PARTITIONS GRATUITES : ALTO
- Violin by Sam

Set of Parts. By Samuel Barber. String. Size 9x12 inches. Published by G. Schirmer, Inc.

Set of Parts. By Samuel Barber. Vocal. Size 8.5x11 inches. Published by G. Schirmer, Inc.

Composed by Franz Schubert (1797-1828). Henle Study Scores. Classical. Softcover. 56 pages. G. Henle #HN9849. Published by G. Henle (HL.51489849).

Edited by Christoph Emmanuel Langheim. For violin and viola duet. This edition: saddle stitiching. Hors Serie. Score and parts. 28 28 pages. Published by Ut Orpheus

Study Score No. 28. By Samuel Barber. (score). Study Score. Size 9x12 inches. 20 pages. Published by G. Schirmer, Inc.

For String Quartet. Composed by Anton Webern (1883-1945). Edited by James Beale. SWS - Main book Only. First Performed May 27, 1962 at Seattle, Washington by the University of Washington String Quartet. Score and part(s). With Standard notation. Composed 1905. 32 pages. Duration 0:08:00. Carl Fischer Music #O4528. Published by Carl Fischer Musi

Chamber Music Violin 1, Violin 2, Viola, Cello, Piano

SKU: PR.11441123S

Composed by Samuel Adler. Score. With Standard notation. Theodore Presser Company #114-41123S. Published by Theodore Presser Company (PR.11441123S).

UPC: 680160016303. 8.5 x 11 inches.

The Quintet for Piano and String Quartet was written for the American String Quartet in the summer of 2000. It is in one movement but has two distinct parts. The first is a slow movement characterized by dotted rhythms. It is a fantasy with some long flowing lines interrupted by short fragments usually in the piano. After a rather agitated section in 6/8 time, this section comes to a quiet close on a G-sharp major chord. The second section of this thirteen-minute work is marked Fast and Energetic. It begins with chords that recur throughout the movement and after two measures a long main theme is introduced which is developed and altered during the rest of the fast portion of the work. One could call this second part a sort of rondo form since this long lyrical theme returns always after contrasts. When it does return, it is treated often by means of imitation, but at the climax returns played in unison by the strings while the piano renders an energetic sixteenth note background. The work ends on an E-flat major chord though the piece is certainly not in any one key, but rather features quick modulations. One might call this non-tonal music which nevertheless always feels like it has a tonal center. --Samuel Adler.

By Samuel Applebaum. For Viola. String Orchestra Method/Supplement. Book. 32 pages. Published by Alfred Publishing.