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Vous avez sélectionné:
4 Concerti
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26
Torelli Recorder Concerti, Original Keys (Sixth Flute), Full Score
Torelli Recorder Concerti, Original Keys (Sixth Flute), Full Score
#
Bartolomeo Bernardi, Giuseppe
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Uri A
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Torelli Recorder Concerti, Ori
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edition Prima Vista - Uri A. Dror
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SheetMusicPlus
Strings Basso Continuo,Flute,Soprano Recorder - Level 4 - SKU: A0.956095 Composed by Bartolomeo Bernardi, Giuseppe Torelli, and Tomaso Giovanni Albinoni...
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Strings Basso Continuo,Flute,Soprano Recorder - Level 4 - SKU: A0.956095 Composed by Bartolomeo Bernardi, Giuseppe Torelli, and Tomaso Giovanni Albinoni. Arranged by Uri A. Dror - edition Prima Vista. Baroque,Chamber,Classical,Early Music. 67 pages. Edition Prima Vista - Uri A. Dror #5722511. Published by edition Prima Vista - Uri A. Dror (A0.956095). This edition is based on a manuscript preserved at the University Library of Lund, Sweden, and includes 6 concerti for a Sixth Flute (a Soprano recorder in D), strings and b. c., by Giuseppe Torelli (1658-1709) and / or his pupil, Bartolomeo Bernardi (1670-1732). These concerti correspond with other pieces of a similar genre composed in England at the same period, by composers like William Babel, Robert Woodcock and others. As far as I know, they have not been published in modern edition before. This is the original version, meant for a Sixth Flute (Soprano recorder in D). The concerti are also playable on a Piccolo flute.
$70.00
Torelli Recorder Concerti, Transposed Keys (Soprano recorder), Parts
Torelli Recorder Concerti, Transposed Keys (Soprano recorder), Parts
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Bartolomeo Bernardi, Giuseppe
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Uri A
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Torelli Recorder Concerti, Tra
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edition Prima Vista - Uri A. Dror
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SheetMusicPlus
Strings Bass Clef Instrument,Flute,Soprano Recorder - Level 4 - SKU: A0.956100 Composed by Bartolomeo Bernardi, Giuseppe Torelli, and Tomaso Giovanni Al...
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Strings Bass Clef Instrument,Flute,Soprano Recorder - Level 4 - SKU: A0.956100 Composed by Bartolomeo Bernardi, Giuseppe Torelli, and Tomaso Giovanni Albinoni. Arranged by Uri A. Dror - edition Prima Vista. Baroque,Chamber,Classical,Early Music. 78 pages. Edition Prima Vista - Uri A. Dror #5722531. Published by edition Prima Vista - Uri A. Dror (A0.956100). This edition is based on a manuscript preserved at the University Library of Lund, Sweden, and includes 6 concerti for a Sixth Flute (a Soprano recorder in D), strings and b. c., by Giuseppe Torelli (1658-1709) and / or his pupil, Bartolomeo Bernardi (1670-1732). These concerti correspond with other pieces of a similar genre composed in England at the same period, by composers like William Babel, Robert Woodcock and others. As far as I know, they have not been published in modern edition before. This is the original version, meant for a Sixth Flute (Soprano recorder in D). The concerti are also playable on a Piccolo flute.
$30.00
Torelli Recorder Concerti, Transposed Keys (Soprano recorder), Full Score
Torelli Recorder Concerti, Transposed Keys (Soprano recorder), Full Score
#
Bartolomeo Bernardi, Giuseppe
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Uri A
#
Torelli Recorder Concerti, Tra
#
edition Prima Vista - Uri A. Dror
#
SheetMusicPlus
Strings Bass Clarinet,Flute,Soprano Recorder - Level 4 - SKU: A0.956099 Composed by Bartolomeo Bernardi, Giuseppe Torelli, and Tomaso Giovanni Albinoni....
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Strings Bass Clarinet,Flute,Soprano Recorder - Level 4 - SKU: A0.956099 Composed by Bartolomeo Bernardi, Giuseppe Torelli, and Tomaso Giovanni Albinoni. Arranged by Uri A. Dror - edition Prima Vista. Baroque,Chamber,Classical,Early Music. 67 pages. Edition Prima Vista - Uri A. Dror #5722523. Published by edition Prima Vista - Uri A. Dror (A0.956099). This edition is based on a manuscript preserved at the University Library of Lund, Sweden, and includes 6 concerti for a Sixth Flute (a Soprano recorder in D), strings and b. c., by Giuseppe Torelli (1658-1709) and / or his pupil, Bartolomeo Bernardi (1670-1732). These concerti correspond with other pieces of a similar genre composed in England at the same period, by composers like William Babel, Robert Woodcock and others. As far as I know, they have not been published in modern edition before. This is the transposed version, meant for a Soprano recorder in C. The concerti are also playable on a Piccolo flute.
$70.00
Torelli Recorder Concerti, Original Keys (Sixth Flute), Parts
Torelli Recorder Concerti, Original Keys (Sixth Flute), Parts
#
Bartolomeo Bernardi, Giuseppe
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Uri A
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Torelli Recorder Concerti, Ori
#
edition Prima Vista - Uri A. Dror
#
SheetMusicPlus
Strings Basso Continuo,Flute,Soprano Recorder - Level 4 - SKU: A0.956097 Composed by Bartolomeo Bernardi, Giuseppe Torelli, and Tomaso Giovanni Albinoni...
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Strings Basso Continuo,Flute,Soprano Recorder - Level 4 - SKU: A0.956097 Composed by Bartolomeo Bernardi, Giuseppe Torelli, and Tomaso Giovanni Albinoni. Arranged by Uri A. Dror - edition Prima Vista. Baroque,Chamber,Classical,Early Music. 106 pages. Edition Prima Vista - Uri A. Dror #5722515. Published by edition Prima Vista - Uri A. Dror (A0.956097). This edition is based on a manuscript preserved at the University Library of Lund, Sweden, and includes 6 concerti for a Sixth Flute (a Soprano recorder in D), strings and b. c., by Giuseppe Torelli (1658-1709) and / or his pupil, Bartolomeo Bernardi (1670-1732). These concerti correspond with other pieces of a similar genre composed in England at the same period, by composers like William Babel, Robert Woodcock and others. As far as I know, they have not been published in modern edition before. This is the original version, meant for a Sixth Flute (Soprano recorder in D). It also includes the FLAUT part in the original notation (Alto recorder fingerings), both in the original French violin clef and normal G2 clef. The concerti are also playable on a Piccolo flute.
$40.00
6 Concerti
6 Concerti
#
Pietro Antonio Locatelli
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6 Concerti
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Ernst Eulenburg & Co. GmbH - Digital
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SheetMusicPlus
Strings and basso continuo - SKU: S9.Q24162 Composed by Pietro Antonio Locatelli. This edition: study score. Ernst Eulenburg - Orchestra - Score. Eulenb...
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Strings and basso continuo - SKU: S9.Q24162 Composed by Pietro Antonio Locatelli. This edition: study score. Ernst Eulenburg - Orchestra - Score. Eulenburg Miniature Scores. Downloadable, Study score. Volume op. 4/7-12, Op Band 2. Ernst Eulenburg & Co. GmbH - Digital #Q24162. Published by Ernst Eulenburg & Co. GmbH - Digital (S9.Q24162). Key: F major.For the six concertos that make up the second part of the Op. 4, Locatelli prescribed eight parts: Violino Primo, Secondo, Alto, è Violoncello, Soli. Violino Primo, Secondo, Alto, è Basso, Ripieni. The use of such forces immediately reminds one of the Corellian concerto grosso, to which Locatelli contributed also in his Op. 1, 7 and 9. But though the instrumentation used in this set seems to feature a clear opposition between the concertino (with solo parts) and the ripieno (with parts that can be doubled), we here encounter a group of works that are very varied in form, instrumentation and structure. Taken as a whole the concertos of the Op. 4 ideally exemplify the developments of Italian Baroque instrumental music: they reveal the close kinship between the concerto grosso and the sonata (as in Concerto X); they also show the derivation of the solo concerto from the concerto grosso; and there are even hints of thematic development and tripartite structures. Also featured are dynamic markings and other performing indications that were rare for the period and show increasing attention to the precise definition of sonorities.
$16.99
Sonata no.8 a4 (28 Sonate a quattro, sei et otto, con alcuni concerti (1608)) "La Bottana" (arrangem
Sonata no.8 a4 (28 Sonate a quattro, sei et otto, con alcuni concerti (1608)) "La Bottana" (arrangem
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Cesario Gussago
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Gil Garty
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Sonata no.8 a4
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Gil Garty
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SheetMusicPlus
Recorder - SKU: A0.756150 Composed by Cesario Gussago. Arranged by Gil Garty. Baroque. Recorder Ensemble. 11 pages. Gil Garty #506353. Published by Gil ...
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Recorder - SKU: A0.756150 Composed by Cesario Gussago. Arranged by Gil Garty. Baroque. Recorder Ensemble. 11 pages. Gil Garty #506353. Published by Gil Garty (A0.756150). Arranged for 4 recorders (SATB).
$5.00
2 Concerti
2 Concerti
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Georg Philipp Telemann
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2 Concerti
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Möseler Verlag
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SheetMusicPlus
4 treble recorders SKU: M2.MOS-22602 Composed by Georg Philipp Telemann. Möseler Verlag #MOS 22602. Published by Möseler Verlag (M2.MOS-22602). ...
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4 treble recorders SKU: M2.MOS-22602 Composed by Georg Philipp Telemann. Möseler Verlag #MOS 22602. Published by Möseler Verlag (M2.MOS-22602). ISBN 9790203705611.Original fur vier Violinen ohne Bass konzipiert, konnen beide Konzerte hervorragend mit Blockfloten aufgefuhrt werden. Es gibt nur wenig barocke Originalmusik fur vier gleiche Instrumente. Die herausragende Qualitat des Originals kann in dieser behutsamen Bearbeitung das Blockflotenrepertoire spurbar bereichern.
$30.95
Brandenberg Concerto No 4
Brandenberg Concerto No 4
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Classique
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Johann Sebastian Bach
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Joe Williams
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Brandenberg Concerto No 4
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Joe Williams
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SheetMusicPlus
String Ensemble Violin - Level 4 - SKU: A0.1392058 Composed by Johann Sebastian Bach. Arranged by Joe Williams. Baroque,Classical. 135 pages. Joe Willia...
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String Ensemble Violin - Level 4 - SKU: A0.1392058 Composed by Johann Sebastian Bach. Arranged by Joe Williams. Baroque,Classical. 135 pages. Joe Williams #975547. Published by Joe Williams (A0.1392058). Bach's Brandenberg Concerti are amongst the finest of the concerto grosso genre. This Concerto No. 4 was originally composed for solo violin and 2 solo flutes with a string ensemble accompaniement. Here it has been arranged for 7 violin parts. Violins 1, 2 & 3 take the solo parts, and the other 4 violin parts make up the accompaniement.
$12.99
Vivaldi: The Four Seasons (Le quattro stagioni) Concerto No. 4 in F minor, Op. 8, RV 297, "L'inverno
Vivaldi: The Four Seasons (Le quattro stagioni) Concerto No. 4 in F minor, Op. 8, RV 297, "L'inverno
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Classique
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Antonio Vivaldi
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Ray Thompson
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Vivaldi: The Four Seasons
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RayThompsonMusic
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SheetMusicPlus
Large Ensemble - Level 4 - SKU: A0.553734 Composed by Antonio Vivaldi. Arranged by Ray Thompson. Baroque,Christmas,Standards. Score and parts. 45 pages....
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Large Ensemble - Level 4 - SKU: A0.553734 Composed by Antonio Vivaldi. Arranged by Ray Thompson. Baroque,Christmas,Standards. Score and parts. 45 pages. RayThompsonMusic #3636439. Published by RayThompsonMusic (A0.553734). The Four Seasons (Italian: Le quattro stagioni) is a group of four violin concerti by Italian composer Antonio Vivaldi, each of which gives musical expression to a season of the year.This is an arrangement of Concerto No. 4 in F minor, Op. 8, RV 297, Winter (L'inverno)It is in 3 movementsAllegro non molto (in F minor)Largo (in Eâ™Â major)Allegro (in F minor)I have simplified the violin solo and the faster string passages  to make it playable by wind players.
$17.95
Concerto No. 4 in A Major for Four Guitars Unaccompanied, TWV40:204
Concerto No. 4 in A Major for Four Guitars Unaccompanied, TWV40:204
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Georg Philipp Telemann
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Joel Jacklich (ASCAP)
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Concerto No. 4 in A Major for
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Joel Jacklich
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SheetMusicPlus
Guitar Ensemble Guitar - Level 3 - SKU: A0.723164 Composed by Georg Philipp Telemann. Arranged by Joel Jacklich (ASCAP). Baroque,Concert. Score and part...
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Guitar Ensemble Guitar - Level 3 - SKU: A0.723164 Composed by Georg Philipp Telemann. Arranged by Joel Jacklich (ASCAP). Baroque,Concert. Score and parts. 35 pages. Joel Jacklich #5707513. Published by Joel Jacklich (A0.723164). Georg Philipp Telemann wrote four concerti for four unaccompanied violins: TWV40:201-204. This is an arrangement for four guitars of the fourth concerto in A Major.
$12.99
The Firs Remember - a tune for concertina and piano
The Firs Remember - a tune for concertina and piano
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Celtique/Irlandais
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Karen E McAulay
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The Firs Remember - a tune for
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Dr Karen E McAulay
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SheetMusicPlus
Accordion,Instrumental Solo,Piano - SKU: A0.984298 Composed by Karen E McAulay. Celtic,Contemporary. Score and individual part. 4 pages. Dr Karen E McAu...
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Accordion,Instrumental Solo,Piano - SKU: A0.984298 Composed by Karen E McAulay. Celtic,Contemporary. Score and individual part. 4 pages. Dr Karen E McAulay #5993583. Published by Dr Karen E McAulay (A0.984298). A nostalgic folk-influenced melody for concertina and piano.
$12.00
Concertos
Concertos
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Pietro Antonio Locatelli
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Concertos
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Ernst Eulenburg & Co. GmbH - Digital
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SheetMusicPlus
4 solo parts and orchestra - SKU: S9.Q24163 1-4. Composed by Pietro Antonio Locatelli. This edition: study score. Ernst Eulenburg - Orchestra - S...
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4 solo parts and orchestra - SKU: S9.Q24163 1-4. Composed by Pietro Antonio Locatelli. This edition: study score. Ernst Eulenburg - Orchestra - Score. Eulenburg Miniature Scores. Downloadable, Study score. Op. 1, Op. 1. Ernst Eulenburg & Co. GmbH - Digital #Q24163. Published by Ernst Eulenburg & Co. GmbH - Digital (S9.Q24163). In his Opus 1, the young Locatelli succeeded in preserving the traditional method of composition while nevertheless being open to new influences. This collection follows Corelli's famous Op. 6 and, like that, is divided into eight 'Concerti da chiesa' and four 'Concerti da camera', with the eighth work, like Corelli's, being structured like a Christmas concerto. The study score is based on the Locatelli Complete Edition which makes the works of the Italian master available in accordance with the most recent research and current musicological editing techniques. With German/English preface and Critical Report!
$15.99
Concertos
Concertos
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Pietro Antonio Locatelli
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Concertos
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Ernst Eulenburg & Co. GmbH - Digital
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SheetMusicPlus
4 solo parts and orchestra - SKU: S9.Q24159 9-12. Composed by Pietro Antonio Locatelli. This edition: study score. Ernst Eulenburg - Orchester - ...
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4 solo parts and orchestra - SKU: S9.Q24159 9-12. Composed by Pietro Antonio Locatelli. This edition: study score. Ernst Eulenburg - Orchester - Partitur. Eulenburg Miniature Scores. Downloadable, study score. Op. 1, Op. 3. Ernst Eulenburg & Co. GmbH - Digital #Q24159. Published by Ernst Eulenburg & Co. GmbH - Digital (S9.Q24159). German • English.In his opus 1, the young Locatelli succeeded in preserving the traditional method of composition while nevertheless being open to new influences. This collection follows Corelli's famous Op. 6 and, like that, is divided in eight 'Concerti da chiesa' and four 'Concerti da camera', with the eighth work, like Corelli's, being structured like a Christmas concerto. The study score is based on the Locatelli Complete Edition which makes the works of the Italian master available in accordance with the most recent research and current musicological techniques of editing. With German/English preface and Critical Report!
$15.99
Concertos
Concertos
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Pietro Antonio Locatelli
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Concertos
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Ernst Eulenburg & Co. GmbH - Digital
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SheetMusicPlus
4 solo parts and orchestra - SKU: S9.Q24160 5-8. Composed by Pietro Antonio Locatelli. This edition: study score. Ernst Eulenburg - Orchester - P...
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4 solo parts and orchestra - SKU: S9.Q24160 5-8. Composed by Pietro Antonio Locatelli. This edition: study score. Ernst Eulenburg - Orchester - Partitur. Eulenburg Miniature Scores. Downloadable, study score. Op. 1, Op. 2. Ernst Eulenburg & Co. GmbH - Digital #Q24160. Published by Ernst Eulenburg & Co. GmbH - Digital (S9.Q24160). In his opus 1, the young Locatelli succeeded in preserving the traditional method of composition while nevertheless being open to new influences. This collection follows Corelli's famous Op. 6 and, like that, is divided in eight 'Concerti da chiesa' and four 'Concerti da camera', with the eighth work, like Corelli's, being structured like a Christmas concerto. The study score is based on the Locatelli Complete Edition which makes the works of the Italian master available in accordance with the most recent research and current musicological techniques of editing. With German/English preface and Critical Report!
$15.99
Gabrieli: Jubilate Deo Ch. 136 for Double Reed Choir
Gabrieli: Jubilate Deo Ch. 136 for Double Reed Choir
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Giovanni Gabrieli
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James M
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Gabrieli: Jubilate Deo Ch. 136
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jmsgu3
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SheetMusicPlus
Woodwind Ensemble Bassoon,English Horn,Oboe - Level 3 - SKU: A0.549199 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Easter,Renais...
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Woodwind Ensemble Bassoon,English Horn,Oboe - Level 3 - SKU: A0.549199 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Easter,Renaissance,Standards. 42 pages. Jmsgu3 #3458615. Published by jmsgu3 (A0.549199). Giovanni Gabrieli: Jubilate Deo (Ch. 136). Instrumentation: 4 oboes, 2 English horns, 2 bassoons, 1 contrabassoon (or 3 bassoons). Duration: 3:00, cut time 4/2 at half-note = 96, 71 ms. Score: 24 pg. parts: 2 pg. Here is a stunningly beautiful example of Renaissance polyphony, and a mesmerizing fast-paced recital number. Program this either at the beginning to set an exciting mood or as an encore to leave the listeners in a jubilant afterglow. The parts are not difficult but plan to rehearse the many subtleties of dynamic contrast between the various sub-groups and the overall articulations. Innovations First of all, Gabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics – or was rather the first to indicate them such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He therefore developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style. Polychoral Works Gabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well. Spatial Music Above all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation in rather more than two groups. The instruments, because they could be appropriately situated, could consequently be heard with perfect clearness at distant locations. As a result, arrangements which seem bizarre on paper, can in contrast sound perfectly in-balance. First Works Finally, Gabrieli published his first motets along with his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieli’s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material, but developing it by sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here the instruments are certainly an essential part of the presentation. Also, only parts marked: Capella are supposed to be sung. Homophony Hence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – which calls Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo. Register for free lifetime updates and revisions of this product at www.jamesguthrie.com
$47.95
Gloria in excelsis Deo for Trombone or Low Brass Sedectet (16)
Gloria in excelsis Deo for Trombone or Low Brass Sedectet (16)
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Renaissance
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Eric Burger Music
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Gloria in excelsis Deo for Tro
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Eric Burger Music
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SheetMusicPlus
Brass Ensemble Euphonium,Trombone,Tuba - Level 3 - SKU: A0.508206 Arranged by Eric Burger Music. Renaissance. Score and parts. 43 pages. Eric Burger Mus...
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Brass Ensemble Euphonium,Trombone,Tuba - Level 3 - SKU: A0.508206 Arranged by Eric Burger Music. Renaissance. Score and parts. 43 pages. Eric Burger Music #3514919. Published by Eric Burger Music (A0.508206). From Concerti (published in Venice 1587) This beautiful work is over 4 minutes of low brass choir splendor! Voices in 4 quartets, you can envision how Andrea Gabrieli created a new reality in music with over-laping harmonies, dramatic cadences and beautiful lines. View the score with playback at:https://youtu.be/w-BKrWdCndo This quality work is published by Eric Burger Music: www.EricBurgerMusic.com Each of these Trombone and Low Brass Ensemble works is arranged and transcribed with the intent of provide the musician with an opportunity to play works from notable composers otherwise not available to them, using the construct and voicings the compose intended. Please review the video for questions on range and difficulty, or go to my website and download the spreadsheet with ranges, keys, tempos and other important information. If you need parts modified to different clefs or keys, please write me direct at: EricBurgerMusic@gmail.com Custom work also available. If you are unhappy with any of my works, write me directly for a replacement.
$17.00
Gabrieli: Canzon per Sonar Ch. 179 for Double Brass Choir à 12
Gabrieli: Canzon per Sonar Ch. 179 for Double Brass Choir à 12
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Giovanni Gabrieli
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James M
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Gabrieli: Canzon per Sonar Ch.
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jmsgu3
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SheetMusicPlus
Brass Ensemble Bass Trombone,Cornet,Horn - Level 3 - SKU: A0.1227832 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Chamber,Contest...
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Brass Ensemble Bass Trombone,Cornet,Horn - Level 3 - SKU: A0.1227832 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Chamber,Contest,Early Music,Festival,Historic,Renaissance. 72 pages. Jmsgu3 #823794. Published by jmsgu3 (A0.1227832). Minimum instrumentation: 4 Cornets in Bb, 4 Horns in F, 2 Tenor Trombones, and 2 Bass Trombones.InnovationsGabrieli preferred sacred vocal and, indeed, instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and reverberation for maximum effect. Gabrieli may have invented dynamics – or was the first to indicate them, such as in his Sonata Pian' e Forte. Consequently, he was also a pioneer in spatial techniques. He, therefore, developed and used particular notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style.Polychoral WorksGabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He indeed used these to create striking spatial effects between instrumental forces. Indeed, many of his works are composed such that a choir or instrumental group could first be heard on one side, followed by a group response. Sometimes, there was probably a third group near the main altar.Spatial MusicAbove all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation rather than two groups. Because they could be appropriately situated, the instruments could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper can, in contrast, sound perfectly in balance.First WorksFinally, Gabrieli published his first motets and his uncle Andrea's compositions in Concerti (1587). Furthermore, these compositions indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges characterized by instrumental accompaniment. Gabrieli's later motets Sacrae Symphoniae (1597) seem to move away from close antiphony. In contrast, he moves towards not simply echoing the material but developing it through sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here, the instruments are an essential part of the presentation—also, only parts marked Capella are supposed to be sung.HomophonyHence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – called Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo. Above all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation rather than two groups. Because they could be appropriately situated, the instruments could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper can, in contrast, sound perfectly in balance.
$47.95
Gabrieli: Canzon per Sonar Ch 179 for Double Brass Choir à 10
Gabrieli: Canzon per Sonar Ch 179 for Double Brass Choir à 10
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Giovanni Gabrieli
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James M
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Gabrieli: Canzon per Sonar Ch
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jmsgu3
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SheetMusicPlus
Brass Ensemble Cornet,Horn,Trombone - Level 3 - SKU: A0.1227819 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie. Chamber,Contest,Early Music...
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Brass Ensemble Cornet,Horn,Trombone - Level 3 - SKU: A0.1227819 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie. Chamber,Contest,Early Music,Festival,Renaissance,Traditional. Score and Parts. 44 pages. Jmsgu3 #823781. Published by jmsgu3 (A0.1227819). Minimum instrumentation: 4 cornets in Bb, 4 French Horms in F, 2 Trombones. See also arrangement à 12 which includes 2 Bass Trombones.InnovationsGabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics – or was rather the first to indicate them such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He therefore developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style.Polychoral WorksGabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well.Spatial MusicAbove all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation rather than two groups. The instruments, because they could be appropriately situated, could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper, can in contrast sound perfectly in balance.First WorksFinally, Gabrieli published his first motets along with his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieli’s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material but developing it through sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here the instruments are certainly an essential part of the presentation. Also, only parts marked: Capella are supposed to be sung.HomophonyHence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – which calls Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo.
$47.95
Gabrieli: Canzon per Sonar Ch. 178 for Brass Choir à 10
Gabrieli: Canzon per Sonar Ch. 178 for Brass Choir à 10
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Giovanni Gabrieli
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James M
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Gabrieli: Canzon per Sonar Ch.
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jmsgu3
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SheetMusicPlus
Brass Ensemble Bass Trombone,Cornet,Horn - Level 3 - SKU: A0.1228233 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Chamber,Contest...
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Brass Ensemble Bass Trombone,Cornet,Horn - Level 3 - SKU: A0.1228233 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Chamber,Contest,Early Music,Festival,Historic,Renaissance. 54 pages. Jmsgu3 #824153. Published by jmsgu3 (A0.1228233). Minimum instrumentation: 4 Cornets in Bb, 4 French Horns in F, 1 Tenor Trombone, 1 Bass Trombone.InnovationsGabrieli preferred sacred vocal and, indeed, instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and reverberation for maximum effect. Gabrieli may have invented dynamics – or was instead the first to indicate them, such as in his Sonata Pian' e Forte. Consequently, he was also a pioneer in spatial techniques. He, therefore, developed and used particular notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style.Polychoral WorksGabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He indeed used these to create striking spatial effects between instrumental forces. Indeed, many of his works are composed such that a choir or instrumental group could first be heard on one side, followed by a group response. Sometimes, there was probably a third group near the main altar.Spatial MusicAbove all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation rather than two groups. Because they could be appropriately situated, the instruments could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper can sound perfectly in balance in contrast.First WorksFinally, Gabrieli published his first motets and his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges shown by instrumental accompaniment. Gabrieli's later motets Sacrae Symphoniae (1597) seem to move away from close antiphony. In contrast, he moves towards not simply echoing the material but developing it through sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here, the instruments are an essential part of the presentation—also, only parts marked Capella are supposed to be sung.HomophonyHence, after 1605, Gabrieli moved to a much more homophonic style. He writes sections purely for instruments – called Sinfonia – and smaller units for vocal soloists, accompanied by a basso continuo.
$47.95
Gabrieli: Canzon per Sonar à 10 Ch. 177 for Brass Choir
Gabrieli: Canzon per Sonar à 10 Ch. 177 for Brass Choir
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Giovanni Gabrieli
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James M
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1 Bass Trombone
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Gabrieli: Canzon per Sonar &ag
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jmsgu3
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SheetMusicPlus
Brass Ensemble Bass Trombone,Cornet,Horn - Level 3 - SKU: A0.1229556 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Chamber,Early M...
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Brass Ensemble Bass Trombone,Cornet,Horn - Level 3 - SKU: A0.1229556 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Chamber,Early Music,Renaissance,Traditional,Wedding. 43 pages. Jmsgu3 #825055. Published by jmsgu3 (A0.1229556). Minimum instrumentation: 4 Cornets in Bb, 4 Horns in F, 1 Tenor Trombone & 1 Bass Trombone.InnovationsGabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics – or was rather the first to indicate them such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He therefore developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style.Polychoral WorksGabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well.Spatial MusicAbove all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation rather than two groups. The instruments, because they could be appropriately situated, could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper, can in contrast sound perfectly in balance.First WorksFinally, Gabrieli published his first motets along with his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieli’s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material but developing it through sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here the instruments are certainly an essential part of the presentation. Also, only parts marked: Capella are supposed to be sung.HomophonyHence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – which calls Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo.
$47.95
Gabrieli: Sonata Pian e Forte Ch. 175 for Brass Choir
Gabrieli: Sonata Pian e Forte Ch. 175 for Brass Choir
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Giovanni Gabrieli
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James M
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Gabrieli: Sonata Pian e Forte
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jmsgu3
#
SheetMusicPlus
Brass Band Bass Trombone,Horn,Trumpet,Tuba - Level 3 - SKU: A0.549208 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,St...
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Brass Band Bass Trombone,Horn,Trumpet,Tuba - Level 3 - SKU: A0.549208 Composed by Giovanni Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. Score and Parts. 47 pages. Jmsgu3 #3464513. Published by jmsgu3 (A0.549208). A musical monument: the first composition to employ dynamics Minimum Instrumentation: 4 trumpets, 3 French Horns, 2 tenor trombones, 1 bass trombone, 1 tuba. Arranged in two antiphonal choirs. Suggested instrumentation: 8 trumpets, 9 Horns, 6 Tenor Trombones, 2 Bass Trombone, 4 Tubas. Innovations First of all, Gabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics – or was rather the first to indicate them such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He therefore developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style. Polychoral Works Gabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well. Spatial Music Above all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation rather than two groups. The instruments, because they could be appropriately situated, could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper, can in contrast sound perfectly in balance. First Works Finally, Gabrieli published his first motets along with his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieli’s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material but developing it through sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here the instruments are certainly an essential part of the presentation. Also, only parts marked: Capella are supposed to be sung. Homophony Hence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – which calls Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo.
$47.95
William Sterndale Bennett | Adagio (Intro Voluntary) | for Double Reed Quintet
William Sterndale Bennett | Adagio (Intro Voluntary) | for Double Reed Quintet
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William Sterndale Bennett
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Andrew Lamb
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William Sterndale Bennett | Ad
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Andrew Lamb
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SheetMusicPlus
Woodwind Ensemble Bassoon,Double Reed Quintet,English Horn,Oboe - Level 3 - SKU: A0.1473211 By William Sterndale Bennett. By William Sterndale Bennett. ...
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Woodwind Ensemble Bassoon,Double Reed Quintet,English Horn,Oboe - Level 3 - SKU: A0.1473211 By William Sterndale Bennett. By William Sterndale Bennett. Arranged by Andrew Lamb. 19th Century,Romantic Period. 25 pages. Andrew Lamb #1050951. Published by Andrew Lamb (A0.1473211). 🎶 Double-Reed Quintet Adaptation of Adagio by William Sterndale Bennett 🎶Discover the beautiful Adagio by the renowned English composer, pianist, conductor, and music educator Sir William Sterndale Bennett. Born on April 13, 1816, Bennett was a musical prodigy, admitted to the London Royal Academy of Music at the age of ten. His exceptional talent earned him the admiration of contemporaries such as Felix Mendelssohn and Robert Schumann. Over his illustrious career, Bennett made significant contributions to English music both as a composer and educator.Instrumentation: 🎵 Part 1: Oboe 🎵 Part 2: Oboe 🎵 Part 3: English Horn 🎵 Part 4: Bassoon 🎵 Part 5: Bassoon Level of Difficulty: MediumPotential Uses: This arrangement could be used as an Introductory Voluntary in a church service. It would also be suitable as a concert or recital piece.About William Sterndale Bennett: Bennett's career highlights include composing and performing in Leipzig, teaching at the Royal Academy of Music, and serving as Principal of the Academy, where he helped save it from closure. Knighted in 1871, Bennett left a lasting legacy on English music, influencing students like Arthur Sullivan and Hubert Parry. His compositions, including symphonies, piano concerti, and vocal music, continue to be appreciated today.Please like and subscribe for more videos and music arrangements.
$9.00
Bach: Brandenburg Concerto No. 3 for Saxophone Choir - Score Only
Bach: Brandenburg Concerto No. 3 for Saxophone Choir - Score Only
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Classique
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Johann Sebastian Bach
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James M
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Bach: Brandenburg Concerto No.
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jmsgu3
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SheetMusicPlus
Woodwind Ensemble - Level 4 - SKU: A0.1401651 Composed by Johann Sebastian Bach. Arranged by James M. Guthrie. Baroque,Contest,Festival,Historic,Standar...
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Woodwind Ensemble - Level 4 - SKU: A0.1401651 Composed by Johann Sebastian Bach. Arranged by James M. Guthrie. Baroque,Contest,Festival,Historic,Standards,Traditional. 70 pages. Jmsgu3 #984834. Published by jmsgu3 (A0.1401651). Bach's Brandenburg Concerto No. 3 is significant for its composition and structure. It features nine solo strings divided into three groups of violins, violas, and cellos, showcasing a colorful instrumentation and demanding performance requirements. The concerto opens majestically with distinct groupings of soloists by instrument, maintaining these divisions throughout the movement with moments of independence for each soloist. The closing movement, a vigorous allegro, follows a similar pattern with the nine players divided by instrument. Additionally, the concerto includes a two-note adagio cadence where musicians were intended to improvise a link between the outer movements. This concerto is a prime example of the Baroque concerto style. It demonstrates Bach's mastery in creating intricate and harmonious compositions that challenge performers while showcasing the beauty of different instruments working together harmoniously.The historical context of Bach's Brandenburg Concertos is rooted in the Baroque era and Bach's circumstances. Composed around 1711-1720 and dedicated in 1721 to Christian Ludwig, the Margrave of Brandenburg, these concertos were a collection of six concerti grossi that showcased a balance between various groups of soloists and a small orchestra. Bach's decision to compile these concertos was influenced by his need for employment and his encounter with Christian Ludwig, who commissioned several works after being impressed by his performance in Berlin around 1719. Despite Bach's hopes for a position at the Brandenburg court, the Margrave did not pay for the work, possibly because the pieces were revisions of earlier compositions rather than new creations specifically for him. Moreover, the Brandenburg Concertos exemplify the concerto grosso genre popular during the Baroque era, featuring a more significant number of soloists than usual and expansive music that showcases a variety of instruments in different combinations. Bach's innovative use of instruments like trumpets, recorders, French horns, oboes, flutes, violino piccolo, violas da gamba, and harpsichord in these concertos highlights his creativity and mastery in composing intricate and diverse musical pieces. The historical significance lies in Bach's ability to blend different musical styles and forms while creating a set of concertos that music lovers cherish today.
$49.95
Handel - Concerto Grosso No.10 in D minor HWV 328 Op.6 for Two Violins and Cembalo or Piano
Handel - Concerto Grosso No.10 in D minor HWV 328 Op.6 for Two Violins and Cembalo or Piano
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Handel George Frideric
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Santino Cara
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Handel - Concerto Grosso No.10
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Santino Cara
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SheetMusicPlus
Instrumental Duet Harpsichord,Instrumental Duet - Level 4 - SKU: A0.517171 Composed by Handel George Frideric. Arranged by Santino Cara. Baroque. Score ...
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Instrumental Duet Harpsichord,Instrumental Duet - Level 4 - SKU: A0.517171 Composed by Handel George Frideric. Arranged by Santino Cara. Baroque. Score and parts. 40 pages. Santino Cara #3573197. Published by Santino Cara (A0.517171). Complete score and parts of the Concerto Grosso No.10 in D minor HWV 328 for Two violins and Cembalo. Transcribed by Santino Cara from 12 Concerti Grossi Op.6 by George Frideric Handel.
$18.90
L'Estro Armonico
L'Estro Armonico
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Antonio Lucio Vivaldi
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L'Estro Armonico
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Ernst Eulenburg & Co. GmbH - Digital
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SheetMusicPlus
4 violins, 2 violas, cello, violin and harpsichord - SKU: S9.Q21232 Concerti grossi. Composed by Antonio Lucio Vivaldi. Ernst Eulenburg - Orchest...
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4 violins, 2 violas, cello, violin and harpsichord - SKU: S9.Q21232 Concerti grossi. Composed by Antonio Lucio Vivaldi. Ernst Eulenburg - Orchestra - Score. Eulenburg Miniature Scores. Downloadable, Study score. Volume op. 3/1-12. Ernst Eulenburg & Co. GmbH - Digital #Q21232. Published by Ernst Eulenburg & Co. GmbH - Digital (S9.Q21232). 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.
$37.99
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