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Concerto for Two Violins in A Minor
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Concerto for Two Violins in A Minor
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68 partitions trouvées
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Concerto for Two Violins in A Minor
Concerto for Two Violins in A Minor
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2 Trompettes (duo)
#
INTERMÉDIAIRE/AVANCÉ
#
Classique
#
Antonio Vivaldi
#
Maxwell Gradisher
#
Concerto for Two Violins in A
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Maxwell Gradisher
#
SheetMusicPlus
Trumpet Duet Trumpet - Level 4 - SKU: A0.1320035 Composed by Antonio Vivaldi. Arranged by Maxwell Gradisher. Baroque,Chamber,Classical,Early Music. Scor...
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Trumpet Duet Trumpet - Level 4 - SKU: A0.1320035 Composed by Antonio Vivaldi. Arranged by Maxwell Gradisher. Baroque,Chamber,Classical,Early Music. Score. 44 pages. Maxwell Gradisher #908591. Published by Maxwell Gradisher (A0.1320035). Originally written for two violins and string orchestra, this piece has been arranged for two piccolo trumpets and piano. This arrangement is a fun and challenging way to showcase one's talent on the piccolo trumpet, as well as knowledge of baroque music.
$15.00 ≈
$20.81
Concerto for Two Violins in A minor No. 2
Concerto for Two Violins in A minor No. 2
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Violon
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Jordan Grigg
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Concerto for Two Violins in A
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Jordan Grigg
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SheetMusicPlus
Violin - SKU: A0.1057066 Composed by Jordan Grigg. Baroque,Concert,Instructional,Standards. Full Performance. Duration 317. Jordan Grigg #3460825. Publi...
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Violin - SKU: A0.1057066 Composed by Jordan Grigg. Baroque,Concert,Instructional,Standards. Full Performance. Duration 317. Jordan Grigg #3460825. Published by Jordan Grigg (A0.1057066).
$2.99 ≈
$4.15
Concerto for Two Violins in A minor
Concerto for Two Violins in A minor
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Violon
#
Jordan Grigg
#
Concerto for Two Violins in A
#
Jordan Grigg
#
SheetMusicPlus
Violin - SKU: A0.1057067 Composed by Jordan Grigg. Baroque,Concert,Instructional,Standards. Full Performance. Duration 130. Jordan Grigg #3460827. Publi...
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Violin - SKU: A0.1057067 Composed by Jordan Grigg. Baroque,Concert,Instructional,Standards. Full Performance. Duration 130. Jordan Grigg #3460827. Published by Jordan Grigg (A0.1057067).
$1.99 ≈
$2.76
Concerto for 2 violins in A minor , Op.3 No.8, RV 522 . mov 1 for Erhu
Concerto for 2 violins in A minor , Op.3 No.8, RV 522 . mov 1 for Erhu
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2 Violons (duo)
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Classique
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Antonio Vivaldi
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Kristal Hinaco
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Concerto for 2 violins in A mi
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Kristal Hinaco
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SheetMusicPlus
Instrumental Duet Instrumental Duet - SKU: A0.645955 Composed by Antonio Vivaldi. Arranged by Kristal Hinaco. Classical. Score and parts. 5 pages. Krist...
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Instrumental Duet Instrumental Duet - SKU: A0.645955 Composed by Antonio Vivaldi. Arranged by Kristal Hinaco. Classical. Score and parts. 5 pages. Kristal Hinaco #253980. Published by Kristal Hinaco (A0.645955). This jianpu (number notation) has been arranged for Erhu players to enjoy western classical music. Two parts music sheets , erhu 1 and 2 .
$3.00 ≈
$4.16
Concerto for Two Violas in A Minor FULL SCORE
Concerto for Two Violas in A Minor FULL SCORE
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Orchestre de chambre
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INTERMÉDIAIRE
#
Classique
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Johann Sebastian Bach
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Brett L Allen
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Concerto for Two Violas in A M
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brettallenmusic.com
#
SheetMusicPlus
Chamber Orchestra - Level 3 - SKU: A0.977966 Composed by Johann Sebastian Bach. Arranged by Brett L Allen. Baroque,Concert,Standards. Score and parts. 3...
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Chamber Orchestra - Level 3 - SKU: A0.977966 Composed by Johann Sebastian Bach. Arranged by Brett L Allen. Baroque,Concert,Standards. Score and parts. 37 pages. Brettallenmusic.com #6216983. Published by brettallenmusic.com (A0.977966). An arrangement for Violas of J S Bach's Concerto for Two Violins in D Minor, BWV 1043, the famed Bach Double. Scored for low strings commonly used to perform Bach's Brandenburg Concerto No. 6. (Viola 1, Viola 2, Cello, Bass, Cembalo). Includes Full Score only.
$14.00 ≈
$19.43
Concerto for Two Violas in A Minor COMPLETE SET
Concerto for Two Violas in A Minor COMPLETE SET
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Classique
#
Johann Sebastian Bach
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Brett L Allen
#
Concerto for Two Violas in A M
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brettallenmusic.com
#
SheetMusicPlus
Small Ensemble Cello,Double Bass,Harpsichord,Piano Accompaniment,Viola - Level 3 - SKU: A0.977964 Composed by Johann Sebastian Bach. Arranged by Brett L...
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Small Ensemble Cello,Double Bass,Harpsichord,Piano Accompaniment,Viola - Level 3 - SKU: A0.977964 Composed by Johann Sebastian Bach. Arranged by Brett L Allen. Baroque,Concert,Standards. Score and parts. 152 pages. Brettallenmusic.com #6216955. Published by brettallenmusic.com (A0.977964). An arrangement for Violas of J S Bach's Concerto for Two Violins in D Minor, BWV 1043, the famed Bach Double. Scored for low strings commonly used to perform Bach's Brandenburg Concerto No. 6. Includes all parts: Full Score, Solo Viola 1, Solo Viola 2, Piano Reduction and all Ensemble Parts (Viola 1, Viola 2, Cello, Bass and Cembalo). The Cembalo Part is fully realized.
$90.00 ≈
$124.89
Concerto Grosso Op. 3, No. 8 for Two Violins in A minor
Concerto Grosso Op. 3, No. 8 for Two Violins in A minor
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Orchestre à Cordes
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AVANCÉ
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Classique
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Antonio Vivaldi
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Heather Morgan
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Concerto Grosso Op. 3, No. 8 f
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Heather Morgan
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SheetMusicPlus
String Orchestra - Level 5 - SKU: A0.1170830 Composed by Antonio Vivaldi. Arranged by Heather Morgan. Baroque,Chamber. Score and Parts. 64 pages. Heathe...
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String Orchestra - Level 5 - SKU: A0.1170830 Composed by Antonio Vivaldi. Arranged by Heather Morgan. Baroque,Chamber. Score and Parts. 64 pages. Heather Morgan #771172. Published by Heather Morgan (A0.1170830). Vivaldi's Concerto for Two Violins in A minor, Op. 3, No. 8. Edited to add bow markings and rehearsal numbers.
$35.00 ≈
$48.57
Concerto
Concerto
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Piano et Orchestre
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AVANCÉ
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Contemporain
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Gyorgy Ligeti
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Concerto
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Schott Music - Digital
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SheetMusicPlus
Piano and orchestra - difficult - For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minut...
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Piano and orchestra - difficult - For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minutes. Schott Music - Digital #Q53630. Published by Schott Music - Digital
I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. .
The markings of the movements are the following: .
1. Vivace molto ritmico e preciso .
2. Lento e deserto .
3. Vivace cantabile .
4. Allegro risoluto .
5. Presto luminoso.
The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. .
The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. .
In the Piano Concerto I realized new concepts of harmony and rhythm. .
The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. .
In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. .
The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. .
In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. .
Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). .
The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). .
Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. .
These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. .
The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). .
The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. .
Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. .
Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. .
This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. .
The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. .
I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. .
(Gyorgy Ligeti)
$23.99 ≈
$33.29
Concerto for Two Violas in A Minor ENSEMBLE PARTS
Concerto for Two Violas in A Minor ENSEMBLE PARTS
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Orchestre de chambre
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INTERMÉDIAIRE
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Classique
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Johann Sebastian Bach
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Brett L Allen
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Concerto for Two Violas in A M
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brettallenmusic.com
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SheetMusicPlus
Chamber Orchestra - Level 3 - SKU: A0.977965 Composed by Johann Sebastian Bach. Arranged by Brett L Allen. Baroque,Concert,Standards. Score and parts. 6...
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Chamber Orchestra - Level 3 - SKU: A0.977965 Composed by Johann Sebastian Bach. Arranged by Brett L Allen. Baroque,Concert,Standards. Score and parts. 62 pages. Brettallenmusic.com #6216967. Published by brettallenmusic.com (A0.977965). An arrangement for Violas of J S Bach's Concerto for Two Violins in D Minor, BWV 1043, the famed Bach Double. Includes Viola 1, Viola 2, Cello, Bass and Cembalo. The Cembalo Part is fully realized.
$75.00 ≈
$104.07
Antonio Vivaldi: Concerto in A minor Op.3 No.8 for two violins & piano
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2 Violons (duo)
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Antonio Vivaldi
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Virtualsheetmusic
Instantly downloadable sheet music by Antonio Vivaldi for two violins & piano of MEDIUM/HIGH skill level. Contents: concerto in a minor, a minor, opus 8, number 8, rv 522, rv522, etc. / classical,concert...
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Instantly downloadable sheet music by Antonio Vivaldi for two violins & piano of MEDIUM/HIGH skill level. Contents: concerto in a minor, a minor, opus 8, number 8, rv 522, rv522, etc. / classical,concert
$6.99 ≈
$9.70
Concerto in a minor, TWV 51:a2
Concerto in a minor, TWV 51:a2
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2 Violons (duo)
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INTERMÉDIAIRE
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Georg Philipp Telemann
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Christopher A
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Allegro, Andante, and Presto
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Concerto in a minor, TWV 51:a2
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Christopher A. Sforza
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SheetMusicPlus
Violin Duet Violin - Level 3 - SKU: A0.909622 Composed by Georg Philipp Telemann. Arranged by Christopher A. Sforza. Baroque,Standards. 24 pages. Christ...
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Violin Duet Violin - Level 3 - SKU: A0.909622 Composed by Georg Philipp Telemann. Arranged by Christopher A. Sforza. Baroque,Standards. 24 pages. Christopher A. Sforza #6131469. Published by Christopher A. Sforza (A0.909622). Telemann's Concerto in a minor, TWV 51:a2 (originally for solo violin, strings, and continuo) is a wonderful and underperformed Baroque gem equal to the likes of the famous a minor violin concerti by Bach and Vivaldi. This arrangement for two violins incorporates the solo line in the first violin with the orchestra accompaniment in the second. Included is the score and parts for all three movements; Allegro, Andante, and Presto.
$4.50 ≈
$6.24
Vivaldi - 12 Double Concertos for Two Violins and Cembalo (or Piano) - Scores and Parts
Vivaldi - 12 Double Concertos for Two Violins and Cembalo (or Piano) - Scores and Parts
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Violon et Piano
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Santino Cara
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Santino Cara
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Vivaldi - 12 Double Concertos
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Santino Cara
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SheetMusicPlus
Instrumental Duet,Piano Instrumental Duet,Keyboard,Piano,Violin - Level 4 - SKU: A0.1232342 By Santino Cara. By Antonio Vivaldi. Arranged by Santino Car...
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Instrumental Duet,Piano Instrumental Duet,Keyboard,Piano,Violin - Level 4 - SKU: A0.1232342 By Santino Cara. By Antonio Vivaldi. Arranged by Santino Cara. Baroque. 465 pages. Santino Cara #828028. Published by Santino Cara (A0.1232342). Complete scores and parts of 12 Double concertos for Two Violins and Cembalo or Piano. Composed in Venice between 1711 and 1720 by Antonio Vivaldi. Transcribed over the years by Santino Cara.12 Concertos:1.  Concerto No.3 in D major from Op.12   RV 1242.  Concerto in C major   RV 5053.  Concerto in C major   RV 5084.  Concerto in C minor   RV 5095.  Concerto in D major   RV 5116.  Concerto in D minor   RV 5147.  Concerto in G major   RV 5168.  Concerto in G minor   RV 5179.  Concerto in A major   RV 52110.Concerto in A minor   RV 52311. Concerto in B flat major RV 52912. Concerto No.9 in B flat major from “La Cetra†Op.9   RV 530Other Vivaldi's works for violin and harpsichord or piano:Vivaldi - 23 Concertos for Violin and PianoVivaldi - L'Estro Armonico Op.3 - 12 Concertos for 2 Violins and Piano - Scores and PartsVivaldi - La Stravaganza Op.4 - 12 Concertos for Violin and PianoVivaldi - Six Violin Concertos for Violin and Piano Op.6 - Scores and violin partVivaldi - 10 Violin Concertos Op.7 for Violin and Cembalo (or Piano) - Scores and PartVivaldi - Il Cimento dell'Armonia e dell'Invenzione Op.8 - 12 Concertos for Violin and PianoVivaldi - La Cetra Op.9 - 12 Concertos for Violin and Piano - Full scores and Violin partVivaldi - Six Violin Concertos Op.11 for Violin and Cembalo (or Piano) - Full scores and partVivaldi - Six Concertos for Violin and Piano Op.12 - Complete scores and Part
$32.40 ≈
$44.96
Vivaldi : Concerto pour deux violons n° 8 en la mineur, Opus 3 - I. Allegro (Violon 1) (arr. Tivadar Nachez)
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Violon
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Vivaldi
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Concerto pour deux violons n°
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Tomplay
Telechargez la partition Violon Concerto pour deux violons n° 8 en la mineur, Opus 3 - I. Allegro (Violon 1) (arr. Tivadar Nachez) de Vivaldi. Partition pou...
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Telechargez la partition Violon Concerto pour deux violons n° 8 en la mineur, Opus 3 - I. Allegro (Violon 1) (arr. Tivadar Nachez) de Vivaldi. Partition pour Duo (Violon-Piano) -- Classique
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Vivaldi : Concerto pour deux violons n° 8 en la mineur, Opus 3 - I. Allegro (Violon 2) (Arr. Tivadar Nachez)
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Violon
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Vivaldi
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Concerto pour deux violons n°
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Tomplay
Telechargez la partition Violon Concerto pour deux violons n° 8 en la mineur, Opus 3 - I. Allegro (Violon 2) (Arr. Tivadar Nachez) de Vivaldi. Partition po...
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Telechargez la partition Violon Concerto pour deux violons n° 8 en la mineur, Opus 3 - I. Allegro (Violon 2) (Arr. Tivadar Nachez) de Vivaldi. Partition pour Duo (Violon-Piano) -- Classique
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Vivaldi : Concerto pour deux violons n° 8 en la mineur, Opus 3 - III. Allegro (Violon 1) (Arr. Tivadar Nachez)
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Violon
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FACILE
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Classique
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Vivaldi
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Concerto pour deux violons n°
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Tomplay
Telechargez la partition Violon Concerto pour deux violons n° 8 en la mineur, Opus 3 - III. Allegro (Violon 1) (Arr. Tivadar Nachez) de Vivaldi. Partition p...
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Telechargez la partition Violon Concerto pour deux violons n° 8 en la mineur, Opus 3 - III. Allegro (Violon 1) (Arr. Tivadar Nachez) de Vivaldi. Partition pour Duo (Violon-Piano) -- Classique
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Vivaldi : Concerto pour deux violons n° 8 en la mineur, Opus 3 - II. Larghetto e spiritoso (Violon 1) (Arr. Tivadar Nachez)
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Violon
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FACILE
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Classique
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Vivaldi
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Concerto pour deux violons n°
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Tomplay
Telechargez la partition Violon Concerto pour deux violons n° 8 en la mineur, Opus 3 - II. Larghetto e spiritoso (Violon 1) (Arr. Tivadar Nachez) de Vivaldi...
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Telechargez la partition Violon Concerto pour deux violons n° 8 en la mineur, Opus 3 - II. Larghetto e spiritoso (Violon 1) (Arr. Tivadar Nachez) de Vivaldi. Partition pour Duo (Violon-Piano) -- Classique
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Vivaldi : Concerto pour deux violons n° 8 en la mineur, Opus 3 - III. Allegro (Violon 2) (Arr. Tivadar Nachez)
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Violon
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FACILE
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Classique
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Vivaldi
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Concerto pour deux violons n°
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Tomplay
Telechargez la partition Violon Concerto pour deux violons n° 8 en la mineur, Opus 3 - III. Allegro (Violon 2) (Arr. Tivadar Nachez) de Vivaldi. Partition p...
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Telechargez la partition Violon Concerto pour deux violons n° 8 en la mineur, Opus 3 - III. Allegro (Violon 2) (Arr. Tivadar Nachez) de Vivaldi. Partition pour Duo (Violon-Piano) -- Classique
5.99€ ≈
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Vivaldi : Concerto pour deux violons n° 8 en la mineur, Opus 3 - II. Larghetto e spiritoso (Violon 2) (Arr. Tivadar Nachez)
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Violon
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FACILE
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Classique
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Vivaldi
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Concerto pour deux violons n°
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Tomplay
Telechargez la partition Violon Concerto pour deux violons n° 8 en la mineur, Opus 3 - II. Larghetto e spiritoso (Violon 2) (Arr. Tivadar Nachez) de Vivaldi...
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Telechargez la partition Violon Concerto pour deux violons n° 8 en la mineur, Opus 3 - II. Larghetto e spiritoso (Violon 2) (Arr. Tivadar Nachez) de Vivaldi. Partition pour Duo (Violon-Piano) -- Classique
5.99€ ≈
$9.01
Vivaldi : Concerto pour deux violons n° 8 en la mineur, Opus 3 - I. Allegro
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Piano seul
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Vivaldi
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Concerto pour deux violons n°
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Tomplay
Telechargez la partition Piano Concerto pour deux violons n° 8 en la mineur, Opus 3 - I. Allegro de Vivaldi. Partition pour Duo -- Classique...
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Telechargez la partition Piano Concerto pour deux violons n° 8 en la mineur, Opus 3 - I. Allegro de Vivaldi. Partition pour Duo -- Classique
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$9.01
Vivaldi : Concerto pour deux violons n° 8 en la mineur, Opus 3 - III. Allegro
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Piano seul
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Vivaldi
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Concerto pour deux violons n°
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Tomplay
Telechargez la partition Piano Concerto pour deux violons n° 8 en la mineur, Opus 3 - III. Allegro de Vivaldi. Partition pour Duo -- Classique...
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Telechargez la partition Piano Concerto pour deux violons n° 8 en la mineur, Opus 3 - III. Allegro de Vivaldi. Partition pour Duo -- Classique
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$9.01
Vivaldi : Concerto pour deux violons n° 8 en la mineur, Opus 3 - II. Larghetto e spiritoso
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Piano seul
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INTERMÉDIAIRE
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Classique
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Vivaldi
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Concerto pour deux violons n°
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Tomplay
Telechargez la partition Piano Concerto pour deux violons n° 8 en la mineur, Opus 3 - II. Larghetto e spiritoso de Vivaldi. Partition pour Duo -- Classique...
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Telechargez la partition Piano Concerto pour deux violons n° 8 en la mineur, Opus 3 - II. Larghetto e spiritoso de Vivaldi. Partition pour Duo -- Classique
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Torelli: Concerto Grosso in G minor (Christmas Concerto) Op.8 No.6 Mvt.1 - string quartet
Torelli: Concerto Grosso in G minor (Christmas Concerto) Op.8 No.6 Mvt.1 - string quartet
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Quatuor à cordes: 2 violons, alto, violoncelle
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INTERMÉDIAIRE
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Giuseppe Torelli
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Ray Thompson
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Torelli: Concerto Grosso in G
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RayThompsonMusic
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SheetMusicPlus
String Quartet Cello,String Quartet,Viola,Violin - Level 3 - SKU: A0.1463113 Composed by Giuseppe Torelli. Arranged by Ray Thompson. Baroque,Christmas. ...
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String Quartet Cello,String Quartet,Viola,Violin - Level 3 - SKU: A0.1463113 Composed by Giuseppe Torelli. Arranged by Ray Thompson. Baroque,Christmas. 10 pages. RayThompsonMusic #1041866. Published by RayThompsonMusic (A0.1463113). Alternative Title: Concerto à Quattro, in forma di Pastorale per il Santo NataleOften known as his Christmas ConcertoArranged standard string quartet.Giuseppe Torelli (1658–1709) wrote numerous and often imposing symphonies for use in the San Petronio Cathedral in Bologne well before the turn of the century. Furthermore, he was the first composer to write a concerto for solo violin and string orchestra (published at Augsburg, 1698), and his Concerti Grossi Op 8, which appeared in print shortly after his death, are the very first concertos for two solo violins. It is the sixth of these that contains the Christmas music. A solemn ‘Grave’ sets the scene for the Pastorale, marked ‘Vivace’ and cast in 12/8 metre, the two solo violins carrying much of the melodic interest. A meditative Largo leads to another ‘Vivace’ which is a Gavotte en Musette in all but name, its held bass notes strongly suggesting the drone of the shepherds’ pipes.This is my arrangement of the 1st movement.
$9.95 ≈
$13.81
Torelli" Concerto Grosso in G minor Op.8 No.6 (Christmas Concerto) Mvt.III Vivace - string quartet
Torelli" Concerto Grosso in G minor Op.8 No.6 (Christmas Concerto) Mvt.III Vivace - string quartet
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Quatuor à cordes: 2 violons, alto, violoncelle
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INTERMÉDIAIRE
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Giuseppe Torelli
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Ray Thompson
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Torelli" Concerto Grosso
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RayThompsonMusic
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SheetMusicPlus
String Quartet Cello,String Quartet,Viola,Violin - Level 3 - SKU: A0.1469357 Composed by Giuseppe Torelli. Arranged by Ray Thompson. Baroque,Christmas. ...
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String Quartet Cello,String Quartet,Viola,Violin - Level 3 - SKU: A0.1469357 Composed by Giuseppe Torelli. Arranged by Ray Thompson. Baroque,Christmas. 8 pages. RayThompsonMusic #1045632. Published by RayThompsonMusic (A0.1469357). Alternative Title: Concerto à Quattro, in forma di Pastorale per il Santo NataleOften known as his Christmas ConcertoArranged standard string quartet.Giuseppe Torelli (1658–1709) wrote numerous and often imposing symphonies for use in the San Petronio Cathedral in Bologne well before the turn of the century.Furthermore, he was the first composer to write a concerto for solo violin and string orchestra (published at Augsburg, 1698), and his Concerti Grossi Op 8, which appeared in print shortly after his death, are the very first concertos for two solo violins. It is the sixth of these that contains the Christmas music. A solemn ‘Grave’ sets the scene for the Pastorale, marked ‘Vivace’ and cast in 12/8 metre, the two solo violins carrying much of the melodic interest. A meditative Largo leads to another ‘Vivace’ which is a Gavotte en Musette in all but name, its held bass notes strongly suggesting the drone of the shepherds’ pipes.This is my arrangement of the 3rd movement.
$11.95 ≈
$16.58
Vivaldi Cello Concerto in A Minor RV419
Vivaldi Cello Concerto in A Minor RV419
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Quatuor à cordes: 2 violons, alto, violoncelle
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Antonio Vivaldi
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Tom Christie
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Vivaldi Cello Concerto in A Mi
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Tom Christie
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SheetMusicPlus
String Quartet String Quartet - Level 4 - SKU: A0.974456 Composed by Antonio Vivaldi. Arranged by Tom Christie. Baroque. Score and parts. 24 pages. Tom ...
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String Quartet String Quartet - Level 4 - SKU: A0.974456 Composed by Antonio Vivaldi. Arranged by Tom Christie. Baroque. Score and parts. 24 pages. Tom Christie #6064395. Published by Tom Christie (A0.974456). Vivaldi was certainly a prolific composer, and he wrote a grand total of more than 500 concertos for different instruments. This is one of those concertos. I recently listened to this music and found myself captivated by its baroque simplicity, and how it still contains such depth of thought and style. This is Vivaldi's cello concerto in A Minor, RV419. The arrangement includes all movements. I have arranged it for solo cello accompanied by two violins and a cello, which cuts down on instrumentation meaning that less sheet music is used, and also less people are needed to play the music :) Have fun!
$13.99 ≈
$19.41
Vivaldi - Violin Concerto in A minor RV 357 Op.4 No.4 for String Quartet
Vivaldi - Violin Concerto in A minor RV 357 Op.4 No.4 for String Quartet
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Quatuor à cordes: 2 violons, alto, violoncelle
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INTERMÉDIAIRE
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Classique
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Antonio Vivaldi
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Santino Cara
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Vivaldi - Violin Concerto in A
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Santino Cara
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SheetMusicPlus
String Quartet String Quartet - Level 3 - SKU: A0.516902 Composed by Antonio Vivaldi. Arranged by Santino Cara. Baroque. Score and parts. 31 pages. Sant...
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String Quartet String Quartet - Level 3 - SKU: A0.516902 Composed by Antonio Vivaldi. Arranged by Santino Cara. Baroque. Score and parts. 31 pages. Santino Cara #2961011. Published by Santino Cara (A0.516902). Version for String Quartet of the Concerto in A minor RV 357for violin solo and string orchestra composed in 1714 by Antonio Vivaldi. Dedicated to the Venetian nobleman Mr. Vettor Delfino and published for first time in 1716 in La Stravaganza Op.4 No.4. With the complete score of the concert, they are inserted also the separate instrumental parts. Movements: 1. Allegro, 2. Grave e cantabile, 3. Allegro This concerto is a personal reconstruction of Santino Cara made from the manuscript kept in the National Library of Turin, and is cataloged in the transcriptions of Santino Cara with the code: CS2156. There are two other versions of this concerto, the original version for violin solo and string orchestra, and the version for violin and piano, both published on my Sheet Music Plus page. http://www.sheetmusicplus.com/publishers/Santino-Cara/1492 .
$14.40 ≈
$19.98
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Concerto for Two Violins in A Minor
