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Concerto for String Orchestra
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1776
Beethoven: Sonata Op. 49 No. 2 for String Orchestra
String Orchestra
String Orchestra - Level 2 - Digital Download SKU: A0.549863 Composed by Ludwig van…
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String Orchestra - Level 2 - Digital Download SKU: A0.549863 Composed by Ludwig van Beethoven. Arranged by James M. Guthrie, ASCAP. Classical,Concert,Instructional,Standards,World. Score and parts. 52 pages. Jmsgu3 #3557749. Published by jmsgu3 (A0.549863). Beethoven Sonata Op. 49 No. 2 arranged for string orchestra. Duration: 10:15 Score: 28 pages, 242 measures. In two movements. I arranged this for my own beginner orchestra. Easy to rehearse and perform. Very popular with the audience. Sonata Op. 49 No. 2 Arranged from Beethoven’s Piano Sonata No. 20, this is a simple but interesting work in two movements showing the composers sense of humor. The first movement Allegro ma non troppo and the second movement Tempo di Menuetto are both in the key of G. Both Sonatas 19 and 20 (op. 49, No. 1 & 2) are named Easy Sonatas because they are technically easier than the usual Beethoven Sonatas. This makes them very popular among students and teachers alike. Beethoven Background Ludwig van Beethoven (1770 –1827) was certainly a German pianist. Above all, he was probably one of the greatest composers in history. As a result, he is a pivotal character in the progress between the Classical and Romantic periods. He is certainly one of the most famous and hence important of all composers. Seems like his most familiar and noteworthy works include symphonies 1-9; piano concertos 1-5; and furthermore, the violin concerto. Also, certainly of extreme importance are the noteworthy 32 sonatas for the piano; the string quartets 1-16; the Missa solemnis; and likewise, his only opera, Fidelio. Beethoven Overview First of all, Beethoven was born and consequently raised in Bonn. Upon turning 21 he moved to Vienna probably to study composition with Haydn. That’s when he consequently grew a reputation as a brilliant pianist. Furthermore, he probably stayed in Vienna the rest of his life. In his late 20s it seems like his hearing certainly began to decline. It slowly declined until consequently he was nearly totally deaf probably by the last decade of his life. As a result, he stopped conducting and performing. Nevertheless, he continued to compose. As a result, some of his greatest works probably come from this period. First Period Seems like we often divide Beethoven’s life into three periods. Period 1 begins with Beethoven’s arrival in Vienna. Hence, during this period, he mastered the Viennese style of Haydn & Mozart. He consequently began increasing the size and scale of his works. Furthermore, he experimented with extreme dynamics, and likewise extreme tempi. He worked similarly with chromatic harmony. His First and Second Symphonies therefore belong to this period. Other important works also belong here: the first six string quartets and the Sonata Pathétique, Op. 13. Second Period His second period probably began as soon as he realized that he was going deaf. During this period, it seems like he became obsessed with the idea of heroism. His works consequently become even larger and more massive. The most noteworthy of these include the symphonies 3 – 8, piano concertos 5& 6, 5 string quartets, several important piano sonatas (Waldstein and Appassionata), the Kreutzer violin sonata, the violin concerto and his only opera: Fidelio. Third Period In contrast, Beethoven's third period is branded above all by works of incredible intellectual depth, formal innovation, and penetrating expression. It seems like he continued to expand his works. Consequently, the string quartet Op. 131 spills over into seven connected movements. Likewise, in the Ninth Symphony he adds choral forces to his orchestra probably for the first time in history. Even more, other works from this period include his Missa solemnis, the final 5 string quartets (including the enormous Große Fuge) and the final five sonatas for piano. www.jamesguthrie.com.
$49.95
45.7 €
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String Orchestra
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Ludwig van Beethoven
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Beethoven: Sonata Op. 49 No. 2 for String Orchestra
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jmsgu3
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SheetMusicPlus
Antonio Vivaldi: Concerto in A minor Op.3 No.6 (parts) for string orchestra
String Orchestra
Instantly downloadable sheet music by Antonio Vivaldi for string orchestra of MEDIUM skill…
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Instantly downloadable sheet music by Antonio Vivaldi for string orchestra of MEDIUM skill level. Contents: concerto in A minor, A minor, opus 3, number 6, concerto / classical,concert
$14.99
13.71 €
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String Orchestra
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Antonio Vivaldi
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Virtualsheetmusic
Antonio Vivaldi: Concerto in A minor Op.3 No.6 (f.score) for string orchestra
String Orchestra
Instantly downloadable sheet music by Antonio Vivaldi for string orchestra of MEDIUM skill…
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Instantly downloadable sheet music by Antonio Vivaldi for string orchestra of MEDIUM skill level. Contents: concerto in A minor, A minor, opus 3, number 6, concerto / classical,concert
$6.99
6.4 €
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String Orchestra
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Antonio Vivaldi
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Virtualsheetmusic
Antonio Vivaldi: Concerto in A minor Op.3 No.6 (COMPLETE) for string orchestra
String Orchestra
Instantly downloadable sheet music by Antonio Vivaldi for string orchestra of MEDIUM skill…
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Instantly downloadable sheet music by Antonio Vivaldi for string orchestra of MEDIUM skill level. Contents: concerto in A minor, A minor, opus 3, number 6, concerto / classical,concert
$14.99
13.71 €
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String Orchestra
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Antonio Vivaldi
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Virtualsheetmusic
Concerto
Piano and Orchestra
Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by …
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Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minutes. Schott Music - Digital #Q53630. Published by Schott Music - Digital
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)
$23.99
21.95 €
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Piano and Orchestra
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Gyorgy Ligeti (1923-2006)
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Concerto
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Schott Music - Digital
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SheetMusicPlus
Carson Cooman: Piano Concerto (2005) for solo piano and strings, score only
Chamber Orchestra
Chamber Orchestra - Level 5 - Digital Download SKU: A0.533630 Composed by Carson Co…
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Chamber Orchestra - Level 5 - Digital Download SKU: A0.533630 Composed by Carson Cooman. Classical,Contemporary. Score and parts. 31 pages. Musik Fabrik Music Publishing #3033833. Published by Musik Fabrik Music Publishing (A0.533630). Piano Concerto (2005) for solo piano and strings was commissioned by Nathaniel Blume andSymphonic Underground. The work was written in celebration of the Mozart Year 2006.Unlike most recent piano concerti, this work is a concerto designed for small performingforces. It sits between typical chamber music and the typical piano concerto.The work was inspired by the various Mozart concerti (such as K. 449) which are oftenperformed with very small string sections. Thus, this concerto may be performed with as fewas single strings on each part, or a larger full string orchestraThe work is cast in one movement, containing two large sections (sub-movements).Structurally, the piece is a highly condensed version of Classical period symphonic form.The first section of the work is an exposition-development/sonata allegro combined with aslow movement. The second section is a combination of a triple-meter scherzo and a rondofinale.The musical material throughout derives tonally from the three notes of a D-major triad (D,F#, and A). Those three pitches serve as transformation centers for the work's material andalso plot the tonal areas of each section. The musical material of the work thus ranges fromhighly Classical melodies (although all original) and textures to more Romantic andmodernist elements that transform out of the initial material.
$25.95
23.74 €
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Chamber Orchestra
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Carson Cooman
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Carson Cooman: Piano Concerto
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Musik Fabrik Music Publishing
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SheetMusicPlus
Carson Cooman: Piano Concerto (2005) for solo piano and strings, score and parts
Chamber Orchestra
Chamber Orchestra - Level 5 - Digital Download SKU: A0.533631 Composed by Carson Co…
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Chamber Orchestra - Level 5 - Digital Download SKU: A0.533631 Composed by Carson Cooman. Classical,Contemporary. Score and parts. 65 pages. Musik Fabrik Music Publishing #3033835. Published by Musik Fabrik Music Publishing (A0.533631). Piano Concerto (2005) for solo piano and strings was commissioned by Nathaniel Blume andSymphonic Underground. The work was written in celebration of the Mozart Year 2006.Unlike most recent piano concerti, this work is a concerto designed for small performingforces. It sits between typical chamber music and the typical piano concerto.The work was inspired by the various Mozart concerti (such as K. 449) which are oftenperformed with very small string sections. Thus, this concerto may be performed with as fewas single strings on each part, or a larger full string orchestraThe work is cast in one movement, containing two large sections (sub-movements).Structurally, the piece is a highly condensed version of Classical period symphonic form.The first section of the work is an exposition-development/sonata allegro combined with aslow movement. The second section is a combination of a triple-meter scherzo and a rondofinale.The musical material throughout derives tonally from the three notes of a D-major triad (D,F#, and A). Those three pitches serve as transformation centers for the work's material andalso plot the tonal areas of each section. The musical material of the work thus ranges fromhighly Classical melodies (although all original) and textures to more Romantic andmodernist elements that transform out of the initial material.
$64.95
59.42 €
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Chamber Orchestra
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Carson Cooman
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Carson Cooman: Piano Concerto
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Musik Fabrik Music Publishing
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SheetMusicPlus
Thierry Pélicant: Concerto for contrabass and orchestra, score only
Orchestra
Full Orchestra - Level 5 - Digital Download SKU: A0.534554 Composed by Thierry PÃ…
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Full Orchestra - Level 5 - Digital Download SKU: A0.534554 Composed by Thierry Pélicant. 20th Century,Contemporary,Standards. Score and parts. 136 pages. Musik Fabrik Music Publishing #4283537. Published by Musik Fabrik Music Publishing (A0.534554). In 2004, the Orchestre Philharmonique de l’Oise commissioned its musical director, t Thierry Pélicant, this concerto for the late Claude Caens, the principal contrabass of this orchestra. This great artist, who was friends with everyone in this ensemble, wanted everyone to have a part in the festivities, not only the strings, but also the winds, the horns, the trumpets and the percussion, and also that they all should be heard ! Thierry Pélicant wrote therefore a concerto which is at once very symphonic – and for this reason, it is strongly advised that the contrabass be amplified – but also a piece which would express the friendship between the orchestra and the soloist. This concerto strives to be both warm and lyrical : it is not a virtuoso showpiece, inspite of the real technical that it offers to the soloist and which he would do well to try to hid them from the audience. It is also not a battle between the orchestra and this gentle giant : they stroll together, sometimes joyously, sometimes with nostalgia and go through the strong storms which do not fail to present themselves, smiling together and finding them to be envigorating.The work is scored for (2(Pic)2(EH)22/2200/Timp/2perc/strings) and lasts aproximately 23 minutes. The orchestral parts are on rental from the pubilsher. The piano reduction with the solo part is available for sale on this site.Thierry Pélicant was born in 1957 at Sainte-Adresse, France. After studying the organ and the horn, his meeting with Jean-Claude Hartemann, the Musical Director of the Opéra Comique in Paris lead him to decide to explore conducting. He was the student of Haremann for fifteen years. He is the Musical Director of the André Messager Orchestre and has also directed the Orchestre Philharmonique de l’Oise since 1980, one of the oldest French orchestras, since it was founded in 1750. A passionate ssupporter of French music, Pélicant reconstructed the Messe solennelle of L.V.A Boïeldieu and Te Deum of 1792 by Philidor and premièred and recorded the Suite Parnassienne, Massenet’s last work. At the same time, he has also served the music of our time in premièring or recording the works of Dazzi, Marchand, Braconnier, Bénard, Drouin, Preschez, etc. As a composer, musical grammar and stylistic debates only interest him from afar. As a true gourmet (since cooking is another of his passions), he strives to write the music that pleases him, that would be enjoyable to play and which would be enjoyable to hear, hopefully with real pleasure and in which he tries to express the emotions and the pleasant or surprising states of being which, to hime, these works are tied. Through this process, he has created concertos (for oboe, for bassoon, for organ, for contrabass), Escales & paysages, ma monumental literary concerto for narrator, piano and orchestra, written for his friend Dominique Preschez, Operas (Histoires comme ça, Ribouldingue, Élise et le fantôme) ; With the poet Luis Porquet, he wrote the song cycle Ombre légère (for soprano, harp and orchestre), Rhapsodie du Havre (for tenor and chamber orchestra, a commission from the Forum de Normandie to commemorate the 500 years of the founding of the city Le Havre), Et de toi, Bethleem, Christmas oratorio for baritone, chorus and orchestra and, finally, commissioned by the Orchestre de l’Oise in honor of the centennial of the First World War 14, fresque de la Grande Guerre, for the tenor Daniel Gà lvez-Vallejo, children’s chorus and orchestra. In the area of chamber music, he has written a sonata for horn and piano, for the Festival de Giverny, Borée (quintet for oboe and strings), Sextuor d’été, and Milonga (septet inspired by the World of Tango Music). Published in 2005, his novel Carnets de Walter Crane, explores the sufferings of a composer who has the obligation to write a string quartet ...
$38.95
35.64 €
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Orchestra
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Thierry Pélicant
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Thierry Pélicant: Concerto for contrabass and orchestra, score only
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Musik Fabrik Music Publishing
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SheetMusicPlus
Thierry Pélicant: Concerto for contrabass and orchestra, piano reduction and solo part
Orchestra
Full Orchestra - Level 5 - Digital Download SKU: A0.534555 Composed by Thierry PÃ…
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Full Orchestra - Level 5 - Digital Download SKU: A0.534555 Composed by Thierry Pélicant. 20th Century,Contemporary,Standards. Score and parts. 46 pages. Musik Fabrik Music Publishing #4283543. Published by Musik Fabrik Music Publishing (A0.534555). In 2004, the Orchestre Philharmonique de l’Oise commissioned its musical director, t Thierry Pélicant, this concerto for the late Claude Caens, the principal contrabass of this orchestra. This great artist, who was friends with everyone in this ensemble, wanted everyone to have a part in the festivities, not only the strings, but also the winds, the horns, the trumpets and the percussion, and also that they all should be heard ! Thierry Pélicant wrote therefore a concerto which is at once very symphonic – and for this reason, it is strongly advised that the contrabass be amplified – but also a piece which would express the friendship between the orchestra and the soloist. This concerto strives to be both warm and lyrical : it is not a virtuoso showpiece, inspite of the real technical that it offers to the soloist and which he would do well to try to hid them from the audience. It is also not a battle between the orchestra and this gentle giant : they stroll together, sometimes joyously, sometimes with nostalgia and go through the strong storms which do not fail to present themselves, smiling together and finding them to be envigorating.The work is scored for (2(Pic)2(EH)22/2200/Timp/2perc/strings) and lasts aproximately 23 minutes. The orchestral parts are on rental from the pubilsher. The full score is available for sale on this site.Thierry Pélicant was born in 1957 at Sainte-Adresse, France. After studying the organ and the horn, his meeting with Jean-Claude Hartemann, the Musical Director of the Opéra Comique in Paris lead him to decide to explore conducting. He was the student of Haremann for fifteen years. He is the Musical Director of the André Messager Orchestre and has also directed the Orchestre Philharmonique de l’Oise since 1980, one of the oldest French orchestras, since it was founded in 1750. A passionate ssupporter of French music, Pélicant reconstructed the Messe solennelle of L.V.A Boïeldieu and Te Deum of 1792 by Philidor and premièred and recorded the Suite Parnassienne, Massenet’s last work. At the same time, he has also served the music of our time in premièring or recording the works of Dazzi, Marchand, Braconnier, Bénard, Drouin, Preschez, etc. As a composer, musical grammar and stylistic debates only interest him from afar. As a true gourmet (since cooking is another of his passions), he strives to write the music that pleases him, that would be enjoyable to play and which would be enjoyable to hear, hopefully with real pleasure and in which he tries to express the emotions and the pleasant or surprising states of being which, to hime, these works are tied. Through this process, he has created concertos (for oboe, for bassoon, for organ, for contrabass), Escales & paysages, ma monumental literary concerto for narrator, piano and orchestra, written for his friend Dominique Preschez, Operas (Histoires comme ça, Ribouldingue, Élise et le fantôme) ; With the poet Luis Porquet, he wrote the song cycle Ombre légère (for soprano, harp and orchestre), Rhapsodie du Havre (for tenor and chamber orchestra, a commission from the Forum de Normandie to commemorate the 500 years of the founding of the city Le Havre), Et de toi, Bethleem, Christmas oratorio for baritone, chorus and orchestra and, finally, commissioned by the Orchestre de l’Oise in honor of the centennial of the First World War 14, fresque de la Grande Guerre, for the tenor Daniel Gà lvez-Vallejo, children’s chorus and orchestra. In the area of chamber music, he has written a sonata for horn and piano, for the Festival de Giverny, Borée (quintet for oboe and strings), Sextuor d’été, and Milonga (septet inspired by the World of Tango Music). Published in 2005, his novel Carnets de Walter Crane, explores the sufferings of a composer who has the obligation to write a string quartet ...
$29.95
27.4 €
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Orchestra
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Thierry Pélicant
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Thierry Pélicant: Concerto for contrabass and orchestra, piano reduction and solo part
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Musik Fabrik Music Publishing
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SheetMusicPlus
Concerto for string orchestra, Op.7, no.4 in G major (Original version - score and parts)
Orchestra
Chamber Orchestra - Digital Download SKU: A0.756766 Composed by Tomaso Giovanni Alb…
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Chamber Orchestra - Digital Download SKU: A0.756766 Composed by Tomaso Giovanni Albinoni. Arranged by Gil Garty. Baroque. Score and parts. 33 pages. Gil Garty #6341299. Published by Gil Garty (A0.756766). Basso continuo unfigured and unrealized.
$15.00
13.72 €
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Orchestra
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Tomaso Giovanni Albinoni
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Concerto for string orchestra, Op.7, no.4 in G major
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Gil Garty
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SheetMusicPlus
Concerto for string orchestra, Op.7, no.1 in D major (Original version - score and parts)
Chamber Orchestra
Chamber Orchestra - Digital Download SKU: A0.756770 Composed by Tomaso Giovanni Alb…
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Chamber Orchestra - Digital Download SKU: A0.756770 Composed by Tomaso Giovanni Albinoni. Arranged by Gil Garty. Baroque. Score and parts. 25 pages. Gil Garty #6344799. Published by Gil Garty (A0.756770). Basso continuo unfigured and unrealized.
$10.00
9.15 €
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Chamber Orchestra
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Tomaso Giovanni Albinoni
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Concerto for string orchestra, Op.7, no.1 in D major
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Gil Garty
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SheetMusicPlus
Concerto for string orchestra, Op.7, no.7 in A major (Original version - score and parts)
Chamber Orchestra
Chamber Orchestra - Digital Download SKU: A0.756767 Composed by Tomaso Giovanni Alb…
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Chamber Orchestra - Digital Download SKU: A0.756767 Composed by Tomaso Giovanni Albinoni. Arranged by Gil Garty. Baroque. Score and parts. 28 pages. Gil Garty #6341677. Published by Gil Garty (A0.756767). Basso continuo unfigured and unrealized.
$15.00
13.72 €
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Chamber Orchestra
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Tomaso Giovanni Albinoni
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Concerto for string orchestra, Op.7, no.7 in A major
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Gil Garty
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SheetMusicPlus
Vivaldi Concerto RV 93 1st movement
String Orchestra
String Orchestra - Level 3 - Digital Download SKU: A0.1417819 Composed by Antonio V…
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String Orchestra - Level 3 - Digital Download SKU: A0.1417819 Composed by Antonio Vivaldi. Arranged by Martin Lass. Baroque,Chamber,Children,Classical,Instructional. 19 pages. MA Lass & I Lass #999240. Published by MA Lass & I Lass (A0.1417819). Martin Lass is an Australian violinist, composer, arranger, and teacher. He is most well known for his performance career as a classical crossover and popular music artist with 11 CD recordings, numerous awards and accolades, and performances with the likes of Luciano Pavorotti, Julio Iglesias, and Joan Baez. Before this, he was a founding member of the Australian Chamber Orchestra, as well as playing with the Sydney Symphony Orchestra and the Australian Opera and Ballet Orchestra. When he is not spending time with his wife of 46 years, his three middle-aged children, and his two grandchildren, he spends his time and energy teaching, writing, arranging, and performing. Vivaldi's Concerto RV 93 was originally written for lute or guitar solo plus strings and basso continuo. Here, the 1st movement of the concerto has been arranged for an intermediate-level student string orchestra without continuo or piano accompaniment. To this end, the work has been simplified: the original key of D major has been changed to C major; some rhythms have been simplified, including doubling all note values and changing the time signature to 2/2; some registers have been changed in order to keep parts in 1st position; and extensive dynamics and articulations have been added to assist students with musical interpretation according to Baroque music conventions. That said, some crescendos have been added for effect. It is anticipated that the one repeat will be done, as is traditional. The upper strings are expected to be able to play low 2nd and 4th fingers, and the cellos have both backward and forward extensions but only leave 1st position in two short identical passages. The main challenge of the piece lies in the bowing style and the articulations, aforementioned.Level: 2.0 - 2.5Duration: 3mParts ListViolin IViolin IIViolin III (from Viola) (optional)ViolaVioloncelloDouble BassFull Score.
$39.00
35.68 €
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String Orchestra
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Antonio Vivaldi
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Vivaldi Concerto RV 93 1st movement
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MA Lass & I Lass
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SheetMusicPlus
Concerto for Trombone and Piano accompaniment (piano reduction)
Trombone and Piano
Piano,Trombone - Level 5 - Digital Download SKU: A0.810983 Composed by Cherry Class…
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Piano,Trombone - Level 5 - Digital Download SKU: A0.810983 Composed by Cherry Classics Music. Arranged by John, W., and Ware. 20th Century,Contemporary. Score and part. 63 pages. Gordon Cherry #4601711. Published by Gordon Cherry (A0.810983). This fine work has sat dormant for many years and has now come to light thanks to the efforts of Charlie Vernon, Bass Trombonist of the Chicago Symphony, who performed this virtuoso work as a young performer. The concerto is in the standard three movement form: Fast, slow, fast. This publication is a reduction from the original orchestral version (to be released at some point in the future). Here is a description of the Concerto by the composer, John W. Ware. I started on the trombone concerto in my junior year studying composition at Indiana University. While working on it, I learned of an opportunity to make it sort of a thesis piece (though students didn't write a thesis in composition while an undergrad). The original version was for trombone with string orchestra, and it was performed by the IU String Orchestra, conducted by Dr. Arthur Corra, with Robert Priez, trombone, as part of my senior composition recital. I thought the performance was quite good (Priez played extraordinarily well), and the piece received a newspaper review in the Indiana Daily Student, in which the reviewer wrote that the work was almost too exciting. I thought at the time that he had given me and my music a fine compliment. I made a piano version of the accompaniment, shortening and tightening the first movement, for performances in 1966; I made a second revision in 1967 for a performance by E. J. Eaton, trombonist at the University of Tennessee at Martin, arriving at the form in which the work exists now. The first movement is in fairly normal sonata-allegro form, in the key of A minor. It alternates between assertive and more thoughtful moods. There is no introduction; the soloist enters immediately and dominates much of the movement. The main theme is--by some manipulation--a source for most of the other themes, and all of the themes are used in close proximity to each other, including contrapuntal combinations, especially near the end. Originally the movement included a lengthy fugato, now much shortened and including a stretto that builds and subsides before a cadenza leading to a coda based on both the principal and secondary themes. Key relations in this movement, as in the other two, are quite free and often chromatic, with frequent third-relations; but returns to the tonic at the end are emphatic. The writing is challenging for both soloist and accompanist; the piece is substantial, requiring technique and stamina. The second movement is in F minor and is also built on both contrast and close relationships between the main and secondary themes. The main theme is heard in the piano part before the soloist enters. The mood is more lyric than in the first movement, but with dramatic episodes also. In this movement are some definite derivations from themes in the first movement. The ending is a sort of lengthened shadow of the opening. The finale returns to A minor, with themes slightly related to polonaise rhythms, but with strong echoes of first-movement themes. Here, too, dramatic and lyric episodes alternate, with dotted rhythms frequently propelling the music forward. The introduction is a brief and simple preparation for the solo entry. Later in the movement, a very brief, slightly slower section is soon overtaken by the original tempo. Toward the end, there is a second cadenza, again leading to a swift and energetic coda. The work is about 20 minutes in length and is appropriate for advanced performers.
$35.00
32.02 €
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Trombone and Piano
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Cherry Classics Music
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Concerto for Trombone and Piano accompaniment
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Gordon Cherry
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SheetMusicPlus
Concerto n° 1 for cembalo [fortepiano] and orchestra in C major - Score Only
Orchestra
Full Orchestra - Level 3 - Digital Download SKU: A0.1317490 Composed by Johann Simo…
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Full Orchestra - Level 3 - Digital Download SKU: A0.1317490 Composed by Johann Simon Mayr. Arranged by Fabrizio Capitanio & Michele Galvagno. 19th Century,Instructional,Opera,Romantic Period. 110 pages. Artistic Score Engraving di Galvagno Michele #906154. Published by Artistic Score Engraving di Galvagno Michele (A0.1317490). Johann Simon Mayr (1763—1845) is a composer rarely performed today. His music, reflecting the transition from the Classical to the Romantic musical era, inspired Rossini and was crucial in the development of Donizetti’s style. He became a central figure in the musical life of the Italian city of Bergamo where, in 1805, he founded the Conservatory, at the time known as “Lezioni Caritatevoli di Musicaâ€. One of the first pupils of the “Lezioni†was Gaetano Donizetti, whose production and fame soon arose above everyone else’s. The first concerto, in C major, is one of the three surviving keyboard concertos from Mayr’s manuscripts kept in the Biblioteca Musicale Gaetano Donizetti and in the Museo Donizettiano. It is pedagogical in nature, its light orchestration (only 2 oboes and 2 horns joining the strings) allowing it to be performed with minimal forces. In three movements, spanning about 18 minutes in total, it looks back at a late Classical style that was quickly fading out of fashion at the time of its creation (1825-6).This edition comes with the unique contribution of M° Fabrizio Capitanio, in the form of a thorough musicological research delving deep into the historical context, and all of the critical aspects that made this work possible.A reduction for two pianos is available under Catalogue N° ASE 0051, while orchestral parts can be found as a bundle under Catalogue N° ASE 0053.This edition is also the first one in the new series dedicated to the City of Bergamo: La Bergamasque!
$45.00
41.17 €
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Orchestra
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Johann Simon Mayr
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Concerto n° 1 for cembalo [fortepiano] and orchestra in C major - Score Only
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Artistic Score Engraving di Galvagno Michele
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SheetMusicPlus
Harp Concerto Op. 98 harp & string quartet
Chamber Orchestra
Chamber Orchestra - Level 3 - Digital Download SKU: A0.875764 Composed by E. Parish…
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Chamber Orchestra - Level 3 - Digital Download SKU: A0.875764 Composed by E. Parish Alvars. Arranged by N. Szederkenyi. Classical. Score and parts. 119 pages. IStrings #3676223. Published by iStrings (A0.875764). This is a straight transcription of the orchestral accompaniment of the concerto for string quartet.
$34.00
31.11 €
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Chamber Orchestra
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E
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Harp Concerto Op. 98 harp & string quartet
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iStrings
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SheetMusicPlus
Harp Concerto Op. 98 harp & string quartet (score only}
Chamber Orchestra
Chamber Orchestra - Level 3 - Digital Download SKU: A0.875766 Composed by E. Parish…
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Chamber Orchestra - Level 3 - Digital Download SKU: A0.875766 Composed by E. Parish Alvars. Arranged by N. Szederkenyi. Classical. Score and parts. 54 pages. IStrings #3676227. Published by iStrings (A0.875766). This is a straight transcription of the orchestral accompaniment of the concerto for string quartet.
$14.00
12.81 €
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Chamber Orchestra
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E
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Harp Concerto Op. 98 harp & string quartet
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iStrings
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SheetMusicPlus
Harp Concerto Op. 98 harp & string quartet (parts only}
Chamber Orchestra
Chamber Orchestra - Level 3 - Digital Download SKU: A0.875767 Composed by E. Parish…
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Chamber Orchestra - Level 3 - Digital Download SKU: A0.875767 Composed by E. Parish Alvars. Arranged by N. Szederkenyi. Contemporary. Score and parts. 37 pages. IStrings #3676229. Published by iStrings (A0.875767). This is a straight transcription of the orchestral accompaniment of the concerto for string quartet.
$20.00
18.3 €
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Chamber Orchestra
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E
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Harp Concerto Op. 98 harp & string quartet
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iStrings
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SheetMusicPlus
CHRISTMAS CONCERTO- PASTORALE - STRING ORCHESTRA - Concerto VIII Op. 6 No. 8, Fatto per la notte di
String Orchestra
String Orchestra - Level 3 - Digital Download SKU: A0.521655 Composed by Archangelo…
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String Orchestra - Level 3 - Digital Download SKU: A0.521655 Composed by Archangelo Corelli. Arranged by Sherry Lewis. Baroque,Christmas,Sacred. Score and Parts. 22 pages. Sherry Lewis Publishing #6295773. Published by Sherry Lewis Publishing (A0.521655). Christmas Concerto, Pastorale, Corelli, Intermediate Level, String Orchestra (string quintet as well) of 1st and 2nd violins, viola, cello, string bass Score: 9 pages parts: 10 pages time: 3'20 Please visit https://www.sheetmusicplus.com/search?Ntt=sherry+lewis+publishing for all of the titles I offer. If you can’t find a title then contact me through stringquartet@hotmail.com and I’ll give you the link back to Sheet Music Plus’s listing. VERSATILE Titles that include four parts are written with the idea that they can be performed with 1, 2, 3 or 4 musicians. Most of the contemporary/popular titles include a chord chart for a bass instrument. PRACTICE needs would vary according to the level of the performers but my goal is to be sight-readable for most performers and groups. AUDIO SAMPLE The 30 second mp3 is frequently shortened and may not start at the introduction to get to the reprise. The actual introduction will be in the sheet music. LISTENABILITY I have performed thousands of weddings and special events. I make it a goal for the music to carry as well as possible through loud and large space situations. ARRANGEMENTS usually follow the original version. There is an mp3 where you can hear 30 seconds and get a feeling of the originality of the work. EXCELLENT for corporate events, weddings, social gatherings and recitals. APPROPRIATE for students and schools. CHURCH REPERTOIRE I’m always adding more titles. Thank you for your purchase!
$6.50
5.95 €
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String Orchestra
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Archangelo Corelli
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https://www
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CHRISTMAS CONCERTO- PASTORALE - STRING ORCHESTRA - Concerto VIII Op. 6 No. 8, Fatto per la notte di
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Sherry Lewis Publishing
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SheetMusicPlus
Theme From Elvira Madigan. Piano Concerto K. 467 for String Orchestra
String Orchestra
String Orchestra - Level 4 - Digital Download SKU: A0.826691 Composed by Wolfgang A…
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String Orchestra - Level 4 - Digital Download SKU: A0.826691 Composed by Wolfgang Amadeus Mozart. Arranged by Bud Caputo. Classical,Film/TV,Standards. Score and parts. 22 pages. Bud Caputo #4792837. Published by Bud Caputo (A0.826691). The Swedish acclaimed film, Elvira Madigan, won A Golden Globe Award in 1967, as best foreign picture. The melancholy story of two lovers is set to the beautiful Mozart Piano Concerto K. 467. This string arrangement fills in for the piano and is a standalone work that will entertain your audiences and teach younger students how the movies can adopt traditional music and make use of the subtle drama that is contained. The range for Violin 1 is a Mozart presented it and will require third position..
$15.00
13.72 €
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String Orchestra
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Wolfgang Amadeus Mozart
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Theme From Elvira Madigan. Piano Concerto K. 467 for String Orchestra
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Bud Caputo
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SheetMusicPlus
Concerto for Oboe d’amore in E Minor, Op. 9 No. 8 and String Orchestra
String Orchestra
String Orchestra - Level 5 - Digital Download SKU: A0.955164 Composed by Tomaso Alb…
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String Orchestra - Level 5 - Digital Download SKU: A0.955164 Composed by Tomaso Albinoni (1671-1751). Arranged by Don Werdick (1946 - ). Baroque. Score and parts. 70 pages. Chamber Ensemble of Minnesota, Inc. #5884095. Published by Chamber Ensemble of Minnesota, Inc. (A0.955164). Complete score and parts of the Concerto for Oboe in G Minor, Op. 9, No. 8 and String Orchestra, composed in 1722 by T. Albinoni, arranged in E minor for Oboe d’amore and string orchestra by D Werdick. Movements: 1. Allegro 2. Adagio 3. Allegro Time: 10 minutes, 12 seconds Full Score + Parts: Oboe d’amore, Violin I, Violin II, Viola, Cello, Double Bass During the Baroque period (c. 1600 to 1750) music written in the Italian style, and German music to a lesser degree, scores and solo parts contain little (if any) information about elements like articulation, ornamentation or dynamics, so the soloists and ensemble players needed to make their own informed choices before each performance. This arrangement for Oboe d’amore offers dynamics, articulations, ornamentation and nuances of tone color as to how to effectively present the composition and can help the performer to build on these ideas to effectively communicate the sense of the music ... 2020 Chamber Ensemble of Minnesota, Inc.
$17.00
15.55 €
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String Orchestra
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Tomaso Albinoni
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Concerto for Oboe d’amore in E Minor, Op. 9 No. 8 and String Orchestra
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Chamber Ensemble of Minnesota, Inc.
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SheetMusicPlus
Concerto for Oboe D’amore in G Major, Op. 9 No. 11 and String Orchestra
String Orchestra
String Orchestra - Level 5 - Digital Download SKU: A0.955170 Composed by Tomaso Alb…
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String Orchestra - Level 5 - Digital Download SKU: A0.955170 Composed by Tomaso Albinoni (1671-1751). Arranged by Don Werdick (1946 - ). Baroque. Score and parts. 86 pages. Chamber Ensemble of Minnesota, Inc. #6050973. Published by Chamber Ensemble of Minnesota, Inc. (A0.955170). Complete score and parts of the Concerto for Oboe in Bb Major, Op. 9, No. 11 and String Orchestra, composed in 1722 by T. Albinoni, arranged in G Major for String Orchestra and Oboe d’amore by D. Werdick. Movements: 1. Allegro 2. Adagio 3. Allegro Time: 10 minutes, 50 seconds Full Score + Parts: Oboe d’amore Solo, Violin I, Violin II, Viola, Cello, Double Bass During the Baroque period (c. 1600 to 1750) music written in the Italian style, and German music to a lesser degree, scores and solo parts contain little (if any) information about elements like articulation, ornamentation or dynamics, so the soloists and ensemble players needed to make their own informed choices before each performance. This Oboe d’amore solo arrangement offers dynamics, articulations, ornamentation and nuances of tone color as to how to effectively present the composition and can help the performer to build on these ideas to effectively communicate the sense of the music ... 2020 Chamber Ensemble of Minnesota, Inc. Publishing.
$17.00
15.55 €
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String Orchestra
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Tomaso Albinoni
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Concerto for Oboe D’amore in G Major, Op. 9 No. 11 and String Orchestra
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Chamber Ensemble of Minnesota, Inc.
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SheetMusicPlus
"Arirang" For String Orchestra (Korean Traditional)
String Orchestra
String Orchestra - Level 4 - Digital Download SKU: A0.511508 Composed by Han-Ki Kim…
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String Orchestra - Level 4 - Digital Download SKU: A0.511508 Composed by Han-Ki Kim. Classical,Contemporary,Instructional,Multicultural,Standards,World. Score and parts. 27 pages. Han-Ki Kim #3472125. Published by Han-Ki Kim (A0.511508). Arirang String Orchestra Op.154  “Arirang†is a representative folk song of Korea and a famous song widely known around the world. This concerto was composed to give value as an artistic literature to such a familiar theme. In this concerto “Arirangâ€, I want both the performers and the audience to feel “musical sympathyâ€. It was commissioned to commemorate the 60th anniversary of I Musici's founding and was dedicated to them. Following the short and fast introduction in 3/4 time, it is connected in the form of 5 variations in 6/8 time. Each variation expresses a different musical atmosphere, performance speed, or change in composition. In general, the main melody is mainly played by the first violin, but as far as the main melody is concerned, in this music, high-pitched instruments and low-pitched instruments intersect and cycle in equal positions, not in a melodicline relationship. After the fourth variation, a virtuosic solo of the movement alone is connected, and after the finale with a broad and majestic atmosphere, it ends with a short and lively coda with the same character as the beginning. Shown Bowing sign and Fingering(Vn,Va part) will be very helpful to player. Optional Violin 3(Instead of Viola part)  part included.
$22.90
20.95 €
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String Orchestra
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Han-Ki Kim
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"Arirang" For String Orchestra
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Han-Ki Kim
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SheetMusicPlus
Concerto for English horn in G Minor, Op. 9 No. 8 and String Orchestra
String Orchestra
String Orchestra - Level 5 - Digital Download SKU: A0.955162 Composed by Tomaso Alb…
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String Orchestra - Level 5 - Digital Download SKU: A0.955162 Composed by Tomaso Albinoni (1671-1751). Arranged by Don Werdick (1946 - ). Baroque. Score and parts. 70 pages. Chamber Ensemble of Minnesota, Inc. #5869923. Published by Chamber Ensemble of Minnesota, Inc. (A0.955162). Complete score and parts of the Concerto for Oboe in G Minor, Op. 9, No. 8 and String Orchestra , composed in 1722 by T. Albinoni, arranged for English horn by D Werdick. Movements: 1. Allegro 2. Adagio 3. Allegro Time: 10 minutes, 12 seconds Full Score + Parts: English horn, Violin I, Violin II, Viola, Cello, Double Bass During the Baroque period (c. 1600 to 1750) music written in the Italian style, and German music to a lesser degree, scores and solo parts contain little (if any) information about elements like articulation, ornamentation or dynamics, so the soloists and ensemble players needed to make their own informed choices before each performance. This arrangement for English horn offers dynamics, articulations, ornamentation and nuances of tone color as to how to effectively present the composition and can help the performer to build on these ideas to effectively communicate the sense of the music ... 2020 Chamber Ensemble of Minnesota, Inc.
$17.00
15.55 €
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String Orchestra
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Tomaso Albinoni
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Concerto for English horn in G Minor, Op. 9 No. 8 and String Orchestra
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Chamber Ensemble of Minnesota, Inc.
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SheetMusicPlus
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