Format : Score
SKU: UM.100717A4
A4 inches.
SKU: PR.816600040
UPC: 680160600045. 5.5x5 inches.
This disk contains study scores of all 41 of Mozart's Symphonies, as well as Concertos for Winds and Strings (Piano Concertos are on a companion CD-ROM), Serenades, Opera Overtures, Divertimentos, and other works.
About CD Sheet Music (Version 1)
CD Sheet Music (Version 1) was the initial CD Sheet Music series distributed by Theodore Presser. The CDs include thousands of pages of music that are viewable and printable on Mac or PC. Version 1 titles are a great value at 40% off, as we make room in our warehouse for the newly enhanced CD Sheet Music (Version 2.0) series.
SKU: HL.14007461
8.75x11.75x0.683 inches.
SKU: HL.14012073
8.75x11.75x0.766 inches.
SKU: HL.49009713
ISBN 9783795769642. UPC: 073999370614. 5.5x7.5x0.827 inches.
Vivaldi's 12 concertos were first published in 1711 by Roger in Amsterdam. These 8 elegant part-books helped to establish Vivaldi's reputation throughout Europe and provided the rules from which such writers as Quantz, Marcello and Mattheson judged and advised other composers. Much imitated, the concertos continued to influence the works of later composers and indeed J. S. Bach.
SKU: BO.B.3340
ISBN 9788480207591.
English comments: My dedication to the string instruments has been a constant throughout my compositional career and I knew that sooner or later the time would come to compose a concerto for violin and orchestra. That moment came in the autumn of 2002 and after ten months of uninterrupted work I finished it in August of 2003. It is a work structured similarly to the traditional concertos. An important impetus for the elaboration of my concerto was due to the ill-fated violinist Ginette Neveu. Her version of Sibelius' Concerto has always stayed with me. For this reason the first movement, Moderato-Allegro, begins with a contemplative atmosphere similar to that of Sibelius' Concerto in which the principal thematic ideas appear tentatively. These ideas, two rhythmic and two melodic, are reaffirmed through a broad development that culminates in an orchestral fullness. A calm, mysterious passage recalls the introduction and after becoming blurred, three bars burst in leading to the rapid section of the movement. Soloist and orchestra engage in a dialectic struggle of a dramatic nature. The agitation subsides leaving only a tranquil and suggestive clarinet phrase. This will be taken up by the soloist who leads up to the movement's most dramatic moment playing an accelerating triplet figure supported by an orchestral pedal in crescendo. From here the soloist's cadenza emerges beginning with soft double notes. It finishes with an ascending progression and the soloist settles into the high register to elicit the orchestra's intervention in a soft and transfigured atmosphere. Once internalised the second movement, Adagio poco sostenuto e leggero begins. It has a solemn character and opens with two trumpet calls answered by the violoncellos and the contrabasses. The violin soloist introduces and plays two nostalgic themes, the first in the low register and the second, more extensive, in the middle register. The soft and delicate Misterioso e leggero begins with the violin singing on high. The rhythm of the constant quaver figures gradually accelerates until the soloist provokes a dramatic full orchestra as in a cadenza. Once again, the Calmo, in which the soloist with less and less orchestral attire serenely bids farewell. A rising series of double stops by the soloist serves to initiate the Finale-Scherzo. In 6/8 rhythm and with the character of a rondo it carries us along in a carefree, virtuosic ambiance. The principal motives, brief and concise, emerge from the happy, playful theme presented by the soloist. With an intricate progression of rapid sixths in double stops it reaches a tense and somewhat combative moment. However this resolves itself in a diminuendo that the soloist peacefully takes up with the notes re-la to commence the cadenza. This culminates in a series of tied notes to reintroduce the principal theme. A moment of melodic suspension serves as a farewell before the brief and jovial final coda. --The authorComentarios del Espanol:A lo largo de mi carrera compositiva mi dedicacion a los instrumentos de cuerda ha sido constante y sabia que, tarde o temprano, llegaria el momento de componer un concierto para violin y orquesta. Este llego en otono de 2002 y, tras diez meses de trabajo ininterrumpido, lo termine en agosto de 2003. Se trata de una obra estructurada de manera similar a los conciertos tradicionales. Un importante impulso a la elaboracion de mi concierto lo debo al recuerdo de la malograda violinista Ginette Neveu. Su version del concierto de Sibelius ha permanecido siempre dentro de mi. Por ese motivo, el primer movimiento Moderato-Allegro se inicia con una atmosfera contemplativa cercana a la del mencionado Concierto, en la que aparecen cautamente las principales ideas tematicas. Con un amplio desarrollo se llega a un lleno orquestal en el que estas ideas -dos ritmicas y dos melodicas- quedan reafirmadas. Un pasaje calmo y misterioso rememora la introduccion. Tras desdibujarse, irrumpen tres compases que nos llevan a la parte rapida del movimiento. Solista y orquesta establecen un combate dialectico de caracter dramatico. La inquietud desaparece hasta una tranquila e insinuante frase del clarinete. Esta sera recogida por el solista, quien, a base de una figuracion de tresillos cada vez mas rapidos apoyada por un pedal de la orquesta in crescendo, conduce hacia el momento mas dramatico del movimiento. De aqui nace la cadenza del solista, que se incia con suaves notas dobles. Finaliza con una progresion ascendente y el solista se coloca en el registro agudo para llamar la intervencion de la orquesta dentro de una atmosfera suave y transfigurada. Interiorizado es el segundo movimiento Adagio poco sostenuto e leggero. Con dos llamadas de las trompas respondidas por los violonchelos y contrabajos inicia el Adagio de caracter grave. El violin solista introduce y canta dos temas nostalgicos. El primero en el registro grave y el segundo, mas amplio, en el medio. Inicia el Misterioso e leggero, de caracter suave y delicado. Con el violin cantando en agudo. La constante figuracion de corcheas acelerara poco a poco el ritmo hasta que el solista a modo de cadenza provocara un dramatico lleno orquestal. De nuevo el Calmo, donde el solista, cada vez con menos ropaje orquestal, se despide serenamente. Una subida de dobles cuerdas a cargo del solista sirve para iniciar el Finale-Scherzo. Este, en ritmo de 6/8 y con caracter de rondo, nos transporta en un clima virtuosistico y despreocupado. Del tema alegre y jugueton presentado por el solista nacen los principales motivos, breves y concisos. Con una intrincada sucesion de rapidas sextas en doble cuerda se llega a un momento crispado y algo combativo que, sin embargo, se resolvera en un diminuendo que el solista recoge apaciblemente con las notas re-la para inciar la cadenza. Esta culmina con un suave rosario de notas en ligado para introducir de nuevo el tema principal. Un momento de suspension melodica sirve como despido antes de la breve y jovial coda final. La obra fue estrenada el 23 de septiembre de 2005 en el Teatre Monumental de Madrid por la Orquesta Sinfonica de RTVE con Markus Placci de solista y Uwe Mund de director. Gravacion: RNE y Canal Clasico de TVE. --El Autor.
SKU: HL.49019952
ISBN 9783795772611. UPC: 841886021471. 6.25x9.0x2.301 inches.
Mendelssohn: Concerto in E minor, Bruch: Concerto No. 1, Brahms: Concerto in D, Beethoven: Concerto in D, Vivaldi: The Four Seasons, Tchaikovsky: Concerto in D, Bach: Concerto in A minor, Bach: Concerto in E, Bach: Concerto for two Violins in D minor, Brahms: Double Concerto in A minor.
SKU: BT.EMBZ14872
The three movements reflect classical romantic concertos in not only their structure but also their character. The relations between soloist and orchestra echo the dramatic composition of traditional concertos besides providing a significant role for wind and percussion instruments in tonality, which creates a specific tone familiar from László Dubrovay's earlier compositions. His Violin Concerto No. 2, completed in April 2011, is dedicated to the internationally noted young Hungarian violinist, Kristóf Baráti, whose extraordinary performing skills inspired the flexible melodiousness and virtuoso perfection of the themes.
SKU: FG.55011-315-2
ISBN 9790550113152.
The Sieidi concerto is in one movement but divided into several sections both faster and slower, wildly rhythmic, lyrical and more static. For the soloist it is extremely demanding because he is constantly having to switch from one technique to another - for djembe and darabuka playing with the hands differs radically from that of tom-tom or drumstick technique or the playing of pitched percussion instruments such as the marimba and vibraphone.Normally, in a percussion concerto, the soloist has to play surrounded by a huge battery of instruments, often behind the orchestra. In Sieidi he uses only nine instruments, and he is in front of the orchestra the whole time. The instruments are in a row in front of the platform, starting with the djembe on the far right (as viewed by the audience) and ending with the tam-tam on the far left. The soloist plays only one instrument at a time. The title of the concerto, Sieidi, is Sami - a language spoken in the northern region of Finland, Sweden and Norway known as Lapland. It denotes an ancient cult place such as an unusually-shaped rock, sometimes also a special rock face or even a whole mountain fell. The Sieidi concerto is in one movement but divided into several sections both faster and slower, wildly rhythmic, lyrical and more static. For the soloist it is extremely demanding because he is constantly having to switch from one technique to another - for djembe and darabuka playing with the hands differs radically from that of tom-tom or drumstick technique or the playing of pitched percussion instruments such as the marimba and vibraphone. Normally, in a percussion concerto, the soloist has to play surrounded by a huge battery of instruments, often behind the orchestra. In Sieidi he uses only nine instruments, and he is in front of the orchestra the whole time. The instruments are in a row in front of the platform, starting with the djembe on the far right (as viewed by the audience) and ending with the tam-tam on the far left. The soloist plays only one instrument at a time. The title of the concerto, Sieidi, is Sami - a language spoken in the northern region of Finland, Sweden and Norway known as Lapland. It denotes an ancient cult place such as an unusually-shaped rock, sometimes also a special rock face or even a whole mountain fell. The Sieidi concerto is in one movement but divided into several sections both faster and slower, wildly rhythmic, lyrical and more static. For the soloist it is extremely demanding because he is constantly having to switch from one technique to another - for djembe and darabuka playing with the hands differs radically from that of tom-tom or drumstick technique or the playing of pitched percussion instruments such as the marimba and vibraphone. Normally, in a percussion concerto, the soloist has to play surrounded by a huge battery of instruments, often behind the orchestra. In Sieidi he uses only nine instruments, and he is in front of the orchestra the whole time. The instruments are in a row in front of the platform, starting with the djembe on the far right (as viewed by the audience) and ending with the tam-tam on the far left. The soloist plays only one instrument at a time. The title of the concerto, Sieidi, is Sami - a language spoken in the northern region of Finland, Sweden and Norway known as Lapland. It denotes an ancient cult place such as an unusually-shaped rock, sometimes also a special rock face or even a whole mountain fell. The Sieidi concerto is in one movement but divided into several sections both faster and slower, wildly rhythmic, lyrical and more static. For the soloist it is extremely demanding because he is constantly having to switch from one technique to another - for djembe and darabuka playing with the hands differs radically from that of tom-tom or drumstick technique or the playing of pitched percussion instruments such as the marimba and vibraphone. Normally, in a percussion concerto, the soloist has to play surrounded by a huge battery of instruments, often behind the orchestra. In Sieidi he uses only nine instruments, and he is in front of the orchestra the whole time. The instruments are in a row in front of the platform, starting with the djembe on the far right (as viewed by the audience) and ending with the tam-tam on the far left. The soloist plays only one instrument at a time. The title of the concerto, Sieidi, is Sami - a language spoken in the northern region of Finland, Sweden and Norway known as Lapland. It denotes an ancient cult place such as an unusually-shaped rock, sometimes also a special rock face or even a whole mountain fell.
