| Vivaldi A. - Les Quatre
Saisons Et Autres
Concerto Pour Violon Op.8
- Full Score Dover Publications
INTRODUCTION The Four Seasons : Sonnet Texts Bibliography Il Ci...(+)
INTRODUCTION The Four Seasons : Sonnet Texts Bibliography Il Cimento dell'armonia e dell'inventione (The Contest of Harmony and Invention) Twelve Concertos for violin, strings, and continuo (Opus 8) THE FOUR SEASONS (OPUS 8, NOS. 1-4) Concerto No. 1 in E Major: La Primavera ( Spring ) (Op. 8, No. 1 / RV 269) I. Allegro II. Largo III. Allegro Concerto No. 2 in G Minor: L'Estate ( Summer ) (Op. 8, No. 2 / RV 315) I. Allegro non molto II. Adagio III. Presto Concerto No. 3 in F Major: L'Autunno ( Autumn ) (Op. 8, No. 3 / RV 293) I. Allegro II. Adagio molto III. Allegro Concerto No. 4 in F Minor: L'Inverno ( Winter ) (Op. 8, No. 4 / RV 297) I. Allegro non molto II. Largo III. Allegro OTHER VIOLIN CONCERTOS (OPUS 8, NOS. 5-12) Concerto No. 5 in E-flat Major: La Tempesta di Mare ( The Storm at Sea ) (Op. 8, No. 5 / RV 253) I. Presto II. Largo III. Presto Concerto No. 6 in C Major: Il Piacere ( Pleasure ) (Op. 8, No. 6 / RV 180) I. Allegro II. Largo e cantabile III. Allegro Concerto No. 7 in D Minor (Op. 8, No. 7 / RV 242) I. Allegro II. Largo III. Allegro Concerto No. 8 in G Minor (Op. 8, No, 8 / RV 332) I. Allegro II. Largo III. Allegro Concerto No. 9 in D Minor (Op. 8, No. 9 / RV 236) I. Allegro II. Largo III. Allegro Concerto No. 10 in B-flat Major: La Caccia ( The Hunt ) (Op. 8, No. 10 / RV 362) I. Allegro II. Adagio III. Allegro Conceto No. 11 in D Major (Op. 8, No. 11 / RV 210) I. Allegro II. Largo III. Allegro Concerto No. 12 in C Major (Op. 8, No. 12 / RV 178) I. Allegro II. Largo III. Allegro IMPORTANT VARIANTS How to Use the Variants Concerto No. 7 in D Minor (RV 242) Allegro (Movement I) a. Substitute for Bars 50-76 Concerto No. 9 in D Minor (RV (Version for Oboe, Strings and Continuo, RV 454) Allegro (Movement I) a. Substitute for Bars 91-102 Concerto No. 11 in D Major (RV 210) Allegro (Movement I) a. Substitute for Bars 100-112 b. Substitute for Bars 122-132 Allegro (Movement II) c. Substitute for Bars 38-67 d. Substitute for Bars 113-154 e. Substitute for Bars 171-214 f. Substitute for Bars 171-208 CRITICAL NOTES The Sources The Amsterdam Print The Dresden Manuscripts The Manchester Partbooks The Turin Autograph Scores The Dover Edition Text Fonts Used in The Four Seasons
28.10 EUR - vendu par Woodbrass Délais: Sur commande | |
| Concerto Per Violino,
Archi E Bc, Rv 259 Op.
Vi/2 (VIVALDI ANTONIO) Violon, Ensembles de Cordes et Basse
Continue [Conducteur] - Intermédiaire/avancé Ricordi
Ed. Critica A. Borin. Par VIVALDI ANTONIO. Casa Ricordi Milano in partnership wi...(+)
Ed. Critica A. Borin. Par VIVALDI ANTONIO. Casa Ricordi Milano in partnership with Fondazione Giorgio Cini, Venezia (Istituto Antonio Vivaldi). Critical edition by Alessandro Borin. The six Concerts op. VI for violin, strings and continuo by Antonio Vivaldi were published in Amsterdam by Roger in 1719. Although the contribution of Vivaldi was probably modest – even to assume that the collection was published without the composer’s assistance and perhaps even his agreement - these six compositions mark a decisive step towards the definition of the classic Vivaldi Concerto, a change evident both from the systematic adoption of the three-movement plan and from the absence of any supplementary solo parts beyond the principalviolin. This critical edition is based on the first edition of Opus VI and its reprints, but takes also into consideration all the sources of single concertos printed into anthologies or transmitted in manuscript form (Wiesentheid and Dresden). The information gathered through the comparative analysis of the manuscript and the printed traditions of Vivaldi’s Opus 6 has permitted us to reconstruct the links among the sources, to clarify some problematic editorial decisions and formulate new hypotheses on the genesis and the intrinsic nature of the collection as a whole. / Niveau : Intermédiaire à Avancé / Classique / Répertoire / Violon, Ensembles de Cordes et Basse Continue
23.90 EUR - vendu par LMI-partitions Délais: 2-5 jours - En Stock Fournisseur | |
| Concerto Per Violino,
Archi E Bc, Rv 280 Op.
Vi/5 (VIVALDI ANTONIO) Violon, Ensembles de Cordes et Basse
Continue [Conducteur] - Intermédiaire/avancé Ricordi
Ed. Critica A. Borin. Par VIVALDI ANTONIO. Casa Ricordi Milano in partnership wi...(+)
Ed. Critica A. Borin. Par VIVALDI ANTONIO. Casa Ricordi Milano in partnership with Fondazione Giorgio Cini, Venezia (Istituto Antonio Vivaldi). Critical edition by Alessandro Borin. The six Concerts op. VI for violin, strings and continuo by Antonio Vivaldi were published in Amsterdam by Roger in 1719. Although the contribution of Vivaldi was probably modest – even to assume that the collection was published without the composer’s assistance and perhaps even his agreement - these six compositions mark a decisive step towards the definition of the classic Vivaldi Concerto, a change evident both from the systematic adoption of the three-movement plan and from the absence of any supplementary solo parts beyond the principalviolin. This critical edition is based on the first edition of Opus VI and its reprints, but takes also into consideration all the sources of single concertos printed into anthologies or transmitted in manuscript form (Wiesentheid and Dresden). The information gathered through the comparative analysis of the manuscript and the printed traditions of Vivaldi’s Opus 6 has permitted us to reconstruct the links among the sources, to clarify some problematic editorial decisions and formulate new hypotheses on the genesis and the intrinsic nature of the collection as a whole. / Niveau : Intermédiaire à Avancé / Classique / Répertoire / Violon, Ensembles de Cordes et Basse Continue
23.90 EUR - vendu par LMI-partitions Délais: 2-5 jours - En Stock Fournisseur | |
| Concerto Per Violino,
Archi E Bc, Rv 324 Op.
Vi/1 (VIVALDI ANTONIO) Violon, Ensembles de Cordes et Basse
Continue - Intermédiaire/avancé Ricordi
Ed. Critica A. Borin. Par VIVALDI ANTONIO. Casa Ricordi Milano in partnership wi...(+)
Ed. Critica A. Borin. Par VIVALDI ANTONIO. Casa Ricordi Milano in partnership with Fondazione Giorgio Cini, Venezia (Istituto Antonio Vivaldi). Critical edition by Alessandro Borin. The six Concerts op. VI for violin, strings and continuo by Antonio Vivaldi were published in Amsterdam by Roger in 1719. Although the contribution of Vivaldi was probably modest – even to assume that the collection was published without the composer’s assistance and perhaps even his agreement - these six compositions mark a decisive step towards the definition of the classic Vivaldi Concerto, a change evident both from the systematic adoption of the three-movement plan and from the absence of any supplementary solo parts beyond the principalviolin. This critical edition is based on the first edition of Opus VI and its reprints, but takes also into consideration all the sources of single concertos printed into anthologies or transmitted in manuscript form (Wiesentheid and Dresden). The information gathered through the comparative analysis of the manuscript and the printed traditions of Vivaldi’s Opus 6 has permitted us to reconstruct the links among the sources, to clarify some problematic editorial decisions and formulate new hypotheses on the genesis and the intrinsic nature of the collection as a whole. / Niveau : Intermédiaire à Avancé / Date parution : 1905-07-09/ Répertoire / Violon, Ensembles de Cordes et Basse Continue
46.10 EUR - vendu par LMI-partitions Délais: 2-5 jours - En Stock Fournisseur | |
| Concerto Per Violino,
Archi E Bc, Rv 324 Op.
Vi/1 (VIVALDI ANTONIO) Violon, Ensembles de Cordes et B.C. [Conducteur] - Intermédiaire/avancé Ricordi
Ed. Critica A. Borin. Par VIVALDI ANTONIO. Casa Ricordi Milano in partnership wi...(+)
Ed. Critica A. Borin. Par VIVALDI ANTONIO. Casa Ricordi Milano in partnership with Fondazione Giorgio Cini, Venezia (Istituto Antonio Vivaldi). Critical edition by Alessandro Borin. The six Concerts op. VI for violin, strings and continuo by Antonio Vivaldi were published in Amsterdam by Roger in 1719. Although the contribution of Vivaldi was probably modest – even to assume that the collection was published without the composer’s assistance and perhaps even his agreement - these six compositions mark a decisive step towards the definition of the classic Vivaldi Concerto, a change evident both from the systematic adoption of the three-movement plan and from the absence of any supplementary solo parts beyond the principalviolin. This critical edition is based on the first edition of Opus VI and its reprints, but takes also into consideration all the sources of single concertos printed into anthologies or transmitted in manuscript form (Wiesentheid and Dresden). The information gathered through the comparative analysis of the manuscript and the printed traditions of Vivaldi’s Opus 6 has permitted us to reconstruct the links among the sources, to clarify some problematic editorial decisions and formulate new hypotheses on the genesis and the intrinsic nature of the collection as a whole. / Niveau : Intermédiaire à Avancé / Classique / Date parution : 1905-07-09/ Répertoire / Violon, Ensembles de Cordes et B.C.
23.90 EUR - vendu par LMI-partitions Délais: 2-5 jours - En Stock Fournisseur | |
| Concerto Per Violino,
Archi E Bc, Rv 239 Op.
Vi/6 (VIVALDI ANTONIO) Violon, Ensembles de Cordes et Basse
Continue - Intermédiaire/avancé Ricordi
Ed. Critica A. Borin. Par VIVALDI ANTONIO. Casa Ricordi Milano in partnership wi...(+)
Ed. Critica A. Borin. Par VIVALDI ANTONIO. Casa Ricordi Milano in partnership with Fondazione Giorgio Cini, Venezia (Istituto Antonio Vivaldi). Critical edition by Alessandro Borin. The six Concerts op. VI for violin, strings and continuo by Antonio Vivaldi were published in Amsterdam by Roger in 1719. Although the contribution of Vivaldi was probably modest – even to assume that the collection was published without the composer’s assistance and perhaps even his agreement - these six compositions mark a decisive step towards the definition of the classic Vivaldi Concerto, a change evident both from the systematic adoption of the three-movement plan and from the absence of any supplementary solo parts beyond the principalviolin. This critical edition is based on the first edition of Opus VI and its reprints, but takes also into consideration all the sources of single concertos printed into anthologies or transmitted in manuscript form (Wiesentheid and Dresden). The information gathered through the comparative analysis of the manuscript and the printed traditions of Vivaldi’s Opus 6 has permitted us to reconstruct the links among the sources, to clarify some problematic editorial decisions and formulate new hypotheses on the genesis and the intrinsic nature of the collection as a whole. / Niveau : Intermédiaire à Avancé / Date parution : 1905-07-09/ Répertoire / Violon, Ensembles de Cordes et Basse Continue
46.10 EUR - vendu par LMI-partitions Délais: 2-5 jours - En Stock Fournisseur | |
| Concerto Per Violino,
Archi E Bc, Rv 259 Op.
Vi/2 (VIVALDI ANTONIO) Violon, Ensembles de Cordes et B.C. - Intermédiaire/avancé Ricordi
Ed. Critica A. Borin. Par VIVALDI ANTONIO. Casa Ricordi Milano in partnership wi...(+)
Ed. Critica A. Borin. Par VIVALDI ANTONIO. Casa Ricordi Milano in partnership with Fondazione Giorgio Cini, Venezia (Istituto Antonio Vivaldi). Critical edition by Alessandro Borin. The six Concerts op. VI for violin, strings and continuo by Antonio Vivaldi were published in Amsterdam by Roger in 1719. Although the contribution of Vivaldi was probably modest – even to assume that the collection was published without the composer’s assistance and perhaps even his agreement - these six compositions mark a decisive step towards the definition of the classic Vivaldi Concerto, a change evident both from the systematic adoption of the three-movement plan and from the absence of any supplementary solo parts beyond the principalviolin. This critical edition is based on the first edition of Opus VI and its reprints, but takes also into consideration all the sources of single concertos printed into anthologies or transmitted in manuscript form (Wiesentheid and Dresden). The information gathered through the comparative analysis of the manuscript and the printed traditions of Vivaldi’s Opus 6 has permitted us to reconstruct the links among the sources, to clarify some problematic editorial decisions and formulate new hypotheses on the genesis and the intrinsic nature of the collection as a whole. / Niveau : Intermédiaire à Avancé / Date parution : 1905-07-09/ Répertoire / Violon, Ensembles de Cordes et B.C.
46.10 EUR - vendu par LMI-partitions Délais: 2-5 jours - En Stock Fournisseur | |
| Concerto Per Violino,
Archi E Bc, Rv 318 Op.
Vi/3 (VIVALDI ANTONIO) Violon, Ensembles de Cordes et Basse
Continue - Intermédiaire/avancé Ricordi
Ed. Critica A. Borin. Par VIVALDI ANTONIO. Casa Ricordi Milano in partnership wi...(+)
Ed. Critica A. Borin. Par VIVALDI ANTONIO. Casa Ricordi Milano in partnership with Fondazione Giorgio Cini, Venezia (Istituto Antonio Vivaldi). Critical edition by Alessandro Borin. The six Concerts op. VI for violin, strings and continuo by Antonio Vivaldi were published in Amsterdam by Roger in 1719. Although the contribution of Vivaldi was probably modest – even to assume that the collection was published without the composer’s assistance and perhaps even his agreement - these six compositions mark a decisive step towards the definition of the classic Vivaldi Concerto, a change evident both from the systematic adoption of the three-movement plan and from the absence of any supplementary solo parts beyond the principalviolin. This critical edition is based on the first edition of Opus VI and its reprints, but takes also into consideration all the sources of single concertos printed into anthologies or transmitted in manuscript form (Wiesentheid and Dresden). The information gathered through the comparative analysis of the manuscript and the printed traditions of Vivaldi’s Opus 6 has permitted us to reconstruct the links among the sources, to clarify some problematic editorial decisions and formulate new hypotheses on the genesis and the intrinsic nature of the collection as a whole. / Niveau : Intermédiaire à Avancé / Date parution : 1905-07-09/ Répertoire / Violon, Ensembles de Cordes et Basse Continue
46.10 EUR - vendu par LMI-partitions Délais: 2-5 jours - En Stock Fournisseur | |
| Concerto Per Violino,
Archi E Bc, Rv 216 Op.
VI/4 (VIVALDI ANTONIO) Violon, Ensembles de Cordes et Basse
Continue [Conducteur] - Intermédiaire/avancé Ricordi
Ed. Critica A. Borin. Par VIVALDI ANTONIO. Casa Ricordi Milano in partnership wi...(+)
Ed. Critica A. Borin. Par VIVALDI ANTONIO. Casa Ricordi Milano in partnership with Fondazione Giorgio Cini, Venezia (Istituto Antonio Vivaldi). Critical edition by Alessandro Borin. The six Concerts op. VI for violin, strings and continuo by Antonio Vivaldi were published in Amsterdam by Roger in 1719. Although the contribution of Vivaldi was probably modest – even to assume that the collection was published without the composer’s assistance and perhaps even his agreement - these six compositions mark a decisive step towards the definition of the classic Vivaldi Concerto, a change evident both from the systematic adoption of the three-movement plan and from the absence of any supplementary solo parts beyond the principalviolin. This critical edition is based on the first edition of Opus VI and its reprints, but takes also into consideration all the sources of single concertos printed into anthologies or transmitted in manuscript form (Wiesentheid and Dresden). The information gathered through the comparative analysis of the manuscript and the printed traditions of Vivaldi’s Opus 6 has permitted us to reconstruct the links among the sources, to clarify some problematic editorial decisions and formulate new hypotheses on the genesis and the intrinsic nature of the collection as a whole. / Niveau : Intermédiaire à Avancé / Classique / Répertoire / Violon, Ensembles de Cordes et Basse Continue
23.90 EUR - vendu par LMI-partitions Délais: 2-5 jours - En Stock Fournisseur | |
| Concerto Per Violino,
Archi E Bc, Rv 280 Op.
Vi/5 (VIVALDI ANTONIO) Violon, Ensembles de Cordes et Basse
Continue - Intermédiaire/avancé Ricordi
Ed. Critica A. Borin. Par VIVALDI ANTONIO. Casa Ricordi Milano in partnership wi...(+)
Ed. Critica A. Borin. Par VIVALDI ANTONIO. Casa Ricordi Milano in partnership with Fondazione Giorgio Cini, Venezia (Istituto Antonio Vivaldi). Critical edition by Alessandro Borin. The six Concerts op. VI for violin, strings and continuo by Antonio Vivaldi were published in Amsterdam by Roger in 1719. Although the contribution of Vivaldi was probably modest – even to assume that the collection was published without the composer’s assistance and perhaps even his agreement - these six compositions mark a decisive step towards the definition of the classic Vivaldi Concerto, a change evident both from the systematic adoption of the three-movement plan and from the absence of any supplementary solo parts beyond the principalviolin. This critical edition is based on the first edition of Opus VI and its reprints, but takes also into consideration all the sources of single concertos printed into anthologies or transmitted in manuscript form (Wiesentheid and Dresden). The information gathered through the comparative analysis of the manuscript and the printed traditions of Vivaldi’s Opus 6 has permitted us to reconstruct the links among the sources, to clarify some problematic editorial decisions and formulate new hypotheses on the genesis and the intrinsic nature of the collection as a whole. / Niveau : Intermédiaire à Avancé / Date parution : 1905-07-09/ Répertoire / Violon, Ensembles de Cordes et Basse Continue
46.10 EUR - vendu par LMI-partitions Délais: 2-5 jours - En Stock Fournisseur | |
| Concerto Per Violino,
Archi E Bc, Rv 239 Op.
Vi/6 (VIVALDI ANTONIO) Violon, Ensembles de Cordes et Basse
Continue [Conducteur] - Intermédiaire/avancé Ricordi
Ed. Critica A. Borin. Par VIVALDI ANTONIO. Casa Ricordi Milano in partnership wi...(+)
Ed. Critica A. Borin. Par VIVALDI ANTONIO. Casa Ricordi Milano in partnership with Fondazione Giorgio Cini, Venezia (Istituto Antonio Vivaldi). Critical edition by Alessandro Borin. The six Concerts op. VI for violin, strings and continuo by Antonio Vivaldi were published in Amsterdam by Roger in 1719. Although the contribution of Vivaldi was probably modest – even to assume that the collection was published without the composer’s assistance and perhaps even his agreement - these six compositions mark a decisive step towards the definition of the classic Vivaldi Concerto, a change evident both from the systematic adoption of the three-movement plan and from the absence of any supplementary solo parts beyond the principalviolin. This critical edition is based on the first edition of Opus VI and its reprints, but takes also into consideration all the sources of single concertos printed into anthologies or transmitted in manuscript form (Wiesentheid and Dresden). The information gathered through the comparative analysis of the manuscript and the printed traditions of Vivaldi’s Opus 6 has permitted us to reconstruct the links among the sources, to clarify some problematic editorial decisions and formulate new hypotheses on the genesis and the intrinsic nature of the collection as a whole. / Niveau : Intermédiaire à Avancé / Classique / Répertoire / Violon, Ensembles de Cordes et Basse Continue
23.90 EUR - vendu par LMI-partitions Délais: 2-5 jours - En Stock Fournisseur | |
| Concerto Per Violino,
Archi E Bc, Rv 216 Op.
VI/4 (VIVALDI ANTONIO) Violon, Ensembles de Cordes et B.C. - Intermédiaire/avancé Ricordi
Ed. Critica A. Borin. Par VIVALDI ANTONIO. Casa Ricordi Milano in partnership wi...(+)
Ed. Critica A. Borin. Par VIVALDI ANTONIO. Casa Ricordi Milano in partnership with Fondazione Giorgio Cini, Venezia (Istituto Antonio Vivaldi). Critical edition by Alessandro Borin. The six Concerts op. VI for violin, strings and continuo by Antonio Vivaldi were published in Amsterdam by Roger in 1719. Although the contribution of Vivaldi was probably modest – even to assume that the collection was published without the composer’s assistance and perhaps even his agreement - these six compositions mark a decisive step towards the definition of the classic Vivaldi Concerto, a change evident both from the systematic adoption of the three-movement plan and from the absence of any supplementary solo parts beyond the principalviolin. This critical edition is based on the first edition of Opus VI and its reprints, but takes also into consideration all the sources of single concertos printed into anthologies or transmitted in manuscript form (Wiesentheid and Dresden). The information gathered through the comparative analysis of the manuscript and the printed traditions of Vivaldi’s Opus 6 has permitted us to reconstruct the links among the sources, to clarify some problematic editorial decisions and formulate new hypotheses on the genesis and the intrinsic nature of the collection as a whole. / Niveau : Intermédiaire à Avancé / Date parution : 1905-07-09/ Répertoire / Violon, Ensembles de Cordes et B.C.
46.10 EUR - vendu par LMI-partitions Délais: 2-5 jours - En Stock Fournisseur | |
|
|
| Sonate in D Violon, Basse continue Carus Verlag
By Johann Georg Pisendel (1687-1755). For Violin, Basso continuo. D-Dur (D major...(+)
By Johann Georg Pisendel
(1687-1755). For Violin,
Basso continuo. D-Dur (D
major). German title:
Violinsonate in D. Part:
violin. Language: all
languages. 12 pages.
Duration 12 minutes.
Published by Carus Verlag
$9.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Sonate in D Violon, Basse continue Carus Verlag
By Johann Georg Pisendel (1687-1755). For Violin, Basso continuo. D-Dur (D major...(+)
By Johann Georg Pisendel
(1687-1755). For Violin,
Basso continuo. D-Dur (D
major). German title:
Violinsonate in D. Part:
basso continuo. Language:
all languages. 8 pages.
Duration 12 minutes.
Published by Carus Verlag
$9.95 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Johann Baptist Georg Neruda - Sonata in A minor for Violin and Basso Continuo Violon, Basse continue G. Henle
(With Marked and Unmarked String Parts). Composed by Johann Baptist Georg Neruda...(+)
(With Marked and Unmarked
String Parts). Composed
by Johann Baptist Georg
Neruda. Edited by Sonja
Gerlach and Zdenka
Pilková. For Piano,
Violin, Basso Continuo.
Henle Music Folios.
Softcover. G. Henle
#HN1049. Published by G.
Henle
$15.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Spring in Dresden [Conducteur] Theodore Presser Co.
Orchestra Bass Drum, Bassoon 1, Bassoon 2, Clarinet 1, Clarinet 2, Contrabass, F...(+)
Orchestra Bass Drum,
Bassoon 1, Bassoon 2,
Clarinet 1, Clarinet 2,
Contrabass, Flute 1,
Flute 2, Harp, Horn 1,
Horn 2, Horn 3, Horn 4,
Marimba, Oboe 1, Oboe 2,
Percussion 1, Percussion
2, Percussion 3, Snare
Drum, Suspended Cymbal,
Tam-tam, Trombone 1 and
more. SKU:
PR.11641963S Composed
by Chen Yi. Full score.
58 pages. Duration 20
minutes. Theodore Presser
Company #116-41963S.
Published by Theodore
Presser Company
(PR.11641963S). UPC:
680160684472. The
violin concerto is
commissioned by Friends
of Dresden Music
Foundation for American
soloist Mira Wang and the
New York Philharmonic and
Staatskapelle Dresden as
an American commemoration
of the reconstruction of
the Dresden Frauenkirche,
60 years after its
destruction in World War
II by American and
British Forces. The world
premiere is given at the
Semperoper in Dresden,
Germany, on October 9, 10
& 11, 2005, conducted
by Ivan Fischer. Full of
excitement and inner
power, the musical image
is vivid, energetic,
sometimes lyrical and
sometimes dramatic. The
major angular thematic
material (a three note
motive) consists of big
leaps in interval (a
perfect fourth downward
and then a minor seventh
upward, first introduced
by the violin solo in
measures 27-29). Except
for the cadenzas which
stand at the middle
(Rehearsal E, measure
127) and the two ends of
the piece as a frame, the
virtuosic violin solo
line is always
accompanied by the ever
moving and growing
textures in the
background. The rests
between long and short
phrases symbolize the
space in Chinese
paintings. The Beijing
Opera reciting tune, and
the fingerings to produce
sliding tones in the
performance of the
Chinese fiddle erhu are
also borrowed in the
writing and the
performing of the western
instruments. The musical
imagination of the violin
concerto came from an
ancient Chinese poem with
the same title, written
by Du Fu (712-770) in
Tang Dynasty. Happy Rain
on a Spring Night by Du
Fu (712-770 in Tang
Dynasty) Happy rain comes
in time, When spring is
in its prime. With night
breeze it will fall, And
quietly moisten all.
Clouds darken wild roads,
Light brightens a little
boat. Saturated at dawn,
With flowers blooming the
town. (English
translation by Chen Yi
from the original poem in
Chinese) The following is
the poem in its original
Chinese form, and the
detailed introduction on
the structural plan of
the violin concerto
Spring in Dresden. It's
like the welcome rain on
a quiet spring night that
nurtures the budding
seeds, our new society is
pushing us forward to the
new future. The music
reflects the scenes and
the expression according
to the meaning of the
poem when it's being
unfolded line by line.
Although the tempo is set
63 quarter notes per
minute throughout (played
vividly, never slow
down), the tension is
being built up from the
quiet background in the
beginning, to the
sustained climax towards
the end. The musical
image in Rehearsal A and
B (measures 39-80)
represents the first four
lines of the poem. The
wind instruments response
to the rustling of fast
moving notes on muted
string triplets,
decorated by occasional
strokes produced by
metallic string sound and
high woodwind gestures.
The music in Rehearsal C
and D (measures 81-126)
represents the next two
lines of the poem. It's
so dark, a little light
in the boat is shimmering
on the lake... The
breathy sound and key
slaps on the flutes
create a mysterious
atmosphere, in a dialogue
with other instruments.
The cello glissandi
recite the poem in the
tone of Mandarin, echoed
by the string harmonics.
The music in Rehearsal F,
G and H (m 129-202) is a
toccata, starting in the
orchestra (led by the
marimba), which builds up
a big shape, to reach the
climax in m. 157
(Rehearsal G, the
location of the Golden
Section, according to the
length of the music
without cadenzas), and
keeps the vivid scene
towards the coda (from
Rehearsal I, m. 203),
which stands on the
energetic peak until the
clear cutoff on measure
239, followed by the
short, yet powerful solo
conclusion with the
lingering echo produced
by the high string
harmonics. On the top,
there is a recall of the
three note motive in the
sound of wonderland,
touched by the motor-on
vibraphone meaningfully.
The music is written for
2 flutes, 2 oboes, 2
clarinets (in Bb), 2
bassoons, 4 French horns
(in F), 2 trumpets (in
Bb), 3 trombones, tuba,
harp, 3 percussion
players (Perc. 1:
xylophone; Perc. 2:
suspended cymbal,
Japanese high woodblock,
snare drum, bass drum and
vibraphone; Perc. 3:
marimba and tam-tam),
solo violin, and strings.
Duration is about 20
minutes. The violin
concerto is commissioned
by Friends of Dresden
Music Foundation for
American soloist Mira
Wang and the New York
Philharmonic and
Staatskapelle Dresden as
an American commemoration
of the reconstruction of
the Dresden Frauenkirche,
60 years after its
destruction in World War
II by American and
British Forces. The world
premiere is given at the
Semperoper in Dresden,
Germany, on October 9, 10
& 11, 2005, conducted by
Ivan Fischer.Full of
excitement and inner
power, the musical image
is vivid, energetic,
sometimeslyrical and
sometimes dramatic. The
major angular thematic
material (a three
notemotive) consists of
big leaps in interval (a
perfect fourth downward
and then a minorseventh
upward, first introduced
by the violin solo in
measures 27-29). Except
for thecadenzas which
stand at the middle
(Rehearsal E, measure
127) and the two ends of
the piece as a frame, the
virtuosic violin solo
line is always
accompanied by the ever
moving and growing
textures in the
background. The rests
between long and short
phrases symbolize the
space in Chinese
paintings. The Beijing
Opera reciting tune, and
the fingerings to produce
sliding tones in the
performance of the
Chinese fiddle erhu are
also borrowed in the
writing and the
performing of the western
instruments.The musical
imagination of the violin
concerto came from an
ancient Chinese poem with
the same title, written
by Du Fu (712-770) in
Tang Dynasty.Happy Rain
on a Spring Nightby Du Fu
(712-770 in Tang
Dynasty)Happy rain comes
in time,When spring is in
its prime.With night
breeze it will fall,And
quietly moisten
all.Clouds darken wild
roads,Light brightens a
little boat.Saturated at
dawn,With flowers
blooming the
town.(English translation
by Chen Yi from the
original poem in
Chinese)The following is
the poem in its original
Chinese form, and the
detailed introduction
onthe structural plan of
the violin concerto
Spring in
Dresden.It’s like
the welcome rain on a
quiet spring night that
nurtures the budding
seeds, our newsociety is
pushing us forward to the
new future. The music
reflects the scenes and
theexpression according
to the meaning of the
poem when it’s
being unfolded line by
line.Although the tempo
is set 63 quarter notes
per minute throughout
(played vividly,
neverslow down), the
tension is being built up
from the quiet background
in the beginning, tothe
sustained climax towards
the end. The musical
image in Rehearsal A and
B (measures39-80)
represents the first four
lines of the poem. The
wind instruments response
to therustling of fast
moving notes on muted
string triplets,
decorated by occasional
strokesproduced by
metallic string sound and
high woodwind gestures.
The music in RehearsalC
and D (measures 81-126)
represents the next two
lines of the poem. It's
so dark, a littlelight in
the boat is shimmering on
the lake... The breathy
sound and key slaps on
theflutes create a
mysterious atmosphere, in
a dialogue with other
instruments. The
celloglissandi recite the
poem in the tone of
Mandarin, echoed by the
string harmonics.
Themusic in Rehearsal F,
G and H (m 129-202) is a
toccata, starting in the
orchestra (led bythe
marimba), which builds up
a big shape, to reach the
climax in m. 157
(Rehearsal G,the location
of the Golden Section,
according to the length
of the music
withoutcadenzas), and
keeps the vivid scene
towards the coda (from
Rehearsal I, m. 203),
whichstands on the
energetic peak until the
clear cutoff on measure
239, followed by the
short,yet powerful solo
conclusion with the
lingering echo produced
by the high
stringharmonics. On the
top, there is a recall of
the three note motive in
the sound ofwonderland,
touched by the motor-on
vibraphone
meaningfully.The music is
written for 2 flutes, 2
oboes, 2 clarinets (in
Bb), 2 bassoons, 4 French
horns (in F), 2 trumpets
(in Bb), 3 trombones,
tuba, harp, 3 percussion
players (Perc.
1:xylophone; Perc. 2:
suspended cymbal,
Japanese high woodblock,
snare drum, bass drum and
vibraphone; Perc. 3:
marimba and tam-tam),
solo violin, and
strings.Duration is about
20 minutes. $35.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Spring in Dresden Theodore Presser Co.
Orchestra Bass Drum, Bassoon 1, Bassoon 2, Clarinet 1, Clarinet 2, Contrabass, F...(+)
Orchestra Bass Drum,
Bassoon 1, Bassoon 2,
Clarinet 1, Clarinet 2,
Contrabass, Flute 1,
Flute 2, Harp, Horn 1,
Horn 2, Horn 3, Horn 4,
Marimba, Oboe 1, Oboe 2,
Percussion 1, Percussion
2, Percussion 3, Snare
Drum, Suspended Cymbal,
Tam-tam, Trombone 1 and
more. SKU:
PR.11641963SP
Composed by Chen Yi.
Part. 11 pages. Duration
20 minutes. Theodore
Presser Company
#116-41963SP. Published
by Theodore Presser
Company (PR.11641963SP).
UPC:
680160684496. The
violin concerto is
commissioned by Friends
of Dresden Music
Foundation for American
soloist Mira Wang and the
New York Philharmonic and
Staatskapelle Dresden as
an American commemoration
of the reconstruction of
the Dresden Frauenkirche,
60 years after its
destruction in World War
II by American and
British Forces. The world
premiere is given at the
Semperoper in Dresden,
Germany, on October 9, 10
& 11, 2005, conducted
by Ivan Fischer. Full of
excitement and inner
power, the musical image
is vivid, energetic,
sometimes lyrical and
sometimes dramatic. The
major angular thematic
material (a three note
motive) consists of big
leaps in interval (a
perfect fourth downward
and then a minor seventh
upward, first introduced
by the violin solo in
measures 27-29). Except
for the cadenzas which
stand at the middle
(Rehearsal E, measure
127) and the two ends of
the piece as a frame, the
virtuosic violin solo
line is always
accompanied by the ever
moving and growing
textures in the
background. The rests
between long and short
phrases symbolize the
space in Chinese
paintings. The Beijing
Opera reciting tune, and
the fingerings to produce
sliding tones in the
performance of the
Chinese fiddle erhu are
also borrowed in the
writing and the
performing of the western
instruments. The musical
imagination of the violin
concerto came from an
ancient Chinese poem with
the same title, written
by Du Fu (712-770) in
Tang Dynasty. Happy Rain
on a Spring Night by Du
Fu (712-770 in Tang
Dynasty) Happy rain comes
in time, When spring is
in its prime. With night
breeze it will fall, And
quietly moisten all.
Clouds darken wild roads,
Light brightens a little
boat. Saturated at dawn,
With flowers blooming the
town. (English
translation by Chen Yi
from the original poem in
Chinese) The following is
the poem in its original
Chinese form, and the
detailed introduction on
the structural plan of
the violin concerto
Spring in Dresden. It's
like the welcome rain on
a quiet spring night that
nurtures the budding
seeds, our new society is
pushing us forward to the
new future. The music
reflects the scenes and
the expression according
to the meaning of the
poem when it's being
unfolded line by line.
Although the tempo is set
63 quarter notes per
minute throughout (played
vividly, never slow
down), the tension is
being built up from the
quiet background in the
beginning, to the
sustained climax towards
the end. The musical
image in Rehearsal A and
B (measures 39-80)
represents the first four
lines of the poem. The
wind instruments response
to the rustling of fast
moving notes on muted
string triplets,
decorated by occasional
strokes produced by
metallic string sound and
high woodwind gestures.
The music in Rehearsal C
and D (measures 81-126)
represents the next two
lines of the poem. It's
so dark, a little light
in the boat is shimmering
on the lake... The
breathy sound and key
slaps on the flutes
create a mysterious
atmosphere, in a dialogue
with other instruments.
The cello glissandi
recite the poem in the
tone of Mandarin, echoed
by the string harmonics.
The music in Rehearsal F,
G and H (m 129-202) is a
toccata, starting in the
orchestra (led by the
marimba), which builds up
a big shape, to reach the
climax in m. 157
(Rehearsal G, the
location of the Golden
Section, according to the
length of the music
without cadenzas), and
keeps the vivid scene
towards the coda (from
Rehearsal I, m. 203),
which stands on the
energetic peak until the
clear cutoff on measure
239, followed by the
short, yet powerful solo
conclusion with the
lingering echo produced
by the high string
harmonics. On the top,
there is a recall of the
three note motive in the
sound of wonderland,
touched by the motor-on
vibraphone meaningfully.
The music is written for
2 flutes, 2 oboes, 2
clarinets (in Bb), 2
bassoons, 4 French horns
(in F), 2 trumpets (in
Bb), 3 trombones, tuba,
harp, 3 percussion
players (Perc. 1:
xylophone; Perc. 2:
suspended cymbal,
Japanese high woodblock,
snare drum, bass drum and
vibraphone; Perc. 3:
marimba and tam-tam),
solo violin, and strings.
Duration is about 20
minutes. The violin
concerto is commissioned
by Friends of Dresden
Music Foundation for
American soloist Mira
Wang and the New York
Philharmonic and
Staatskapelle Dresden as
an American commemoration
of the reconstruction of
the Dresden Frauenkirche,
60 years after its
destruction in World War
II by American and
British Forces. The world
premiere is given at the
Semperoper in Dresden,
Germany, on October 9, 10
& 11, 2005, conducted by
Ivan Fischer.Full of
excitement and inner
power, the musical image
is vivid, energetic,
sometimeslyrical and
sometimes dramatic. The
major angular thematic
material (a three
notemotive) consists of
big leaps in interval (a
perfect fourth downward
and then a minorseventh
upward, first introduced
by the violin solo in
measures 27-29). Except
for thecadenzas which
stand at the middle
(Rehearsal E, measure
127) and the two ends of
the piece as a frame, the
virtuosic violin solo
line is always
accompanied by the ever
moving and growing
textures in the
background. The rests
between long and short
phrases symbolize the
space in Chinese
paintings. The Beijing
Opera reciting tune, and
the fingerings to produce
sliding tones in the
performance of the
Chinese fiddle erhu are
also borrowed in the
writing and the
performing of the western
instruments.The musical
imagination of the violin
concerto came from an
ancient Chinese poem with
the same title, written
by Du Fu (712-770) in
Tang Dynasty.Happy Rain
on a Spring Nightby Du Fu
(712-770 in Tang
Dynasty)Happy rain comes
in time,When spring is in
its prime.With night
breeze it will fall,And
quietly moisten
all.Clouds darken wild
roads,Light brightens a
little boat.Saturated at
dawn,With flowers
blooming the
town.(English translation
by Chen Yi from the
original poem in
Chinese)The following is
the poem in its original
Chinese form, and the
detailed introduction
onthe structural plan of
the violin concerto
Spring in
Dresden.It’s like
the welcome rain on a
quiet spring night that
nurtures the budding
seeds, our newsociety is
pushing us forward to the
new future. The music
reflects the scenes and
theexpression according
to the meaning of the
poem when it’s
being unfolded line by
line.Although the tempo
is set 63 quarter notes
per minute throughout
(played vividly,
neverslow down), the
tension is being built up
from the quiet background
in the beginning, tothe
sustained climax towards
the end. The musical
image in Rehearsal A and
B (measures39-80)
represents the first four
lines of the poem. The
wind instruments response
to therustling of fast
moving notes on muted
string triplets,
decorated by occasional
strokesproduced by
metallic string sound and
high woodwind gestures.
The music in RehearsalC
and D (measures 81-126)
represents the next two
lines of the poem. It's
so dark, a littlelight in
the boat is shimmering on
the lake... The breathy
sound and key slaps on
theflutes create a
mysterious atmosphere, in
a dialogue with other
instruments. The
celloglissandi recite the
poem in the tone of
Mandarin, echoed by the
string harmonics.
Themusic in Rehearsal F,
G and H (m 129-202) is a
toccata, starting in the
orchestra (led bythe
marimba), which builds up
a big shape, to reach the
climax in m. 157
(Rehearsal G,the location
of the Golden Section,
according to the length
of the music
withoutcadenzas), and
keeps the vivid scene
towards the coda (from
Rehearsal I, m. 203),
whichstands on the
energetic peak until the
clear cutoff on measure
239, followed by the
short,yet powerful solo
conclusion with the
lingering echo produced
by the high
stringharmonics. On the
top, there is a recall of
the three note motive in
the sound ofwonderland,
touched by the motor-on
vibraphone
meaningfully.The music is
written for 2 flutes, 2
oboes, 2 clarinets (in
Bb), 2 bassoons, 4 French
horns (in F), 2 trumpets
(in Bb), 3 trombones,
tuba, harp, 3 percussion
players (Perc.
1:xylophone; Perc. 2:
suspended cymbal,
Japanese high woodblock,
snare drum, bass drum and
vibraphone; Perc. 3:
marimba and tam-tam),
solo violin, and
strings.Duration is about
20 minutes. $25.99 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Spring in Dresden Theodore Presser Co.
Orchestra Bass Drum, Bassoon 1, Bassoon 2, Clarinet 1, Clarinet 2, Contrabass, F...(+)
Orchestra Bass Drum,
Bassoon 1, Bassoon 2,
Clarinet 1, Clarinet 2,
Contrabass, Flute 1,
Flute 2, Harp, Horn 1,
Horn 2, Horn 3, Horn 4,
Marimba, Oboe 1, Oboe 2,
Percussion 1, Percussion
2, Percussion 3, Snare
Drum, Suspended Cymbal,
Tam-tam, Trombone 1 and
more. SKU:
PR.11641963L Composed
by Chen Yi. Large Score.
58 pages. Duration 20
minutes. Theodore Presser
Company #116-41963L.
Published by Theodore
Presser Company
(PR.11641963L). UPC:
680160684489. The
violin concerto is
commissioned by Friends
of Dresden Music
Foundation for American
soloist Mira Wang and the
New York Philharmonic and
Staatskapelle Dresden as
an American commemoration
of the reconstruction of
the Dresden Frauenkirche,
60 years after its
destruction in World War
II by American and
British Forces. The world
premiere is given at the
Semperoper in Dresden,
Germany, on October 9, 10
& 11, 2005, conducted
by Ivan Fischer. Full of
excitement and inner
power, the musical image
is vivid, energetic,
sometimes lyrical and
sometimes dramatic. The
major angular thematic
material (a three note
motive) consists of big
leaps in interval (a
perfect fourth downward
and then a minor seventh
upward, first introduced
by the violin solo in
measures 27-29). Except
for the cadenzas which
stand at the middle
(Rehearsal E, measure
127) and the two ends of
the piece as a frame, the
virtuosic violin solo
line is always
accompanied by the ever
moving and growing
textures in the
background. The rests
between long and short
phrases symbolize the
space in Chinese
paintings. The Beijing
Opera reciting tune, and
the fingerings to produce
sliding tones in the
performance of the
Chinese fiddle erhu are
also borrowed in the
writing and the
performing of the western
instruments. The musical
imagination of the violin
concerto came from an
ancient Chinese poem with
the same title, written
by Du Fu (712-770) in
Tang Dynasty. Happy Rain
on a Spring Night by Du
Fu (712-770 in Tang
Dynasty) Happy rain comes
in time, When spring is
in its prime. With night
breeze it will fall, And
quietly moisten all.
Clouds darken wild roads,
Light brightens a little
boat. Saturated at dawn,
With flowers blooming the
town. (English
translation by Chen Yi
from the original poem in
Chinese) The following is
the poem in its original
Chinese form, and the
detailed introduction on
the structural plan of
the violin concerto
Spring in Dresden. It's
like the welcome rain on
a quiet spring night that
nurtures the budding
seeds, our new society is
pushing us forward to the
new future. The music
reflects the scenes and
the expression according
to the meaning of the
poem when it's being
unfolded line by line.
Although the tempo is set
63 quarter notes per
minute throughout (played
vividly, never slow
down), the tension is
being built up from the
quiet background in the
beginning, to the
sustained climax towards
the end. The musical
image in Rehearsal A and
B (measures 39-80)
represents the first four
lines of the poem. The
wind instruments response
to the rustling of fast
moving notes on muted
string triplets,
decorated by occasional
strokes produced by
metallic string sound and
high woodwind gestures.
The music in Rehearsal C
and D (measures 81-126)
represents the next two
lines of the poem. It's
so dark, a little light
in the boat is shimmering
on the lake... The
breathy sound and key
slaps on the flutes
create a mysterious
atmosphere, in a dialogue
with other instruments.
The cello glissandi
recite the poem in the
tone of Mandarin, echoed
by the string harmonics.
The music in Rehearsal F,
G and H (m 129-202) is a
toccata, starting in the
orchestra (led by the
marimba), which builds up
a big shape, to reach the
climax in m. 157
(Rehearsal G, the
location of the Golden
Section, according to the
length of the music
without cadenzas), and
keeps the vivid scene
towards the coda (from
Rehearsal I, m. 203),
which stands on the
energetic peak until the
clear cutoff on measure
239, followed by the
short, yet powerful solo
conclusion with the
lingering echo produced
by the high string
harmonics. On the top,
there is a recall of the
three note motive in the
sound of wonderland,
touched by the motor-on
vibraphone meaningfully.
The music is written for
2 flutes, 2 oboes, 2
clarinets (in Bb), 2
bassoons, 4 French horns
(in F), 2 trumpets (in
Bb), 3 trombones, tuba,
harp, 3 percussion
players (Perc. 1:
xylophone; Perc. 2:
suspended cymbal,
Japanese high woodblock,
snare drum, bass drum and
vibraphone; Perc. 3:
marimba and tam-tam),
solo violin, and strings.
Duration is about 20
minutes. The violin
concerto is commissioned
by Friends of Dresden
Music Foundation for
American soloist Mira
Wang and the New York
Philharmonic and
Staatskapelle Dresden as
an American commemoration
of the reconstruction of
the Dresden Frauenkirche,
60 years after its
destruction in World War
II by American and
British Forces. The world
premiere is given at the
Semperoper in Dresden,
Germany, on October 9, 10
& 11, 2005, conducted by
Ivan Fischer.Full of
excitement and inner
power, the musical image
is vivid, energetic,
sometimeslyrical and
sometimes dramatic. The
major angular thematic
material (a three
notemotive) consists of
big leaps in interval (a
perfect fourth downward
and then a minorseventh
upward, first introduced
by the violin solo in
measures 27-29). Except
for thecadenzas which
stand at the middle
(Rehearsal E, measure
127) and the two ends of
the piece as a frame, the
virtuosic violin solo
line is always
accompanied by the ever
moving and growing
textures in the
background. The rests
between long and short
phrases symbolize the
space in Chinese
paintings. The Beijing
Opera reciting tune, and
the fingerings to produce
sliding tones in the
performance of the
Chinese fiddle erhu are
also borrowed in the
writing and the
performing of the western
instruments.The musical
imagination of the violin
concerto came from an
ancient Chinese poem with
the same title, written
by Du Fu (712-770) in
Tang Dynasty.Happy Rain
on a Spring Nightby Du Fu
(712-770 in Tang
Dynasty)Happy rain comes
in time,When spring is in
its prime.With night
breeze it will fall,And
quietly moisten
all.Clouds darken wild
roads,Light brightens a
little boat.Saturated at
dawn,With flowers
blooming the
town.(English translation
by Chen Yi from the
original poem in
Chinese)The following is
the poem in its original
Chinese form, and the
detailed introduction
onthe structural plan of
the violin concerto
Spring in
Dresden.It’s like
the welcome rain on a
quiet spring night that
nurtures the budding
seeds, our newsociety is
pushing us forward to the
new future. The music
reflects the scenes and
theexpression according
to the meaning of the
poem when it’s
being unfolded line by
line.Although the tempo
is set 63 quarter notes
per minute throughout
(played vividly,
neverslow down), the
tension is being built up
from the quiet background
in the beginning, tothe
sustained climax towards
the end. The musical
image in Rehearsal A and
B (measures39-80)
represents the first four
lines of the poem. The
wind instruments response
to therustling of fast
moving notes on muted
string triplets,
decorated by occasional
strokesproduced by
metallic string sound and
high woodwind gestures.
The music in RehearsalC
and D (measures 81-126)
represents the next two
lines of the poem. It's
so dark, a littlelight in
the boat is shimmering on
the lake... The breathy
sound and key slaps on
theflutes create a
mysterious atmosphere, in
a dialogue with other
instruments. The
celloglissandi recite the
poem in the tone of
Mandarin, echoed by the
string harmonics.
Themusic in Rehearsal F,
G and H (m 129-202) is a
toccata, starting in the
orchestra (led bythe
marimba), which builds up
a big shape, to reach the
climax in m. 157
(Rehearsal G,the location
of the Golden Section,
according to the length
of the music
withoutcadenzas), and
keeps the vivid scene
towards the coda (from
Rehearsal I, m. 203),
whichstands on the
energetic peak until the
clear cutoff on measure
239, followed by the
short,yet powerful solo
conclusion with the
lingering echo produced
by the high
stringharmonics. On the
top, there is a recall of
the three note motive in
the sound ofwonderland,
touched by the motor-on
vibraphone
meaningfully.The music is
written for 2 flutes, 2
oboes, 2 clarinets (in
Bb), 2 bassoons, 4 French
horns (in F), 2 trumpets
(in Bb), 3 trombones,
tuba, harp, 3 percussion
players (Perc.
1:xylophone; Perc. 2:
suspended cymbal,
Japanese high woodblock,
snare drum, bass drum and
vibraphone; Perc. 3:
marimba and tam-tam),
solo violin, and
strings.Duration is about
20 minutes. $55.00 - Voir plus => AcheterDélais: 2 to 3 weeks | | |
| Violin Concerto Op. 39 Breitkopf & Härtel
Violin, piano (solo: vl - 1.2.2.2 - 2.1.1.0 - timp - str) SKU: BR.EB-9457 ...(+)
Violin, piano (solo: vl -
1.2.2.2 - 2.1.1.0 - timp
- str) SKU:
BR.EB-9457 Composed
by Hans Gal. Edited by
Anthony Eva and Fox
Fox-Gal. Solo
instruments; stapled.
Edition Breitkopf. Solo
concerto; Early modern;
Music post-1945. Piano
reduction. 56 pages.
Duration 25'. Breitkopf
and Haertel #EB 9457.
Published by Breitkopf
and Haertel (BR.EB-9457).
ISBN 9790004189344. 9
x 12 inches. Gal
composed his
Violin-Concerto in
1931/32 at the height of
his career. In 1929, as
an internationally
recognised composer, he
had been appointed
Director of the Mainz
Music College. The new
concerto was immediately
published and
successfully premiered in
Dresden in February 1933
by the violinist Georg
Kulenkampff under Fritz
Busch. Hitler's seizure
of power, however, meant
for Gal - as a Non-Arian
- immediate dismissal
from his post, followed
by bans on employment,
performance, and
publication. Gal returned
to his native Austria,
but in 1938 again had to
flee, this time to
Britain, where he stayed
for the rest of his life.
Though he remained
creatively active in the
internationally changed
post-war cultural
climate, it is not until
recently that he has been
rediscovered and
recognised as a
composer.The Concerto was
performed again in 2005
for the first time since
1933; extremely
successful CDs followed
in 2010 and 2011.The
orchestral parts interact
contrapuntally with one
another and with the solo
part. It is therefore all
the more important for
the soloist to become
familiar with the
orchestral part through
this edition of the
composer's own piano
reduction. $41.95 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Concerto for Violin, Strings and Basso Continuo - RV 259 Op. 6 No. 2 Ricordi
String Ensemble SKU: HL.50600906 Critical Edition Score. By Antoni...(+)
String Ensemble SKU:
HL.50600906
Critical Edition
Score. By Antonio
Vivaldi. Edited by
Alessandro Borin. String
Ensemble. Classical.
Softcover. 26 pages.
Ricordi #PR1443.
Published by Ricordi
(HL.50600906). ISBN
9788881920204. UPC:
888680699680. 8x10.75
inches. Casa
Ricordi Milano in
partnership with
Fondazione Giorgio Cini,
Venezia (Istituto Antonio
Vivaldi). Critical
edition by Alessandro
Borin. The six Concerts
op. VI for violin,
strings and continuo by
Antonio Vivaldi were
published in Amsterdam by
Roger in 1719. Although
the contribution of
Vivaldi was probably
modest – even to
assume that the
collection was published
without the composer's
assistance and perhaps
even his agreement
– these six
compositions mark a
decisive step towards the
definition of the classic
Vivaldi Concerto, a
change evident both from
the systematic adoption
of the three-movement
plan and from the absence
of any supplementary solo
parts beyond the
principal violin. This
critical edition is based
on the first edition of
Opus VI and its reprints,
but takes also into
consideration all the
sources of single
concertos printed into
anthologies or
transmitted in manuscript
form (Wiesentheid and
Dresden). The information
gathered through the
comparative analysis of
the manuscript and the
printed traditions of
Vivaldi's Opus 6 has
permitted us to
reconstruct the links
among the sources, to
clarify some problematic
editorial decisions and
formulate new hypotheses
on the genesis and the
intrinsic nature of the
collection as a
whole. $17.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Concerto for Violin, Strings and Basso Continuo - RV324, Op. 6 No. 1 Ricordi
String Ensemble (Study Score) SKU: HL.50600905 Critical Edition Score<...(+)
String Ensemble (Study
Score) SKU:
HL.50600905
Critical Edition
Score. By Antonio
Vivaldi. Edited by
Alessandro Borin. String
Ensemble. Classical.
Softcover. 22 pages.
Ricordi #PR1442.
Published by Ricordi
(HL.50600905). ISBN
9788881920198. UPC:
888680699666. 8x10.75
inches. Casa
Ricordi Milano in
partnership with
Fondazione Giorgio Cini,
Venezia (Istituto Antonio
Vivaldi). Critical
edition by Alessandro
Borin. The six Concerts
op. VI for violin,
strings and continuo by
Antonio Vivaldi were
published in Amsterdam by
Roger in 1719. Although
the contribution of
Vivaldi was probably
modest – even to
assume that the
collection was published
without the composer's
assistance and perhaps
even his agreement
– these six
compositions mark a
decisive step towards the
definition of the classic
Vivaldi Concerto, a
change evident both from
the systematic adoption
of the three-movement
plan and from the absence
of any supplementary solo
parts beyond the
principal violin. This
critical edition is based
on the first edition of
Opus VI and its reprints,
but takes also into
consideration all the
sources of single
concertos printed into
anthologies or
transmitted in manuscript
form (Wiesentheid and
Dresden). The information
gathered through the
comparative analysis of
the manuscript and the
printed traditions of
Vivaldi's Opus 6 has
permitted us to
reconstruct the links
among the sources, to
clarify some problematic
editorial decisions and
formulate new hypotheses
on the genesis and the
intrinsic nature of the
collection as a
whole. $17.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Concerto for Violin, Strings and Basso Continuo - RV216, Op. 6 No. 4 Ricordi
String Ensemble SKU: HL.50600908 Critical Edition Score. By Antoni...(+)
String Ensemble SKU:
HL.50600908
Critical Edition
Score. By Antonio
Vivaldi. Edited by
Alessandro Borin. String
Ensemble. Classical.
Softcover. 18 pages.
Ricordi #PR1445.
Published by Ricordi
(HL.50600908). ISBN
9788881920228. UPC:
888680699642. 8x10.75
inches. Casa
Ricordi Milano in
partnership with
Fondazione Giorgio Cini,
Venezia (Istituto Antonio
Vivaldi). Critical
edition by Alessandro
Borin. The six Concerts
op. VI for violin,
strings and continuo by
Antonio Vivaldi were
published in Amsterdam by
Roger in 1719. Although
the contribution of
Vivaldi was probably
modest – even to
assume that the
collection was published
without the composer's
assistance and perhaps
even his agreement
– these six
compositions mark a
decisive step towards the
definition of the classic
Vivaldi Concerto, a
change evident both from
the systematic adoption
of the three-movement
plan and from the absence
of any supplementary solo
parts beyond the
principal violin. This
critical edition is based
on the first edition of
Opus VI and its reprints,
but takes also into
consideration all the
sources of single
concertos printed into
anthologies or
transmitted in manuscript
form (Wiesentheid and
Dresden). The information
gathered through the
comparative analysis of
the manuscript and the
printed traditions of
Vivaldi's Opus 6 has
permitted us to
reconstruct the links
among the sources, to
clarify some problematic
editorial decisions and
formulate new hypotheses
on the genesis and the
intrinsic nature of the
collection as a
whole. $17.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Concerto for Violin, Strings and Basso Continuo - RV280, Op. 6 No. 5 Ricordi
String Ensemble SKU: HL.50600909 Critical Edition Score. By Antoni...(+)
String Ensemble SKU:
HL.50600909
Critical Edition
Score. By Antonio
Vivaldi. Edited by
Alessandro Borin. String
Ensemble. Classical.
Softcover. 22 pages.
Ricordi #PR1446.
Published by Ricordi
(HL.50600909). ISBN
9788881920235. UPC:
888680699673. 8x10.75
inches. Casa
Ricordi Milano in
partnership with
Fondazione Giorgio Cini,
Venezia (Istituto Antonio
Vivaldi). Critical
edition by Alessandro
Borin. The six Concerts
op. VI for violin,
strings and continuo by
Antonio Vivaldi were
published in Amsterdam by
Roger in 1719. Although
the contribution of
Vivaldi was probably
modest – even to
assume that the
collection was published
without the composer's
assistance and perhaps
even his agreement
– these six
compositions mark a
decisive step towards the
definition of the classic
Vivaldi Concerto, a
change evident both from
the systematic adoption
of the three-movement
plan and from the absence
of any supplementary solo
parts beyond the
principal violin. This
critical edition is based
on the first edition of
Opus VI and its reprints,
but takes also into
consideration all the
sources of single
concertos printed into
anthologies or
transmitted in manuscript
form (Wiesentheid and
Dresden). The information
gathered through the
comparative analysis of
the manuscript and the
printed traditions of
Vivaldi's Opus 6 has
permitted us to
reconstruct the links
among the sources, to
clarify some problematic
editorial decisions and
formulate new hypotheses
on the genesis and the
intrinsic nature of the
collection as a
whole. $17.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Concerto for Violin, Strings and Basso Continuo - RV318, Op. 6 No. 3 Ricordi
String Ensemble SKU: HL.50600907 Critical Edition Score. By Antoni...(+)
String Ensemble SKU:
HL.50600907
Critical Edition
Score. By Antonio
Vivaldi. Edited by
Alessandro Borin. String
Ensemble. Classical.
Softcover. 22 pages.
Ricordi #PR1444.
Published by Ricordi
(HL.50600907). UPC:
888680699635. 8x10.75
inches. Casa
Ricordi Milano in
partnership with
Fondazione Giorgio Cini,
Venezia (Istituto Antonio
Vivaldi). Critical
edition by Alessandro
Borin. The six Concerts
op. VI for violin,
strings and continuo by
Antonio Vivaldi were
published in Amsterdam by
Roger in 1719. Although
the contribution of
Vivaldi was probably
modest – even to
assume that the
collection was published
without the composer's
assistance and perhaps
even his agreement
– these six
compositions mark a
decisive step towards the
definition of the classic
Vivaldi Concerto, a
change evident both from
the systematic adoption
of the three-movement
plan and from the absence
of any supplementary solo
parts beyond the
principal violin. This
critical edition is based
on the first edition of
Opus VI and its reprints,
but takes also into
consideration all the
sources of single
concertos printed into
anthologies or
transmitted in manuscript
form (Wiesentheid and
Dresden). The information
gathered through the
comparative analysis of
the manuscript and the
printed traditions of
Vivaldi's Opus 6 has
permitted us to
reconstruct the links
among the sources, to
clarify some problematic
editorial decisions and
formulate new hypotheses
on the genesis and the
intrinsic nature of the
collection as a
whole. $17.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Concerto for Violin, Strings and Basso Continuo - RV239, Op. 6 No. 6 Ricordi
String Ensemble SKU: HL.50600910 Critical Edition Score. By Antoni...(+)
String Ensemble SKU:
HL.50600910
Critical Edition
Score. By Antonio
Vivaldi. Edited by
Alessandro Borin. String
Ensemble. Classical.
Softcover. 26 pages.
Ricordi #PR1447.
Published by Ricordi
(HL.50600910). ISBN
9788881920242. UPC:
888680699659. 8x10.75
inches. Casa
Ricordi Milano in
partnership with
Fondazione Giorgio Cini,
Venezia (Istituto Antonio
Vivaldi). Critical
edition by Alessandro
Borin. The six Concerts
op. VI for violin,
strings and continuo by
Antonio Vivaldi were
published in Amsterdam by
Roger in 1719. Although
the contribution of
Vivaldi was probably
modest – even to
assume that the
collection was published
without the composer's
assistance and perhaps
even his agreement
– these six
compositions mark a
decisive step towards the
definition of the classic
Vivaldi Concerto, a
change evident both from
the systematic adoption
of the three-movement
plan and from the absence
of any supplementary solo
parts beyond the
principal violin. This
critical edition is based
on the first edition of
Opus VI and its reprints,
but takes also into
consideration all the
sources of single
concertos printed into
anthologies or
transmitted in manuscript
form (Wiesentheid and
Dresden). The information
gathered through the
comparative analysis of
the manuscript and the
printed traditions of
Vivaldi's Opus 6 has
permitted us to
reconstruct the links
among the sources, to
clarify some problematic
editorial decisions and
formulate new hypotheses
on the genesis and the
intrinsic nature of the
collection as a
whole. $17.99 - Voir plus => AcheterDélais: 24 hours - In Stock | | |
| Concerto in E major Op-sn 4 for Violin, Strings and Continuo. Critical Edition [Conducteur] Ut Orpheus
Violin, Orchestra SKU: UT.LOC-4 Composed by Pietro Antonio Locatelli. Edi...(+)
Violin, Orchestra SKU:
UT.LOC-4 Composed by
Pietro Antonio Locatelli.
Edited by Fulvia Morabito
and Massimiliano Sala.
Pietro Antonio Locatelli.
Classical. Score. Ut
Orpheus #LOC 4. Published
by Ut Orpheus (UT.LOC-4).
ISBN 9790215327924. 9
x 12 inches. P
erformance Material on
Hire
Th
e Concerto in E major by
Pietro Antonio Locatelli
is a work that is not
among the authenticated
compositions of the
Bergamasque violinist and
composer. It is not
therefore included among
the eight opus numbers
known to date that were
printed in Amsterdam
under the author’s
supervision; nor is it
mentioned in any of the
catalogues compiled by
Locatelli himself. It is
therefore a work
attributed on the basis
of documentary and
stylistic
considerations. The
musical text is derived
from a single manuscript
source preserved in
Dresden, at the
Sächsische
Landesbibliothek;
Locatellian authorship is
attested by an annotation
inscribed on the title
page. $35.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Concerto in C minor [Conducteur et Parties séparées] Breitkopf & Härtel
Trio (ob,vl,str,bc) SKU: BR.MR-1642B Set of parts. Composed by Ant...(+)
Trio (ob,vl,str,bc)
SKU: BR.MR-1642B
Set of parts.
Composed by Antonio
Vivaldi. Edited by David
Lasocki. Chamber music;
Softcover. Musica Rara.
Solo concerto; Baroque.
Score and parts. 52
pages. Breitkopf and
Haertel #MR 1642b.
Published by Breitkopf
and Haertel
(BR.MR-1642B). ISBN
9790004483237. 9 x 12
inches. In recent
years significant numbers
of manuscripts of
instrumental pieces by
Antonio Vivaldi have been
discovered in libraries
in Austria (Vienna),
Norway (Trondheim},
Poland (Danzig), and
especially Sweden
(Uppsala, Stockholm,
Skara, Lund). Included
among these manuscripts
are a few pieces for
woodwind instruments at
least as attractive as
those known from the
Vivaldi manuscripts in
Dresden and Turin. Three
of them, a flute sonata
in E minor, a trio sonata
for 2 oboes and basso
continuo, and the present
concerto for oboe, violin
and orchestra in C minor
will be published by
Musica Rara under my
editorship. David
Lasocki, Iowa City, Iowa,
U.S.A., December
1971. $39.95 - Voir plus => AcheterDélais: 3 to 4 weeks | | |
| Concerto G-Dur Moseler Verlag
2 violins, string orchestra (2 violins, 2 violas) and basso continuo; 2 oboes ad...(+)
2 violins, string
orchestra (2 violins, 2
violas) and basso
continuo; 2 oboes ad lib
SKU: M2.MOS-41235
Dresdener Konzert.
Composed by Georg Philipp
Telemann. Hausmusik.
Vocal/piano score. 32
pages. Möseler Verlag
#MOS 41235. Published by
Möseler Verlag
(M2.MOS-41235). ISBN
9790203732358. $19.95 - Voir plus => AcheterDélais: 4 to 6 weeks | | |
|
|