
Edition Schott.
Classical. Playing score.
16 pages. Schott Music
#ED 8810. Published by
Schott Music
(HL.49008169). ISBN
9790001123082.
9.0x12.0x0.079
inches. 'Trioline'
is a collection of seven
short, very easy pieces,
intended for one or
several players to a
part. A much needed and
enjoyable addition to the
contemporary violin
repertoire for teaching
ensemble playing to
beginners. $16.99 - Voir plus => Acheter | | |
| Classic String Quartets for Festivals, Weddings, and All Occasions (1st Violin). Quatuor à cordes: 2 violons, alto, violoncelle Alfred Publishing
(1st Violin). Arranged by Andrew H. Dabczynski. Orchestra. For Violin 1. Part(s)...(+)
(1st Violin). Arranged by
Andrew H. Dabczynski.
Orchestra. For Violin 1.
Part(s); String Quartet.
Alfred's Ovation String
Quartet Series. Wedding.
32 pages. Published by
Alfred Music Publishing
$7.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| String Quartet Op. 20, No. 4 in D Major Quatuor à cordes: 2 violons, alto, violoncelle [Conducteur d'étude / Miniature] Hal Leonard
By Franz Joseph Haydn (1732-1809). Study Score. Eulenburg Taschenpartituren (Poc...(+)
By Franz Joseph Haydn
(1732-1809). Study Score.
Eulenburg
Taschenpartituren (Pocket
Scores). Study Score. 28
pages. Hal Leonard
#ETP93. Published by Hal
Leonard
$12.99 - Voir plus => Acheter | | |
| String Quartet S.s. (1934) Quatuor à cordes: 2 violons, alto, violoncelle Schott
String quartet SKU: HL.49004152 For two violins, violo and violoncello...(+)
String quartet SKU:
HL.49004152 For
two violins, violo and
violoncello. Composed
by Jean Francaix. This
edition: Saddle
stitching. Sheet music.
Edition Schott.
Classical. Study Score.
Composed 1938. 24 pages.
Duration 16'. Schott
Music #ED 3523. Published
by Schott Music
(HL.49004152). ISBN
9790001043151.
7.5x10.75x0.1
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| String Quartet No. 3 in D Major, Op. 44/1 Quatuor à cordes: 2 violons, alto, violoncelle [Conducteur d'étude / Miniature] Eulenburg
| | |
| Presto (from Symphony No. 1) (Full Score) - Facile Kendor Music Inc.
String Orchestra string orchestra with opt. 3rd Violin/Viola TC 3 - Grade 3 S...(+)
String Orchestra string
orchestra with opt. 3rd
Violin/Viola TC 3 - Grade
3 SKU: KN.10123S
(from Symphony No.
1). Composed by
Wolfgang Amadeus Mozart.
Arranged by Deborah Baker
Monday. Solo or Ensemble.
Apex String Orchestra.
Kendor Music Inc #10123S.
Published by Kendor Music
Inc (KN.10123S). UPC:
822795101232. What
better way to introduce
Mozart to students than
with the finale of his
first symphony, written
when he was just 8 years
old? Transposed to D
major, this arrangement
provides many
opportunities for
teaching classical form
and style. Clean
harmonies with
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and huge dynamic
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performance. Duration
2:35. $7.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| String Quartet 1 Parts (1947) Quatuor à cordes: 2 violons, alto, violoncelle Schott
String quartet SKU: HL.49005729 Composed by Hans Werner Henze. This editi...(+)
String quartet SKU:
HL.49005729 Composed
by Hans Werner Henze.
This edition: Saddle
stitching. Sheet music.
Edition Schott.
Classical. Set of Parts.
Composed 1947. Duration
20'. Schott Music #ED
5497. Published by Schott
Music (HL.49005729).
ISBN 9790001061988.
UPC: 884088097080. 9x12
inches. $44.00 - Voir plus => Acheter | | |
| String Quartet in E-flat Major, Op. 76/6, Hob.III:80 Quatuor à cordes: 2 violons, alto, violoncelle [Conducteur d'étude / Miniature] Eulenburg
By Franz Joseph Haydn. (Study Score). Schott. Size 5.25x7.5 inches. 28 pages. P...(+)
By Franz Joseph Haydn.
(Study Score). Schott.
Size 5.25x7.5 inches. 28
pages. Published by
Eulenburg London
(Schott).
$12.99 - Voir plus => Acheter | | |
| Classic String Quartets for Festivals, Weddings, and All Occasions (Cello) Quatuor à cordes: 2 violons, alto, violoncelle Alfred Publishing
(Cello). Arranged by Andrew H. Dabczynski. Orchestra. For Cello. Part(s); String...(+)
(Cello). Arranged by
Andrew H. Dabczynski.
Orchestra. For Cello.
Part(s); String Quartet.
Alfred's Ovation String
Quartet Series. Wedding.
32 pages. Published by
Alfred Music Publishing
$7.99 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Presto for String Quartet Quatuor à cordes: 2 violons, alto, violoncelle [Conducteur et Parties séparées] Belmont-Universal Edition
By Arnold Schoenberg (1874-1951). For string quartet. 20th Century. Score and pa...(+)
By Arnold Schoenberg
(1874-1951). For string
quartet. 20th Century.
Score and parts.
Published by Belmont
Music Publishers
$60.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| String Quartet in C Major, Op. 74/1, Hob.III:72 Quatuor à cordes: 2 violons, alto, violoncelle [Conducteur d'étude / Miniature] Eulenburg
Appony Quartet No. 4. By Franz Joseph Haydn. (Study Score). Schott. Size 5.25x7...(+)
Appony Quartet No. 4. By
Franz Joseph Haydn.
(Study Score). Schott.
Size 5.25x7.5 inches. 28
pages. Published by
Eulenburg London
(Schott).
$11.99 - Voir plus => Acheter | | |
| Cosmosis Maximus DVD [DVD] GIA Publications
SKU: GI.G-DVD-795 Composed by Eugene M. Corporon. GIA WindWorks. Music Ed...(+)
SKU: GI.G-DVD-795
Composed by Eugene M.
Corporon. GIA WindWorks.
Music Education. DVD. GIA
Publications #795.
Published by GIA
Publications
(GI.G-DVD-795). UPC:
785147079552. Three
major works are captured
on this audiophile DVD:
Cosmosis by Susan Botti,
Concerto for String
Quartet by ErvÃn
Schulhoff, and Symphony
No. 3 “Circus
Maximus†by John
Corgliano. Eugene
Corporon and the North
Texas Wind Symphony, with
the help Women of the A
Cappella Choir, Jerry
McCoy, Conductor, and the
DaPonte String Quartet,
and other guest musicians
capture virtuoso
musicians at the height
of their powers. A
remarkable achievement.
90 minutes, available
only on DVD. CONTENTS:
Cosmosis (2004), Susan
Botti (b. 1962) (SUBO
Music) (Poetry of May
Swenson) Overboard
(Prologue) The 1st Night
Interlude The 2nd Night
Julie Whittington McCoy,
soprano Women of the A
Cappella Choir Jerry
McCoy, conductor Concerto
for String Quartet
(1930), ErvÃn
Schulhoff (1894-1942)
(Panton International)
Allegro moderato Largo
Finale (Allegro con brio)
Ferdinand Liva, violin,
DaPonte String Quartet
Susan Demetris, violin,
concertmaster, The Dallas
Opera Mark Preston,
viola, DaPonte String
Quartet Myles Jordan,
DaPonte String Quartet
Symphony No. 3
“Circus
Maximus†(2005),
John Corigliano (b. 1938)
(G, Schirmer, Inc.)
Introitus Screen/Siren
Channel Surfing Night
Music I Night Music II
Circus Maximus Prayer
Coda: Veritas. $24.95 - 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 | | |
| Chamber Music Volume 1 Full Score Hal Leonard
(Score) SKU: HL.14037523 Carl Nielsen Collected Works Section II: Vol....(+)
(Score) SKU:
HL.14037523 Carl
Nielsen Collected Works
Section II: Vol. 10.
Composed by Carl August
Nielsen. Music Sales
America. Classical.
Hardcover. Hal Leonard
#CN00025. Published by
Hal Leonard
(HL.14037523). UPC:
888680073206. 10.25x13.25
inches. Contents:
Prelude, Theme and
Variations for Solo
Violin, op.48; Preludio E
Presto for Solo Violin,
op. 52; Quartet for Two
Violins, Viola and Cello
in G Minor, op.13;
Quartet for Two Violins,
Viola and Cello in F
Minor, op.5; Quartet for
Two Violins, Viola and
Cello in E Flat Major,
op.14; Quartet for Two
Violins, Viola and Cello
in F Major, op. 44;
Quintet for Two Violins,
Two Violas and Cello. $227.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Major Works For Orchestra Orchestre [Conducteur] Theodore Presser Co.
Orchestra - all SKU: PR.816600040 Composed by Wolfgang Amadeus Mozart. CD...(+)
Orchestra - all SKU:
PR.816600040 Composed
by Wolfgang Amadeus
Mozart. CD Sheet Music
(Version 1). Full Scores
to all of the major works
for orchestra by Mozart -
parts not included.
Classical Period. CD
Sheet Music. 2000
printable pages.
Published by Theodore
Presser Company
(PR.816600040). UPC:
680160600045. 5.5x5
inches. This disk
contains study scores of
all 41 of Mozart's
Symphonies, as well as
Concertos for Winds and
Strings (Piano Concertos
are on a companion
CD-ROM), Serenades, Opera
Overtures, Divertimentos,
and other works.
About CD Sheet
Music (Version
1) CD
Sheet Music (Version 1)
was the initial CD Sheet
Music series distributed
by Theodore Presser. The
CDs include thousands of
pages of music that are
viewable and printable on
Mac or PC. Version 1
titles are a great value
at 40% off, as we make
room in our warehouse for
the newly enhanced CD
Sheet Music (Version 2.0)
series. $18.95 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Fidelio Overture [Conducteur] - Intermédiaire Carl Fischer
Orchestra Cello, Contrabass, Timpani, Viola, Violin 1, Violin 2 - Grade 4 SKU...(+)
Orchestra Cello,
Contrabass, Timpani,
Viola, Violin 1, Violin 2
- Grade 4 SKU:
CF.SAS1F Composed by
Ludwig van Beethoven.
Arranged by Todd Parrish.
Sws. Cas. Full score. 20
pages. Carl Fischer Music
#SAS1F. Published by Carl
Fischer Music (CF.SAS1F).
ISBN 9781491157510.
UPC: 680160916092. 9 x 12
inches. Written in
1814, the Fidelio
Overture was the fourth
and final version chosen
to open Beethoven's only
opera by the same name.
Though not as lengthy or
grand as its three
predecessors (the Leonore
Overtures 1 - 3), it
served its purpose as an
opening statement without
overshadowing the music
to come. This string
arrangement transposes
the original key of E
Major into the much more
playable key of D Major.
It retains the original
opening which alternates
between powerful majestic
bursts and lyrical
harmonic progressions
while finishing with the
energetic presto to the
end. Rhythms have been
simplified but are very
much in the spirit of
Beethoven's writing. The
optional timpani gives
this arrangement a
symphonic quality that
closely resembles the
original. Written in
1814, the Fidelio
Overture was the fourth
and final version chosen
to open Beethoven's only
opera by the same name.
Though not as lengthy or
grand as its three
predecessors (the Leonore
Overtures 1 – 3),
it served its purpose as
an opening statement
without overshadowing the
music to come. This
string arrangement
transposes the original
key of E Major into the
much more playable key of
D Major. It retains the
original opening which
alternates between
powerful majestic bursts
and lyrical harmonic
progressions while
finishing with the
energetic presto to the
end. Rhythms have been
simplified but are very
much in the spirit of
Beethoven’s
writing. The optional
timpani gives this
arrangement a symphonic
quality that closely
resembles the
original. $10.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Fidelio Overture - Intermédiaire Carl Fischer
Orchestra Cello, Contrabass, Timpani, Viola, Violin 1, Violin 2 - Grade 4 SKU...(+)
Orchestra Cello,
Contrabass, Timpani,
Viola, Violin 1, Violin 2
- Grade 4 SKU:
CF.SAS1 Composed by
Ludwig van Beethoven.
Arranged by Todd Parrish.
Folio. Cas. Set of Score
and Parts.
15+32+24+15+15+2+20
pages. Duration 4
minutes, 35 seconds. Carl
Fischer Music #SAS1.
Published by Carl Fischer
Music (CF.SAS1). ISBN
9781491157718. UPC:
680160916290. 9 x 12
inches. Written in
1814, the Fidelio
Overture was the fourth
and final version chosen
to open Beethoven's only
opera by the same name.
Though not as lengthy or
grand as its three
predecessors (the Leonore
Overtures 1 - 3), it
served its purpose as an
opening statement without
overshadowing the music
to come. This string
arrangement transposes
the original key of E
Major into the much more
playable key of D Major.
It retains the original
opening which alternates
between powerful majestic
bursts and lyrical
harmonic progressions
while finishing with the
energetic presto to the
end. Rhythms have been
simplified but are very
much in the spirit of
Beethoven's writing. The
optional timpani gives
this arrangement a
symphonic quality that
closely resembles the
original. Written in
1814, the Fidelio
Overture was the fourth
and final version chosen
to open Beethoven's only
opera by the same name.
Though not as lengthy or
grand as its three
predecessors (the Leonore
Overtures 1 – 3),
it served its purpose as
an opening statement
without overshadowing the
music to come. This
string arrangement
transposes the original
key of E Major into the
much more playable key of
D Major. It retains the
original opening which
alternates between
powerful majestic bursts
and lyrical harmonic
progressions while
finishing with the
energetic presto to the
end. Rhythms have been
simplified but are very
much in the spirit of
Beethoven’s
writing. The optional
timpani gives this
arrangement a symphonic
quality that closely
resembles the
original. $70.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Concerto Theodore Presser Co.
Orchestra Bassoon 1, Bassoon 2, Clarinet 1, Clarinet 2, Contrabass, Flute, Flute...(+)
Orchestra Bassoon 1,
Bassoon 2, Clarinet 1,
Clarinet 2, Contrabass,
Flute, Flute 1, Flute 2,
Harp, Horn 1, Horn 2,
Oboe 1, Oboe 2,
Percussion, Piano,
Timpani, Trumpet 1,
Trumpet 2, Viola, Violin
1, Violin 2, Violoncello
SKU: PR.11641142S
Op. 39. Composed
by Lowell Liebermann.
Study Score. 84 pages.
Duration 25 minutes.
Theodore Presser Company
#116-41142S. Published by
Theodore Presser Company
(PR.11641142S). ISBN
9781491134030. UPC:
680160683772. The
Concerto for Flute and
Orchestra, Op. 39 was
completed in September of
1992. It was commissioned
by James Galway, and is
dedicated to him. The
work is scored for an
orchestra comprised of
piccolo, flute, oboe,
english horn, clarinet,
bass clarinet, bassoon,
contrabassoon, two horns,
two trumpets, timpani,
percussion, harp, piano
and strings. The Concerto
is in three movements.
The first movement,
Moderato, is an arc-like
form, all of whose
components are in fact
variations on the
harmonic progression of
its principal theme. The
central section of this
movement is a set of
explicit chaconne
variations on a
chorale-version of this
progression. The second
movement, Adagio molto,
presents a lyrical melody
which is spun out over a
pulsating syncopated
ostinato which persists
through the entire length
of the movement. The
final movement, Presto,
is a virtuoso work-out
for the flutist in a
rondo-like form which
closes with a Prestissimo
coda. The Concerto for
Flute and Orchestra has
been recorded for release
on the BMG label by James
Galway with the London
Mozart Players conducted
by the composer. The
Concerto for Flute and
Orchestra, Op. 39 was
completed in September of
1992. It was commissioned
by James Galway, and is
dedicated to him.The work
is scored for an
orchestra comprised of
piccolo, flute, oboe,
english horn, clarinet,
bass clarinet, bassoon,
contrabassoon, two horns,
two trumpets, timpani,
percussion, harp, piano
and strings.The Concerto
is in three movements.
The first movement,
Moderato, is an arc-like
form, all of whose
components are in fact
variations on the
harmonic progression of
its principal theme. The
central section of this
movement is a set of
explicit chaconne
variations on a
chorale-version of this
progression.The second
movement, Adagio molto,
presents a lyrical melody
which is spun out over a
pulsating syncopated
ostinato which persists
through the entire length
of the movement.The final
movement, Presto, is a
virtuoso work-out for the
flutist in a rondo-like
form which closes with a
Prestissimo coda.The
Concerto for Flute and
Orchestra has been
recorded for release on
the BMG label by James
Galway with the London
Mozart Players conducted
by the composer. $50.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| The Island of Saints and Scholars [Conducteur] - Intermédiaire Carl Fischer
Orchestra Cello, Contrabass, Viola, Violin 1, Violin 2 - Grade 4 SKU: CF.SAS7...(+)
Orchestra Cello,
Contrabass, Viola, Violin
1, Violin 2 - Grade 4
SKU: CF.SAS7F
Composed by David
O'Fallon. Full score. 16
pages. Carl Fischer Music
#SAS7F. Published by Carl
Fischer Music (CF.SAS7F).
ISBN 9781491160879.
UPC:
680160919475. The
Island of Saints and
Scholars is an old
nickname for Ireland
dating back to the early
Middle Ages. This
original work is a
reflection upon Ireland's
rich and turbulent
history, which can be
heard in the lyrical
melodic phrases,
ever-changing meter, and
moments of dissonance.
The rhythmic profile of
the piece was suggested
by a type of Old Irish
verse that, among other
features, carries seven
syllables per line. The
quiet opening gains in
intensity during an
extended stringendo into
the fast-paced middle
section (Vigorously),
where watching and
listening carefully are
imperative. Later, a
second extended
stringendo guides the
ensemble into the
spirited finale
(Presto). The Island
of Saints and Scholars is
an old nickname for
Ireland dating back to
the early Middle Ages.
This original work is a
reflection upon
Ireland’s rich and
turbulent history, which
can be heard in the
lyrical melodic phrases,
ever-changing meter, and
moments of dissonance.
The rhythmic profile of
the piece was suggested
by a type of Old Irish
verse that, among other
features, carries seven
syllables per line. The
quiet opening gains in
intensity during an
extended stringendo into
the fast-paced middle
section (Vigorously),
where watching and
listening carefully are
imperative. Later, a
second extended
stringendo guides the
ensemble into the
spirited finale
(Presto). $9.50 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Examine me, God, and inquire of my heart (Erforsche mich, Gott, und erfahre mein Herz) Chorale SATB Carus Verlag
ATB vocal soli, SATB choir, horn, oboe, oboe d'amore, 2 violins, viola, basso co...(+)
ATB vocal soli, SATB
choir, horn, oboe, oboe
d'amore, 2 violins,
viola, basso continuo
SKU: CA.3113613
Cantata for the 8th
Sunday after Trinity.
Composed by Johann
Sebastian Bach. Edited by
Christiane Hausmann. This
edition: urtext.
Stuttgart Urtext Edition:
Bach vocal. Viola. Sacred
vocal music, Cantatas,
Trinity. Single Part,
Viola. Composed 1723. BWV
136. 4 pages. Duration 22
minutes. Carus Verlag #CV
31.136/13. Published by
Carus Verlag
(CA.3113613). ISBN
9790007208134. Text
language:
German/English. The
cantata Erforsche mich
Gott und erfahre mein
Herz BWV 136 was composed
in Bach's first year as
Kantor of St. Thomas's in
Leipzig and was first
performed on the 8th
Sunday after Trinity, the
18th July 1723. The
librettist is unknown.
The title of the cantata
is taken from verse 23 of
Psalm 139: Erforsche mich
Gott und erfahre mein
Herz; prufe mich und
erfahre, wie ich's meine.
(Search me, O God, and
know my heart: try me,
and know my thoughts) The
opening chorus forms an
extended fugue, framed by
string writing bursting
with energy. The
obbligato horn
accentuates and enriches
the movement with a
special tonal color. The
alto aria in F sharp
minor (movement 3)
comprises a trio movement
with an oboe d'amore as
solo instrument in a
contrasting range - a
presto middle section
which dramatically
charges the words Denn
seines Eifers Grimm
vernichtet (For the fury
of its zeal will
destroy). In the duet
(movement 5) the text is
sung by tenor and bass
line by line, sometimes
imitating contrapuntally,
and sometimes both
singing together
dramatically in
homophonic writing. A
simple chorale setting to
the melody Auf meinen
lieben Gott concludes the
cantata. Particularly
charming here is the
violin which joins the
four vocal parts as an
independent part. Score
and part available
separately - see item
CA.3113600. $8.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| The Music of Leroy Osmon Volume IV Zeraim Seeds Mark Custom Music
By Tennessee Technological University Department of Music and Art Faculty. By Le...(+)
By Tennessee
Technological University
Department of Music and
Art Faculty. By Leroy
Osmon. Classical.
Performance CD
$14.99 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
| Septet Op.20 In E Flat (score) Heugel
Clarinet, Bassoon, French Horn, Violin, Viola, Cello, Double Bass (Chamber Ensem...(+)
Clarinet, Bassoon, French
Horn, Violin, Viola,
Cello, Double Bass
(Chamber Ensemble)
SKU: HL.48187693
Composed by Ludwig van
Beethoven. Leduc.
Classical. Softcover.
Heugel & Cie #HE31489.
Published by Heugel & Cie
(HL.48187693). UPC:
888680849191.
5.5x7.5x0.284
inches. Adagio -
Allegro con Brio; Adagio
cantabile; Tempo di
Menuetto; Tema con
Variazioni; Scherzo;
Andante con Moto alla
Marcia - Presto (for
clarinet, bassoon, horn,
violin, viola, cello and
double bass). $13.50 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Capriol Dances - Facile Carl Fischer
Orchestra Cello, Contrabass, Viola, Violin 1, Violin 2 - Grade 3 SKU: CF.CAS1...(+)
Orchestra Cello,
Contrabass, Viola, Violin
1, Violin 2 - Grade 3
SKU: CF.CAS148
Composed by Peter
Warlock. Arranged by
Caryn Wiegand Neidhold.
Set of Score and Parts.
Duration 3 minutes. Carl
Fischer Music #CAS148.
Published by Carl Fischer
Music (CF.CAS148).
ISBN 9781491162804.
UPC: 680160921553. Key: D
minor. The
enigmatic composer Peter
Warlock is best known for
his exciting Capriol
Suite, which has become a
favorite for adjudicated
orchestra events. Two of
the most famous
movements, Basse-Danse
and Mattachins (Sword
Dance), are presented
here in a set adapted for
intermediate orchestra,
allowing younger students
to experience the
high-energy melodies and
unique harmonies of these
popular dances. These
thoughtfully-arranged
pieces work well at a
variety of tempi, from
moderate to presto,
according to the
ensemble’s
ability. An exciting
concert opener or
closer!
About Carl
Fischer Concert String
Orchestra
Series Thi
s series of pieces (Grade
3 and higher) is designed
for advancing ensembles.
The pieces in this series
are characterized
by: - Expanded use
of rhythms, ranges and
keys but technical
demands are still
carefully
considered
- More
comprehensive bowing
techniques
- Viola
T.C.
included
- Careful
selection of keys and
degree of difficulty for
advancing
musicians
$60.00 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
| Leonore Op. 72 Breitkopf & Härtel
Viola (2.2.2.2. - 4.2.3.0. - timp - str) SKU: BR.OB-5512-19 Overture N...(+)
Viola (2.2.2.2. -
4.2.3.0. - timp - str)
SKU: BR.OB-5512-19
Overture No. 3 to the
Opera - Urtext.
Composed by Ludwig van
Beethoven. Edited by
Christian Rudolf Riedel.
This edition: viola.
Stapled.
Orchester-Bibliothek
(Orchestral Library).
For his new edition of
the Leonore
Overture, which is
still wrongly labeled as
No. 3 to this day,
Christian Rudolf Riedel
based himself for the
first time on the Prague
copy of the score that
was rediscovered in
1977. Overture;
Classical. Part. 12
pages. Duration 12'.
Breitkopf and Haertel #OB
5512-19. Published by
Breitkopf and Haertel
(BR.OB-5512-19). ISBN
9790004339022. 10 x 12.5
inches. Urtext
virgin territory: the
overture Leonore No. 3 To
this day, the two major
Fidelio overtures are
still performed from
music texts that go back
to the imprecise and
corrupted first editions
of the parts. In the
meantime, however, the
state of the sources for
both works has
significantly improved
through many new
findings. For his new
edition of the Leonore
Overture, which is still
wrongly labeled as No. 3
to this day, Christian
Rudolf Riedel based
himself for the first
time on the Prague copy
of the score that was
rediscovered in 1977.
This score was most
likely used by the
conductor in 1806, and it
helps clear up the
previously unresolved
textual problems of the
work, such as, for
example, the famous
Presto passage in m.
514.
For his new
edition of the Leonore
Overture, which is still
wrongly labeled as No. 3
to this day, Christian
Rudolf Riedel based
himself for the first
time on the Prague copy
of the score that was
rediscovered in 1977. $8.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Capriol Dances [Conducteur] - Facile Carl Fischer
Orchestra Cello, Contrabass, Viola, Violin 1, Violin 2 - Grade 3 SKU: CF.CAS1...(+)
Orchestra Cello,
Contrabass, Viola, Violin
1, Violin 2 - Grade 3
SKU: CF.CAS148F
Composed by Peter
Warlock. Arranged by
Caryn Wiegand Neidhold.
Full score. 12 pages.
Duration 3 minutes. Carl
Fischer Music #CAS148F.
Published by Carl Fischer
Music (CF.CAS148F).
ISBN 9781491163146.
UPC: 680160921898. Key: D
minor. The
enigmatic composer Peter
Warlock is best known for
his exciting Capriol
Suite, which has become a
favorite for adjudicated
orchestra events. Two of
the most famous
movements, Basse-Danse
and Mattachins (Sword
Dance), are presented
here in a set adapted for
intermediate orchestra,
allowing younger students
to experience the
high-energy melodies and
unique harmonies of these
popular dances. These
thoughtfully-arranged
pieces work well at a
variety of tempi, from
moderate to presto,
according to the
ensemble’s
ability. An exciting
concert opener or
closer!
About Carl
Fischer Concert String
Orchestra
Series Thi
s series of pieces (Grade
3 and higher) is designed
for advancing ensembles.
The pieces in this series
are characterized
by: - Expanded use
of rhythms, ranges and
keys but technical
demands are still
carefully
considered
- More
comprehensive bowing
techniques
- Viola
T.C.
included
- Careful
selection of keys and
degree of difficulty for
advancing
musicians
$9.50 - Voir plus => AcheterDélais: 1 to 2 weeks | | |
1 ... 151 Page suivante 181 211 |