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Concerto for Two Violins
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Bach Double Concerto - Orchestra Reduction (Violin 3)
String Trio: 3 violins
String Trio Violin - Level 4 - Digital Download SKU: A0.1288038 Composed by Johann …
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String Trio Violin - Level 4 - Digital Download SKU: A0.1288038 Composed by Johann Sebastian Bach. Arranged by Arthur O'Callahan. Baroque,Classical. 3 pages. Bickio O'Callahan #879076. Published by Bickio O'Callahan (A0.1288038). Bach Concerto for Two Violins, 1st MovementThe orchestra parts have been reduced to a single violin part, allowing the movement to be performed by violin trioDoes not include the other violin parts!
$1.99
1.86 €
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String Trio: 3 violins
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Johann Sebastian Bach
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Bach Double Concerto - Orchestra Reduction
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Bickio O'Callahan
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SheetMusicPlus
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
22.39 €
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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
Antonio Vivaldi: Concerto in A minor Op.3 No.8 for two violins & piano
2 Violins (duet)
Instantly downloadable sheet music by Antonio Vivaldi for two violins & piano of MEDIU…
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Instantly downloadable sheet music by Antonio Vivaldi for two violins & piano of MEDIUM/HIGH skill level. Contents: concerto in a minor, a minor, opus 8, number 8, rv 522, rv522, etc. / classical,concert
$6.99
6.52 €
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2 Violins (duet)
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Antonio Vivaldi
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Virtualsheetmusic
Concerto in a minor, TWV 51:a2
2 Violins (duet)
Violin Duet Violin - Level 3 - Digital Download SKU: A0.909622 Composed by Georg Ph…
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Violin Duet Violin - Level 3 - Digital Download SKU: A0.909622 Composed by Georg Philipp Telemann. Arranged by Christopher A. Sforza. Baroque,Standards. 24 pages. Christopher A. Sforza #6131469. Published by Christopher A. Sforza (A0.909622). Telemann's Concerto in a minor, TWV 51:a2 (originally for solo violin, strings, and continuo) is a wonderful and underperformed Baroque gem equal to the likes of the famous a minor violin concerti by Bach and Vivaldi. This arrangement for two violins incorporates the solo line in the first violin with the orchestra accompaniment in the second. Included is the score and parts for all three movements; Allegro, Andante, and Presto.
$4.50
4.2 €
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2 Violins (duet)
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Georg Philipp Telemann
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Allegro, Andante, and Presto
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Concerto in a minor, TWV 51:a2
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Christopher A. Sforza
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SheetMusicPlus
Vivaldi Concerto in A Minor, 1st Mvt. for String Quartet
String Quartet: 2 violins, viola, cello
String Quartet String Quartet - Level 4 - Digital Download SKU: A0.732719 Composed …
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String Quartet String Quartet - Level 4 - Digital Download SKU: A0.732719 Composed by Antonio Vivaldi. Arranged by Dave Prudon. Baroque,Christmas,Easter,Wedding. Score and parts. 13 pages. Prudon String Ensembles #5309277. Published by Prudon String Ensembles (A0.732719). This arrangement of Vivaldi's classic concerto for two violins makes it possible for String Quartets to enjoy playing it. Â This arranger has taken the time to carefully craft some beautiful harmony parts which nicely compliment the two violin parts. Â Perfect when used as music for a wedding reception or any other festive event.To see hundreds of other beautiful arrangements for strings, visit: Prudon String Ensembles Sheet Music.
$10.99
10.26 €
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String Quartet: 2 violins, viola, cello
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Antonio Vivaldi
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Vivaldi Concerto in A Minor, 1st Mvt. for String Quartet
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Prudon String Ensembles
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SheetMusicPlus
Vivaldi - 12 Double Concertos for Two Violins and Cembalo (or Piano) - Scores and Parts
Violin and Piano
Instrumental Duet,Piano Instrumental Duet,Keyboard,Piano,Violin - Level 4 - Digital Downlo…
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Instrumental Duet,Piano Instrumental Duet,Keyboard,Piano,Violin - Level 4 - Digital Download SKU: A0.1232342 By Santino Cara. By Antonio Vivaldi. Arranged by Santino Cara. Baroque. 465 pages. Santino Cara #828028. Published by Santino Cara (A0.1232342). Complete scores and parts of 12 Double concertos for Two Violins and Cembalo or Piano. Composed in Venice between 1711 and 1720 by Antonio Vivaldi. Transcribed over the years by Santino Cara.12 Concertos:1.  Concerto No.3 in D major from Op.12   RV 1242.  Concerto in C major   RV 5053.  Concerto in C major   RV 5084.  Concerto in C minor   RV 5095.  Concerto in D major   RV 5116.  Concerto in D minor   RV 5147.  Concerto in G major   RV 5168.  Concerto in G minor   RV 5179.  Concerto in A major   RV 52110.Concerto in A minor   RV 52311. Concerto in B flat major RV 52912. Concerto No.9 in B flat major from “La Cetra†Op.9   RV 530Other Vivaldi's works for violin and harpsichord or piano:Vivaldi - 23 Concertos for Violin and PianoVivaldi - L'Estro Armonico Op.3 - 12 Concertos for 2 Violins and Piano - Scores and PartsVivaldi - La Stravaganza Op.4 - 12 Concertos for Violin and PianoVivaldi - Six Violin Concertos for Violin and Piano Op.6 - Scores and violin partVivaldi - 10 Violin Concertos Op.7 for Violin and Cembalo (or Piano) - Scores and PartVivaldi - Il Cimento dell'Armonia e dell'Invenzione Op.8 - 12 Concertos for Violin and PianoVivaldi - La Cetra Op.9 - 12 Concertos for Violin and Piano - Full scores and Violin partVivaldi - Six Violin Concertos Op.11 for Violin and Cembalo (or Piano) - Full scores and partVivaldi - Six Concertos for Violin and Piano Op.12 - Complete scores and Part
$32.40
30.24 €
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Violin and Piano
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Santino Cara
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Vivaldi - 12 Double Concertos for Two Violins and Cembalo
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Santino Cara
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SheetMusicPlus
Concerto for two violins in D minor, BWV 1043 – I. Vivace (Violin 1)
Violin
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Violin
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Bach
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Tomplay
Concerto for two Violins No. 8 in A minor, Opus 3 - I. Allegro (Violin 1) (Arr. Tivadar Nachez)
Violin
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Violin
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Vivaldi
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Tomplay
Concerto for two violins in D minor, BWV 1043 – III. Allegro (Violin 1)
Violin
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Violin
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Bach
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Tomplay
Concerto for two violins in D minor, BWV 1043 – II. Largo ma non tanto (Violin 2)
Violin
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Violin
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Bach
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Tomplay
Concerto for two Violins No. 8 in A minor, Opus 3 - I. Allegro (Violin 2) (Arr. Tivadar Nachez)
Violin
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Violin
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Vivaldi
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Tomplay
Concerto for two violins in D minor, BWV 1043 – III. Allegro (Violin 2)
Violin
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Violin
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Bach
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Tomplay
Concerto for two Violins No. 8 in A minor, Opus 3 - III. Allegro (Violin 1) (Arr. Tivadar Nachez)
Violin
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Violin
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Vivaldi
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Tomplay
Concerto for two Violins No. 8 in A minor, Opus 3 - II. Larghetto e spiritoso (Violin 1) (Arr. Tivadar Nachez)
Violin
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Violin
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Vivaldi
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Tomplay
Concerto for two Violins No. 8 in A minor, Opus 3 - III. Allegro (Violin 2) (Arr. Tivadar Nachez)
Violin
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Violin
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Vivaldi
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Tomplay
Concerto for two Violins No. 8 in A minor, Opus 3 - II. Larghetto e spiritoso (Violin 2) (Arr. Tivadar Nachez)
Violin
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Violin
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Vivaldi
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Tomplay
Concerto for two Violins No. 8 in A minor, Opus 3 - I. Allegro
Piano solo
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Piano solo
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Vivaldi
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Tomplay
Concerto for two Violins No. 8 in A minor, Opus 3 - III. Allegro
Piano solo
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Piano solo
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Vivaldi
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Tomplay
Concerto for two Violins No. 8 in A minor, Opus 3 - II. Larghetto e spiritoso
Piano solo
Download this music sheet with backing tracks recorded by professional musicians. Free Unl…
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Download this music sheet with backing tracks recorded by professional musicians. Free Unlimited Access to 80,000 music sheets for 14 days (cancel anytime). Play online and print.
5.99 €
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Piano solo
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Vivaldi
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Tomplay
A BAROQUE CONCERTO for two violins and piano
Violin
Violin Solo - Level 3 - Digital Download SKU: A0.1017145 Composed by James F. Babco…
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Violin Solo - Level 3 - Digital Download SKU: A0.1017145 Composed by James F. Babcock. Baroque. 117 pages. James Babcock #6065591. Published by James Babcock (A0.1017145). All three parts. 117 pgs. This four-movement concerto, of intermediate difficulty, evokes the styles of the great violin pedagogues of the Baroque era―Vivaldi, Tartini, Corelli, LeClair, Pugnani, Nardini, and of course j. S. Bach―and it serves as a tribute to their signal contributions to the technique of the modern violin. Your compositions are charming and melodic, useful both for training and performance.-Thomas Lindsay, former concertmaster, Virginia Beach Symphony and New Jersey Pops.
$30.00
28 €
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Violin
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James F
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A BAROQUE CONCERTO for two violins and piano
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James Babcock
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SheetMusicPlus
Stamitz: Duetto Op. 27 No. 3 for Violin Duo
2 Violins (duet)
Violin Duet Violin - Level 3 - Digital Download SKU: A0.1354186 Composed by Stamitz…
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Violin Duet Violin - Level 3 - Digital Download SKU: A0.1354186 Composed by Stamitz. Arranged by James M. Guthrie. Chamber,Classical,Contest,Festival,Traditional,Wedding. 19 pages. Jmsgu3 #938888. Published by jmsgu3 (A0.1354186). The significance of Stamitz Duets Op. 27 lies in their contribution to the duet repertoire for two violins (or two flutes). Composed by Carl Stamitz, a prominent figure of this era, the duets were published in 1780. These duets are well-regarded for their musicality and are popular choices for duet performances and educational purposes. They are available in sheet music and have been performed in concerts and recordings, reflecting their enduring appeal and importance in the classical music domain. The duets are known for their melodic and expressive qualities, making them valuable for developing ensemble playing and musical interpretation skills. They are also appreciated for their historical significance in the context of classical music composition and the repertoire for violin or flute duets. Carl Stamitz, born in 1745 and passing away in 1801, was a significant figure in music history, particularly in the classical period. He was one of the most prolific Mannheim orchestral composers, known for writing numerous symphonies, concertos for various instruments, and other instrumental works. Stamitz's influence on the evolution of the Classical sonata form by introducing contrasting themes within a single movement is also noteworthy. He was a prominent representative of the second generation of the Mannheim School, and his contributions to the duet repertoire for two violins or two flutes are highly regarded for their musicality and historical significance. Despite not being as widely recognized as some of his contemporaries, his work has left a lasting impact on the classical music domain.Carl Stamitz significantly contributed to the Mannheim School of Music as the most prominent representative of its second generation. He was the eldest son of Johann Stamitz, a violinist and composer considered the Mannheim School's founder. Carl Stamitz's contribution to the school included his role as a prolific orchestral composer, writing numerous symphonies, concertos for various instruments, and other instrumental works. His work, along with that of other members of the Mannheim School, helped solidify the Classical symphony and its dynamic contrasts, impacting the evolution of the classical music period. Additionally, Carl Stamitz's choice of the viola as his favorite instrument and his compositions for the viola also contributed to the school's legacy.
$24.95
23.29 €
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2 Violins (duet)
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Stamitz
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Stamitz: Duetto Op. 27 No. 3 for Violin Duo
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jmsgu3
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SheetMusicPlus
Concerto for two violins in D minor, BWV 1043 – II. Largo ma non tanto (Violin 1)
Violin
Download this music sheet with backing tracks recorded by professional musicians. Free Unl…
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Download this music sheet with backing tracks recorded by professional musicians. Free Unlimited Access to 80,000 music sheets for 14 days (cancel anytime). Play online and print.
7.99 €
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Violin
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Bach
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Tomplay
Concerto for two violins in D minor, BWV 1043 – I. Vivace (Violin 2)
Violin
Download this music sheet with backing tracks recorded by professional musicians. Free Unl…
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Download this music sheet with backing tracks recorded by professional musicians. Free Unlimited Access to 80,000 music sheets for 14 days (cancel anytime). Play online and print.
7.99 €
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Violin
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Bach
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Tomplay
Dance Piece for solo piano
Piano solo
Piano Solo - Level 3 - Digital Download SKU: A0.914148 Composed by Tom Swafford. Ba…
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Piano Solo - Level 3 - Digital Download SKU: A0.914148 Composed by Tom Swafford. Baroque,Contemporary. Score. 6 pages. Tom Swafford #3577783. Published by Tom Swafford (A0.914148). A slow, meditative piece for solo piano based on themes and harmonies in J.S. Bach's double concerto for two violins.  It was written for a dance performance that used Bach's concerto in the first section, being played while the musicians were lifted up and carried around by the dancers. I wrote this piece for the second, more introspective section. duration: 5 minutes. www.tomswafford.com ASCAP .
$3.00
2.8 €
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Piano solo
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Tom Swafford
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Dance Piece for solo piano
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Tom Swafford
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SheetMusicPlus
Bach's Concerto for Two Violins - Four violins with score & parts
Violin
Violin Solo - Level 5 - Digital Download SKU: A0.771512 Composed by Johann Sebastia…
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Violin Solo - Level 5 - Digital Download SKU: A0.771512 Composed by Johann Sebastian Bach. Arranged by David F Wainwright. Baroque,Concert,Standards. 18 pages. D F Wainwright #3567923. Published by D F Wainwright (A0.771512). This arrangement was requested by my wife when she had four pupils of this standard who wanted to play something together. The two principle parts are as Bach's original, parts three and four making up some of the other parts. As in the original, the tunes pass between the different players, making this a little tour de force as a concert item. david@springquartet.co.uk ; www.springquartet.co.uk
$14.99
13.99 €
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Violin
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Johann Sebastian Bach
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www
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Bach's Concerto for Two Violins - Four violins with score & parts
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D F Wainwright
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SheetMusicPlus
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