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Vous avez sélectionné:
Only Human Score Only Baroque
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24 partitions trouvées
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1
Oh, muro mas que humano - Cantada a solo a N.P. Sn. Pedro con violines - Score Only
Oh, muro mas que humano - Cantada a solo a N.P. Sn. Pedro con violines - Score Only
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Musique Sacrée
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Arturo Escorza
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Arturo Escorza
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Oh, muro mas que humano - Cant
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Arturo Escorza
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SheetMusicPlus
SKU: A0.1112075 By Arturo Escorza. By Manuel de Sumaya. Arranged by Arturo Escorza. Baroque,Chamber,Early Music,Praise & Worship,Sacred. 11 pages. Artur...
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SKU: A0.1112075 By Arturo Escorza. By Manuel de Sumaya. Arranged by Arturo Escorza. Baroque,Chamber,Early Music,Praise & Worship,Sacred. 11 pages. Arturo Escorza #714265. Published by Arturo Escorza (A0.1112075). This is the Full Score of the cantata Oh, muro más que humano by the composer Manuel de Sumaya. For tenor, accompanied by 2 violins, and continuo.
$15.00 ≈
¥105.17
Villancicos, Cantatas, and Arias by Manuel de Sumaya - Full Score Album with 16 pieces - Score Only
Villancicos, Cantatas, and Arias by Manuel de Sumaya - Full Score Album with 16 pieces - Score Only
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Arturo Escorza
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Arturo Escorza
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Villancicos, Cantatas, and Ari
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Arturo Escorza
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SheetMusicPlus
SKU: A0.1112092 By Arturo Escorza. By Manuel de Sumaya. Arranged by Arturo Escorza. Baroque,Chamber,Christmas,Early Music,Sacred. 120 pages. Arturo Esco...
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SKU: A0.1112092 By Arturo Escorza. By Manuel de Sumaya. Arranged by Arturo Escorza. Baroque,Chamber,Christmas,Early Music,Sacred. 120 pages. Arturo Escorza #714276. Published by Arturo Escorza (A0.1112092). Album with 16 villancicos, cantatas, and arias by the famous mexican (novohispano) composer Manuel de Sumaya. Made famous by many performers, like Chanticleer, Ensemble Elyma, Chatham Baroque. Full Score. 1. El de Pedro solamente 2. Como glorias el fuego 3. Ya la naturaleza redimida 4. Como aunque culpa 5. Alegres luces del dia 6. Oh, muro mas que humano 7. Aunque al sueño parece 8. Pedro es el maestro que sabe 9. Corrientes que al mar 10. Corred, corred zagales 11. Al empeño, a la lucha 12. Al ver que las ondas 13. Del vago eminente 14. Albricias mortales 15. Celebren, publiquen 16. Angelicas milicias.
$170.00 ≈
¥1191.89
Missa Solemnis, op. 27 - Score Only
Missa Solemnis, op. 27 - Score Only
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Orchestre
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AVANCÉ
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Adrian Gagiu
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Missa Solemnis, op. 27 - Score
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Adrian Gagiu
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.1277133 Composed by Adrian Gagiu. 21st Century,Christian,Classical,Latin. 128 pages. Adrian Gagiu #868819. Published ...
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Full Orchestra - Level 5 - SKU: A0.1277133 Composed by Adrian Gagiu. 21st Century,Christian,Classical,Latin. 128 pages. Adrian Gagiu #868819. Published by Adrian Gagiu (A0.1277133). Missa Solemnis in B major, op. 27 (conductor's score). Based on its Neo-classical style, this setting of the Roman Catholic mass text could possibly work as a festive mass (missa solemnis) with trumpets and timpani, and its duration would fit such a solemn service. However, its intense and sometimes dramatic treatment and universal addressability due to its well-known and rather concentrated text, yet also due to eliminating the „Filioque†(which would still fit the rhythm of the repeated „qui ex Patreâ€, should any Catholics ever wish to perform this as a mass) make it rather a „liturgical oratorio for all nationsâ€, more appropriate in the concert hall. The work has had a long gestation: imagined in 1984 after the composer’s first contact with Beethoven’s masterpiece, then sketched first in 1987-1989, and many of its themes date back from those years. Its working out is quite polyphonic, discretely modal and cyclical, and also full of centuries-old musical symbols traditionally associated with the setting of the mass text: e.g. unisons for the more dogmatical parts, Baroque dotted rhythms at the Nativity (the first coming of the  King of Kings), „rex caelestis†and also at his Passion (whose setting is discretely inspired by folkloric Romanian laments), the „anabasis†gesture at „Gloria in excelsis Deoâ€, „et ascendit in caelisâ€, „in remissionem peccatorum†and the resurrection, a flute trill standing for the Holy Spirit who has come ’like a dove’ at „et incarnatus estâ€, a cross-shaped texture at „crucifixusâ€, and some word-painting (hushed sonorities at „et invisibiliumâ€, anticipations between orchestra and chorus at „et exspecto†etc.). Moreover, certain symbolic roles are assigned to the instrumental groups when alone (the organ represents God the Father and transcendence, the winds and/or solo voices represent God the Son and humanity, and the strings represent the Holy Spirit). „Kyrie†is restrained and soft, besides the powerful chords opening the respective sections of its tripartite, simple structure, and it leans towards Palestrina’s serene modality and counterpoint. „Gloria†begins with a colorful orchestral introduction depicting discretely the shepherds who kept watch over their flocks right before the Nativity, and then gradually the bright revelation. „Credo†has an orchestral introduction as well, but powerful, recurring and based on the beginning of the plainchant hymn „Pange linguaâ€, made famous by Mozart’s last symphony and by other Classical composers. Both „Gloria†and „Credo†end with extended, powerful and elaborate fugues („in gloria Dei Patris†and „et vitam venturi saeculiâ€, respectively) with dramatic modulations and sometimes with enthusiastic syncopations at odds with the words’ accents, a la Stravinsky. The same sections plus „Agnus Dei†end with soft quartal harmonies suggesting transcendent appeasement (similar harmonies appear powerfully at the beginning of „Sanctusâ€). „Judicare†quotes the beginning of the well-known „Dies irae†plainchant tune, and the Consecration between the „Sanctus†and „Benedictus†sections is represented by a contemplative prelude for solo organ, quoting Lutheran chorales, too. Another long orchestral introduction, suggesting the Last Judgment and based on traditional Byzantine hymns, opens „Agnus Deiâ€, which includes another quotation (the famous ’Dresden Amen’ at „qui tollis peccata mundi†and „dona nobis pacemâ€). In the final section, with its refined simplicity, the choral voices enter in descending order, and the „Kyrie eleison†theme is briefly remembered, then it ends softly and peacefully. Total duration: 50 min. Performing Rights Organization: SOCAN. The mp3 audio clip is Kyrie.
$100.00 ≈
¥701.11
Presto from Sonata No.1, BWV 1001 - Bb Clarinet and Piano (Full Score)
Presto from Sonata No.1, BWV 1001 - Bb Clarinet and Piano (Full Score)
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Clarinette et Piano
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Johann Sebastian Bach and Robe
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César Madeira
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Presto from Sonata No.1, BWV 1
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Sheet Music To Play Editions
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SheetMusicPlus
B-Flat Clarinet,Piano - Level 4 - SKU: A0.1229870 Composed by Johann Sebastian Bach and Robert Schumann. Arranged by César Madeira. 19th Century,Baro...
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B-Flat Clarinet,Piano - Level 4 - SKU: A0.1229870 Composed by Johann Sebastian Bach and Robert Schumann. Arranged by César Madeira. 19th Century,Baroque,Classical,Early Music,Romantic Period. Score and part. 8 pages. Sheet Music To Play Editions #825629. Published by Sheet Music To Play Editions (A0.1229870). Presto from Bach's Sonata No.1 in G Minor, BWV 1001. Adapted by Schumann. Arrangement for Bb Clarinet and Piano. With Full Score. Enjoy it!This file DOES NOT contain Individual Parts. Full Score only.Johann Sebastian Bach (1685 - 1750) was a German composer and musician of the Baroque period. He is known for instrumental compositions such as the Brandenburg Concertos and the Goldberg Variations, and for vocal music such as the St Matthew Passion and the Mass in B minor. Since the 19th-century Bach Revival, he has been generally regarded as one of the greatest composers of all time.For Tutorials, Play Alongs or request New Arrangements, visit the YouTube Channel: Sheet Music To Play
$5.99 ≈
¥42.00
Presto from Sonata No.1, BWV 1001 - Flute and Piano (Full Score)
Presto from Sonata No.1, BWV 1001 - Flute and Piano (Full Score)
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Flûte traversière et Piano
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Johann Sebastian Bach and Robe
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César Madeira
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Presto from Sonata No.1, BWV 1
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Sheet Music To Play Editions
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SheetMusicPlus
Piano,Soprano Flute - Level 4 - SKU: A0.1229886 Composed by Johann Sebastian Bach and Robert Schumann. Arranged by César Madeira. 19th Century,Baroqu...
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Piano,Soprano Flute - Level 4 - SKU: A0.1229886 Composed by Johann Sebastian Bach and Robert Schumann. Arranged by César Madeira. 19th Century,Baroque,Classical,Early Music,Romantic Period. Score and part. 8 pages. Sheet Music To Play Editions #825644. Published by Sheet Music To Play Editions (A0.1229886). Presto from Bach's Sonata No.1 in G Minor, BWV 1001. Adapted by Schumann. Arrangement for Flute and Piano. With Full Score. Enjoy it!This file DOES NOT contain Individual Parts. Full Score only.Johann Sebastian Bach (1685 - 1750) was a German composer and musician of the Baroque period. He is known for instrumental compositions such as the Brandenburg Concertos and the Goldberg Variations, and for vocal music such as the St Matthew Passion and the Mass in B minor. Since the 19th-century Bach Revival, he has been generally regarded as one of the greatest composers of all time.For Tutorials, Play Alongs or request New Arrangements, visit the YouTube Channel: Sheet Music To Play
$5.99 ≈
¥42.00
Presto from Sonata No.1, BWV 1001 - Viola and Piano (Full Score)
Presto from Sonata No.1, BWV 1001 - Viola and Piano (Full Score)
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Alto, Piano
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Johann Sebastian Bach and Robe
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César Madeira
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Presto from Sonata No.1, BWV 1
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Sheet Music To Play Editions
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SheetMusicPlus
Piano,Viola - Level 4 - SKU: A0.1229880 Composed by Johann Sebastian Bach and Robert Schumann. Arranged by César Madeira. 19th Century,Baroque,Classi...
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Piano,Viola - Level 4 - SKU: A0.1229880 Composed by Johann Sebastian Bach and Robert Schumann. Arranged by César Madeira. 19th Century,Baroque,Classical,Early Music,Romantic Period. Score and part. 8 pages. Sheet Music To Play Editions #825638. Published by Sheet Music To Play Editions (A0.1229880). Presto from Bach's Sonata No.1 in G Minor, BWV 1001. Adapted by Schumann. Arrangement for Viola and Piano. With Full Score. Enjoy it!This file DOES NOT contain Individual Parts. Full Score only.Johann Sebastian Bach (1685 - 1750) was a German composer and musician of the Baroque period. He is known for instrumental compositions such as the Brandenburg Concertos and the Goldberg Variations, and for vocal music such as the St Matthew Passion and the Mass in B minor. Since the 19th-century Bach Revival, he has been generally regarded as one of the greatest composers of all time.For Tutorials, Play Alongs or request New Arrangements, visit the YouTube Channel: Sheet Music To Play
$5.99 ≈
¥42.00
Presto from Sonata No.1, BWV 1001 - Cello and Piano (Full Score)
Presto from Sonata No.1, BWV 1001 - Cello and Piano (Full Score)
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Violoncelle, Piano
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Johann Sebastian Bach and Robe
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César Madeira
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Presto from Sonata No.1, BWV 1
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Sheet Music To Play Editions
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SheetMusicPlus
Cello,Piano - Level 4 - SKU: A0.1229874 Composed by Johann Sebastian Bach and Robert Schumann. Arranged by César Madeira. 19th Century,Baroque,Classi...
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Cello,Piano - Level 4 - SKU: A0.1229874 Composed by Johann Sebastian Bach and Robert Schumann. Arranged by César Madeira. 19th Century,Baroque,Classical,Early Music,Romantic Period. Score and part. 8 pages. Sheet Music To Play Editions #825632. Published by Sheet Music To Play Editions (A0.1229874). Presto from Bach's Sonata No.1 in G Minor, BWV 1001. Adapted by Schumann. Arrangement for Violoncello and Piano. With Full Score. Enjoy it!This file DOES NOT contain Individual Parts. Full Score only.Johann Sebastian Bach (1685 - 1750) was a German composer and musician of the Baroque period. He is known for instrumental compositions such as the Brandenburg Concertos and the Goldberg Variations, and for vocal music such as the St Matthew Passion and the Mass in B minor. Since the 19th-century Bach Revival, he has been generally regarded as one of the greatest composers of all time.For Tutorials, Play Alongs or request New Arrangements, visit the YouTube Channel: Sheet Music To Play
$5.99 ≈
¥42.00
Presto from Sonata No.1, BWV 1001 - Violin and Piano (Full Score)
Presto from Sonata No.1, BWV 1001 - Violin and Piano (Full Score)
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Violon et Piano
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Johann Sebastian Bach and Robe
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César Madeira
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Presto from Sonata No.1, BWV 1
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Sheet Music To Play Editions
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SheetMusicPlus
Piano,Violin - Level 4 - SKU: A0.1229868 Composed by Johann Sebastian Bach and Robert Schumann. Arranged by César Madeira. 19th Century,Baroque,Class...
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Piano,Violin - Level 4 - SKU: A0.1229868 Composed by Johann Sebastian Bach and Robert Schumann. Arranged by César Madeira. 19th Century,Baroque,Classical,Early Music,Romantic Period. 8 pages. Sheet Music To Play Editions #825627. Published by Sheet Music To Play Editions (A0.1229868). Presto from Bach's Sonata No.1 in G Minor, BWV 1001. Adapted by Schumann. Arrangement for Violin and Piano. With Full Score. Enjoy it!This file DOES NOT contain Individual Parts. Full Score only.Johann Sebastian Bach (1685 - 1750) was a German composer and musician of the Baroque period. He is known for instrumental compositions such as the Brandenburg Concertos and the Goldberg Variations, and for vocal music such as the St Matthew Passion and the Mass in B minor. Since the 19th-century Bach Revival, he has been generally regarded as one of the greatest composers of all time.For Tutorials, Play Alongs or request New Arrangements, visit the YouTube Channel: Sheet Music To Play
$5.99 ≈
¥42.00
Music for Four Volume 2, Score (for String Quartet or Mixed Quartet) 70299 - Score Only
Music for Four Volume 2, Score (for String Quartet or Mixed Quartet) 70299 - Score Only
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Quatuor à cordes: 2 violons, alto, violoncelle
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AVANCÉ
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Various
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Daniel Kelley
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Music for Four Volume 2, Score
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Last Resort Music Publishing
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SheetMusicPlus
Level 5 - SKU: A0.1341863 Composed by Various. Arranged by Daniel Kelley. 19th Century,Baroque,Classical,Romantic Period,Wedding. 83 pages. Last Resort ...
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Level 5 - SKU: A0.1341863 Composed by Various. Arranged by Daniel Kelley. 19th Century,Baroque,Classical,Romantic Period,Wedding. 83 pages. Last Resort Music Publishing #927370. Published by Last Resort Music Publishing (A0.1341863). Score #70299 from Music for Four, Volume 2Baroque Classical and Romantic Favorites Works by Bach, Beethoven, Chopin, Franck, Purcell, Mendelssohn and more!  An incredible collection of 25 arrangements for strings, woodwinds, French horn & piano – these mix and match quartets allow the performer to pick the instrumentation. Perfect for String Quartet, Wind Quartet, Piano Quartet, Sax Quartet, & More! The keyboard/guitar part encompasses parts 2, 3 and 4. Therefore, the arrangements could be played as a piano quartet, or an entire quartet can play with a pianist - as long as Part 1 is being played.Table of ContentsArioso from Cantata #156 (Bach) Allegro, Adagio & Finale from Brandenburg Concerto #6 in Bb Major (Bach) My Heart Ever Faithful from Cantata #68 (Bach) Sheep May Safely Graze from Cantata #208 (Bach) Adagio from Piano Sonata #8, Op. 13 Pathetique (Beethoven) Ode to Joy from Symphony #9 (Beethoven) Nocturne from String Quartet #2 in D Major (Borodin) Prelude from Op. 28, #4 & #15 (Chopin) Pavane from Op. 50 (Faure) Panis Angelicus from Messe Solonnelle, Op. 12 (Franck) La Rejouissance from The Fireworks Music (Handel) Andante from String Quartet in F Major, Op. 3, #15 (Haydn) Wedding March from A Midsummer Night's Dream (Mendelssohn) Rondeau from Sinfonies de Fanfares (Mouret) Andante from K. 316 for Flute and Orchestra (Mozart) Crisantemi (Puccini) Trumpet Tune (Purcell) Ave Maria (Schubert) Am Camin  & Traumerei from Kinderscenen (Schumann) Romeo and Juliet Love Theme from Overture-Fantasy (Tschaikovsky) Allegro from Violin Concerto in E Major, Op. 8 #1 - Spring (Vivaldi) Parts Available for purchase separately 70211  Part 1 Flute or Oboe or Violin 70213  Part 1 Clarinet in Bb 70221  Part 2 Flute or Oboe or Violin70223  Part 2 Clarinet in Bb 70231  Part 3 Viola70236  Part 3 Violin in C  70232  Part 3 French Horn or English Horn in F70233  Part 3 Clarinet in Bb 70241  Part 4 Cello or Bassoon70243  Part 4 Bass Clarinet in Bb 70250  Keyboard or Guitar 70299  Score (Parts 1-4 in C) from Last Resort Music Publishing
$40.00 ≈
¥280.44
The Wedding Essentials for String Quartet, Volume 2 - Collection of 15 Pieces - Parts (no score)
The Wedding Essentials for String Quartet, Volume 2 - Collection of 15 Pieces - Parts (no score)
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Quatuor à cordes: 2 violons, alto, violoncelle
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INTERMÉDIAIRE/AVANCÉ
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Antonin Dvorak, Camille Saint-
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Abolin
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The Wedding Essentials for Str
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Abolin
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SheetMusicPlus
String Quartet Cello,String Quartet,Viola,Violin - Level 4 - SKU: A0.936386 Composed by Antonin Dvorak, Camille Saint-Saens, Edward Elgar, Frederic Chop...
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String Quartet Cello,String Quartet,Viola,Violin - Level 4 - SKU: A0.936386 Composed by Antonin Dvorak, Camille Saint-Saens, Edward Elgar, Frederic Chopin, George Frideric Handel, Johann Sebastian Bach, Joseph Joachim Raff, P. Tchaikovsky, R. Schumann, Vincenzo Bellini, and Zdenek Fibich. Arranged by Abolin. Baroque,Chamber,Classical,Romantic Period,Wedding. 95 pages. Abolin #6862871. Published by Abolin (A0.936386). Parts only (no score) Volume 2 of 2. This is an album for string quartet of the following popular 15 pieces for wedding and other events.
$28.99 ≈
¥203.25
The Wedding Essentials for String Quartet, Vol. 1 and 2 - Album of 30 pieces - Parts (no score)
The Wedding Essentials for String Quartet, Vol. 1 and 2 - Album of 30 pieces - Parts (no score)
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Quatuor à cordes: 2 violons, alto, violoncelle
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INTERMÉDIAIRE/AVANCÉ
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Antonin Dvorak, Bach/Gounod, C
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Abolin
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The Wedding Essentials for Str
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Abolin
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SheetMusicPlus
String Quartet Cello,String Quartet,Viola,Violin - Level 4 - SKU: A0.936387 Composed by Antonin Dvorak, Bach/Gounod, C. Franck, CLARKE, Camille Saint-Sa...
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String Quartet Cello,String Quartet,Viola,Violin - Level 4 - SKU: A0.936387 Composed by Antonin Dvorak, Bach/Gounod, C. Franck, CLARKE, Camille Saint-Saens, Edward Elgar, Felix Bartholdy Mendelssohn, Franz Liszt, Franz Schubert, Frederic Chopin, George Frideric Handel, Jean-Joseph Mouret, Johann Pachelbel, Johann Sebastian Bach, Joseph Joachim Raff, P. Tchaikovsky, R. Schumann, Richard Wagner, Vincenzo Bellini, and Zdenek Fibich. Arranged by Abolin. Baroque,Classical,Romantic Period,Sacred,Wedding. 195 pages. Abolin #6864027. Published by Abolin (A0.936387). Parts only (no score) A collection of 30 pieces for string quartet that are popular for weddings and other occasions.
$44.99 ≈
¥315.43
Missa Solemnis, op. 27 (vocal score)
Missa Solemnis, op. 27 (vocal score)
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Chorale SATB
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AVANCÉ
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Adrian Gagiu
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Missa Solemnis, op. 27
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Adrian Gagiu
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SheetMusicPlus
Choral Choir (SATB) - Level 5 - SKU: A0.1277132 Composed by Adrian Gagiu. 21st Century,Christian,Classical,Latin. Octavo. 128 pages. Adrian Gagiu #86844...
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Choral Choir (SATB) - Level 5 - SKU: A0.1277132 Composed by Adrian Gagiu. 21st Century,Christian,Classical,Latin. Octavo. 128 pages. Adrian Gagiu #868444. Published by Adrian Gagiu (A0.1277132). Missa Solemnis in B major, op. 27, vocal score and piano part (for rehearsal purposes only). Based on its Neo-classical style, this setting of the Roman Catholic mass text could possibly work as a festive mass (missa solemnis) with trumpets and timpani, and its duration would fit such a solemn service. However, its intense and sometimes dramatic treatment and universal addressability due to its well-known and rather concentrated text, yet also due to eliminating the „Filioque†(which would still fit the rhythm of the repeated „qui ex Patreâ€, should any Catholics ever wish to perform this as a mass) make it rather a „liturgical oratorio for all nationsâ€, more appropriate in the concert hall. The work has had a long gestation: imagined in 1984 after the composer’s first contact with Beethoven’s masterpiece, then sketched first in 1987-1989, and many of its themes date back from those years. Its working out is quite polyphonic, discretely modal and cyclical, and also full of centuries-old musical symbols traditionally associated with the setting of the mass text: e.g. unisons for the more dogmatical parts, Baroque dotted rhythms at the Nativity (the first coming of the  King of Kings), „rex caelestis†and also at his Passion (whose setting is discretely inspired by folkloric Romanian laments), the „anabasis†gesture at „Gloria in excelsis Deoâ€, „et ascendit in caelisâ€, „in remissionem peccatorum†and the resurrection, a flute trill standing for the Holy Spirit who has come ’like a dove’ at „et incarnatus estâ€, a cross-shaped texture at „crucifixusâ€, and some word-painting (hushed sonorities at „et invisibiliumâ€, anticipations between orchestra and chorus at „et exspecto†etc.). Moreover, certain symbolic roles are assigned to the instrumental groups when alone (the organ represents God the Father and transcendence, the winds and/or solo voices represent God the Son and humanity, and the strings represent the Holy Spirit). „Kyrie†is restrained and soft, besides the powerful chords opening the respective sections of its tripartite, simple structure, and it leans towards Palestrina’s serene modality and counterpoint. „Gloria†begins with a colorful orchestral introduction depicting discretely the shepherds who kept watch over their flocks right before the Nativity, and then gradually the bright revelation. „Credo†has an orchestral introduction as well, but powerful, recurring and based on the beginning of the plainchant hymn „Pange linguaâ€, made famous by Mozart’s last symphony and by other Classical composers. Both „Gloria†and „Credo†end with extended, powerful and elaborate fugues („in gloria Dei Patris†and „et vitam venturi saeculiâ€, respectively) with dramatic modulations and sometimes with enthusiastic syncopations at odds with the words’ accents, a la Stravinsky. The same sections plus „Agnus Dei†end with soft quartal harmonies suggesting transcendent appeasement (similar harmonies appear powerfully at the beginning of „Sanctusâ€). „Judicare†quotes the beginning of the well-known „Dies irae†plainchant tune, and the Consecration between the „Sanctus†and „Benedictus†sections is represented by a contemplative prelude for solo organ, quoting Lutheran chorales, too. Another long orchestral introduction, suggesting the Last Judgment and based on traditional Byzantine hymns, opens „Agnus Deiâ€, which includes another quotation (the famous ’Dresden Amen’ at „qui tollis peccata mundi†and „dona nobis pacemâ€). In the final section, with its refined simplicity, the choral voices enter in descending order, and the „Kyrie eleison†theme is briefly remembered, then it ends softly and peacefully. Total duration: 50 min. Performing Rights Organization: SOCAN. The mp3 audio clip is Kyrie.
$87.99 ≈
¥616.91
Mozart Violin Duets
Mozart Violin Duets
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2 Violons (duo)
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INTERMÉDIAIRE
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Classique
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Wolfgang Amadeus Mozart
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Luis Anjos Teixeira
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Mozart Violin Duets
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Luis Anjos Teixeira
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SheetMusicPlus
Violin Duet Violin - Level 3 - SKU: A0.889440 Composed by Wolfgang Amadeus Mozart. Arranged by Luis Anjos Teixeira. Baroque,Christmas,Concert,Standards....
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Violin Duet Violin - Level 3 - SKU: A0.889440 Composed by Wolfgang Amadeus Mozart. Arranged by Luis Anjos Teixeira. Baroque,Christmas,Concert,Standards. 35 pages. Luis Anjos Teixeira #4758249. Published by Luis Anjos Teixeira (A0.889440). Wolfgang Amadeus Mozart, is probably the most beloved artist that ever existed in this World. His work is without any doubt amongst the highest cultural achievements of the Human Being. To understand his cultural environment and musical practices I would advise you to read among others also the following books: „A Treatise on the Fundamental Principles of Violin Playing „Versuch einer gründlichen Violinschule from Leopold Mozart and from David D. Boyden A History of Violin Playing from its Origins to 1761. Also the biography righten by Jean et Brigite Massin gives us a deep view and idea of this times. Mozart wrote in Wien at 27.07.1786 this 12 duets for 2 basset horns K. 487, for his very Dear Friends „the Jacquin Family. This arrangement for 2 violin proposes an intime relation with the original work, but allows us to perform it also with modern instruments and to apply todays standards of musical literature praxis. No changes where made on the original composition, only the presentation of the score has been adjusted to contemporary violin music literature. It is also perfect adjusted for the use of baroque violins. I transposed it for the violin and introduced interpretation symbols to shorten some notes and induce loudness variations. The bowing is adjusted to violin performance but very much compromised with the ones in the original scores in wish they also meant a musical legato. I advise you to adjust much of the bowing to your taste and interpretation. Fingering is also relative to taste and school practices and is left to the artists choice. In order to leave the original notation as much untouched as possible I shortened the length of some notes with the „Staccato symbol to originate silence in between them. You are also free to further shorten even many more notes. As Mozart said - „The music is not in the notes but in the silent in between. In the arrangement, instead of repetitions, the performers interchange their parts so each of them will get to play as first and second violin player along each piece. This was common practice in chamber music when both musicians where at the same level. Very Human, this work comes from the hand of a musical Genius no other than Mozart. I tried to do an arrangement that would bring us as close as possible to the musical intention of the original work. This music demands accuracy and a very lively sensitive approach, it is a refined work of art, totally appropriate for serious „concert halls, for advanced students and great performers. Very useful of course for the music classroom on a wide range of various practices with students and also little concerts or presentations. It was righten for close friends and it should be practiced and performed with a heart full of Love and compassion. You should feel Free to apply in this piece the Art and technic that expresses entirely your individual skills, Your taste and Soul. Have fun! It is a piece that can be used in many different kinds of situations, from the serious concert hall to a funeral, in Easter or even Christmas celebrations and all other kinds of Spiritual events or even joyful social meetings. When performed Live It will give you back a great feedback from the public, you will always want to have it in your repertoire. The score was written on Finale. The sound file was produced with samplers from Garritan and conceived merely as an audio support for the presentation of this score. Thank you very much for taking your time to read this text and to listen to the file. I hope you have a lot of fun and enjoy the music. Sheers! Luis Anjos Tei.
$17.56 ≈
¥123.12
Bach Fuga BWV 539 For Woodwind Quintet
Bach Fuga BWV 539 For Woodwind Quintet
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Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
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AVANCÉ
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Classique
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Johann Sebastian Bach
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Luis Anjos Teixeira
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Bach Fuga BWV 539 For Woodwind
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Luis Anjos Teixeira
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SheetMusicPlus
Woodwind Ensemble,Woodwind Quintet - Level 5 - SKU: A0.889416 Composed by Johann Sebastian Bach. Arranged by Luis Anjos Teixeira. Baroque,Concert,Standa...
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Woodwind Ensemble,Woodwind Quintet - Level 5 - SKU: A0.889416 Composed by Johann Sebastian Bach. Arranged by Luis Anjos Teixeira. Baroque,Concert,Standards. 31 pages. Luis Anjos Teixeira #3485727. Published by Luis Anjos Teixeira (A0.889416). 2018 Chamber Music Contest EntryAs a violin player this was always one of my beloved pieces and it has accompanied all my Life. The G minor Fuga is the most compact of the three fugues in the volume for violin solo (and note that in this versions they are not in fact fugues in the proper sense of the word, but rather a kind of fugue/Baroque-concerto hybrid form). It was also transcribed for lute by Bach at some later time (BWV 1000). My arrangement is based on a version of this piece for the organ made by Bach himself - BWV 539. I follow very intimately the organ version, not adding or letting out any of the original notes. As an arrangement I transposed it to H-Minor and some of the notes where made through the interpretation symbols more or less shorter in order to accentuate the polyphonic, rhythmic and natural dynamic of the piece. I also added some legatos. Crescendos, or fortes and similar indications are left out like in the original, waiting for your own interpretation. In the musical consciousness of Bach the polyphony and dialog between the voices were a projection of an ideal world for the Human Society and this should be in the first line of focus and in the mind of all the members in the group. The power of this piece comes from within its structure and relays in its polyphonic dimension. Allow yourself to focus on the Art of enhancing the beauty of this dialog, the bless of communicating with each other. Bach is Love - Love each another I really advise all performers to have a very humble and sensitive approach in the interpretation of this piece towards loudness because you will have to be listening to each other very carefully while performing. Linear time, sound and silence are the basic of dynamic expression. Dynamic will than happen naturally and without much effort when bringing the „Art of playing the silence and the Art of the „duration of the notes to a state of consciousness within the whole piece itself. Often in the old music notation the duration of the notes is longer written in the score then it should be played. Understandable because It takes a lot more time for a composer to write in detail the sound and the silence than to write only the raw length of the notes! Back in those times the performing artists were trained very well to read their raw parts and became very skilled in making their own thing out of the scores so the composers did not have to worry with so much detail like nowadays. In some scores we even find words like:-„please play this note simply as written and without embellishments! On the original score of the Fuga a sixth voice joins the group between bars sixty and sixty one and this voice can be heard very well in the sound file. This „Ghost voice is noted on the clarinet part as an extended possibility. To play it with just one clarinet is absolutely possible as well as arbitrary. Do at will some experiments and let than the group decide. In case of doubt play simply the bottom voice or let yourself get inspired with the sound file. One of my suggestions would be also to play the bottom line as long as the other one is silent, than jump to the upper voice as it comes in and go back again to your usual voice while the other voice „takes a break. This work brought me a new insight into the consciousness and the universal nature of Bach`s music. It requires high skilled and experienced artists to execute. The score was written on Finale. The sound file For the 2018 Chamber Music Contest Entry, was performed with samplers from Garritan and conceived as an audio support for the presentation of the score. Thank you very much f.
$25.00 ≈
¥175.28
Doubt & Determination (An Epic Sonata of Indeterminacy)
Doubt & Determination (An Epic Sonata of Indeterminacy)
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Dennis Garretson
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Doubt & Determination
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Dennis Garretson
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SheetMusicPlus
Small Ensemble Flute,Soprano Saxophone,Tenor Saxophone,Violin - Level 5 - SKU: A0.993652 Composed by Dennis Garretson. 20th Century,Baroque,Contemporary...
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Small Ensemble Flute,Soprano Saxophone,Tenor Saxophone,Violin - Level 5 - SKU: A0.993652 Composed by Dennis Garretson. 20th Century,Baroque,Contemporary. Score and parts. 5 pages. Dennis Garretson #4580777. Published by Dennis Garretson (A0.993652). Description:Doubt & Determination bridges the gaps between musical eras, as one would hear certain nuance that dates back to the Baroque era but possess a rather modern musical structure. The piece challenges both the listeners and the player themselves. For the public ears, one will have to adapt the performer's perspectives to 'feel' the piece. As the title suggests, both 'Doubt' and 'Determination' are two human perceptions that oppose each other, to understand the music is to find common grounds between them, through unexpected cadences and dynamic change. The performer will have to deliver the technicalities of bringing them together, through detail instructions on dynamics and tempo change. The piece is modeled in Sonata Form. however, it is to be approached with indeterminacy, occasionally granting the performer the freedom through Tempo Rubato and Breath Perceptions.Practice Suggestion:This music can only prevail through expression, thus the commitment for dynamic is of the utmost importance. It is highly suggested to understand what makes this piece unique, a score analysis is always a good start. Mark out the accents (Staccato and Emphasis) and the tempo change. Establish breathing points since the piece has very minimal instructions for that, it is hence highly dependent on the performer's capability to deliver.A proper mindset is essential for the perfect performance.Instrumentations:Certain instruments are optional if a soprano saxophone is proven unavailable. The permitted exceptions are Violins (high strings with nuance deliverance) and Woodwinds within the tenor and soprano range.About the ComposerDennis Garretson is young Pianist, Improviser and Composer.Born and raised in Hong Kong, he started as a self-taught composer in high school. and became increasingly influenced by Hollywood &Blockbuster sounds, which paved the way towards discovering his passion towards the realm of orchestral music & film scores. He produced his first soundtrack when he was 17 and secured his first Media Award in the 12th Annual Hong Kong Film Art Association for the best original composition.Currently pursuing a music degree in Nova Scotia Canada, Dennis has the honorable opportunity of studying under multi Juno nominated composer - Peter Togni. His style of writing could be described as - Adaptive Story Telling, allowing listeners to have their very own unique interpretations of what the music could be about while anchoring within reach of the composer's core idea. Dennis strives to be a composer of true versatility, albeit his primary interest remains committed to film scores. He has written in the styles of Schoenberg's 12-tone techniques and has gone as polar as modern movie and trailer music. His music has been commissioned for short films and could be heard on various media platforms.For work inquiry, please contact through social media.
$6.99 ≈
¥49.01
Centone V: Four Madrigals for Brass Quintet
Centone V: Four Madrigals for Brass Quintet
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Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Claudio Monteverdi
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Richard Decker
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Centone V: Four Madrigals for
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Charles Decker Music Press
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SheetMusicPlus
Brass Quintet Cornet,Euphonium,Flugelhorn,Trombone,Trumpet,Tuba - Level 4 - SKU: A0.1139644 Composed by Claudio Monteverdi. Arranged by Richard Decker. ...
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Brass Quintet Cornet,Euphonium,Flugelhorn,Trombone,Trumpet,Tuba - Level 4 - SKU: A0.1139644 Composed by Claudio Monteverdi. Arranged by Richard Decker. Baroque,Chamber,Multicultural,Renaissance,World. 55 pages. Charles Decker Music Press #739914. Published by Charles Decker Music Press (A0.1139644). As one of the most creative composers leading the musical changes from the Renaissance into the Baroque, Claudio Monteverdi instilled into his noteworthy Madrigals not only the contemporary explorations of dissonance and form but also mastered the art of tone-painting of human emotions to an extraordinary level. Scored for a brass quintet of two B-flat trumpet with alternate C trumpet parts, horn in F with substitute flugelhorn part, trombone and tuba, these Madrigal arrangements provide an additional unique opportunity for performances using all conical brass instruments (two B-flat cornets, horn, euphonium and tuba). These spirited Madrigals showcase all the quintet members and will add excitement and drama to performances. See more than 70 mixed brass ensemble publications with Charles Decker Music Press at Sheet Music Plus for inexperienced to advanced musicians with music ranging from the Renaissance to contemporary new works for trios, quartets, quintets, brass choir and brass band. Many of the mixed brass ensemble editions include alternate and substitute parts being alternate C trumpet parts for B-flat trumpet parts, flugelhorn/trumpet substitute for horn, horn substitute for trombone and treble clef euphonium substitute for trombone. See also 50+ homogeneous brass group editions with Charles Decker Music Press at Sheet Music Plus for horn, trumpet and trombone ensembles. Check out the Music of Black Composers Series with Charles Decker Music Press at Sheet Music Plus with 25 arrangements for mixed brass ensembles ranging from early jazz to symphonic works with composers Samuel Coleridge-Taylor, R. Nathaniel Dett, William Grant Still, Will Marion Cook, James Reese Europe, James Johnson and others. All ensemble publications include recordings of the entire edition.Use this link to Cherry Classics Music to see Richard Decker arrangements of Cherubini’s Sonata in F for Solo Horn and Wind Ensemble and Coleridge-Taylor’s Sea Drift for Trombone Octet.
$17.99 ≈
¥126.13
Rhapsody for Concert Band
Rhapsody for Concert Band
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Orchestre d'harmonie
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INTERMÉDIAIRE/AVANCÉ
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Classique
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July 16th, Clara noted in her
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Brock Lupton
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Rhapsody for Concert Band
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Brock Lupton
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SheetMusicPlus
Concert Band - Level 4 - SKU: A0.942434 Arranged by Brock Lupton. Romantic Period. Score and parts. 84 pages. Brock Lupton #6879051. Published by Brock ...
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Concert Band - Level 4 - SKU: A0.942434 Arranged by Brock Lupton. Romantic Period. Score and parts. 84 pages. Brock Lupton #6879051. Published by Brock Lupton (A0.942434). Brahms composed the Alto Rhapsody, properly known as Rhapsody for Alto, Male Chorus, and Orchestra, opus 53 in 1869. It was first performed in Jena on March 3, 1870. The text is based on Harzreise im Winter (Winter Journey in the Harz Mountains), a poem by well-known German poet Johann Wolfgang von Goethe (1749-1832). The Alto Rhapsody, like many of Brahms’ works, has loneliness and alienation as its central themes. Brahms’ devotion to Clara Schumann, Robert Schumann’s widow, is well-known (the letters between her and Brahms fill two volumes). What is less well-known is that he was undoubtedly very fond of Julie Schumann, Clara’s daughter.In 1869, Brahms spent the summer near the Schumann’s residence and was in daily contact with Julie and Clara completing, among other works, the Liebeslieder (Love Song) Waltzes. In early July, Julie announced her engagement. Of course, I told Johannes first of all, Clara noted in her diary on the 11th. Soon after, the conductor Hermann Levi told her that Brahms had been devotedly attached to her daughter. By July 16th, Clara noted in her diary that Brahms speaks only in monosyllables . . . [and] treats Julie in the same manner, although he used to be so especially nice to her. Did he love her? Julie was married on September 22. Later on that very wedding day, Brahms called on Clara, who wrote in her diary, Johannes brought me a very wonderful piece . . . the words from Goethe’s Harzreise. . . He called it his bridal song. This piece seems to me neither more nor less than the expression of his own heart’s anguish. If only he would for once speak so tenderly! This piece is of course the dark and emotional Alto Rhapsody. Goethe’s poem Harzreise im Winter poetically describes the kind of life God intends for different temperaments. The three stanzas set by Brahms concern the fate of a man in fruitless struggle against the bonds of misery. A young man, turned misanthropic by sorrow, seeks solitude in the wilderness. The piece is in the baroque cantata style, with an opening recitative, and aria, and a concluding chorale. The alto describes the desolate winter landscape and in the final chorale joins the male chorus in a prayer for a melody that can bring comfort to the thirsting soul (indeed the plea restore his heart is repeated three times at the end, as a kind of Amen). In the Alto Rhapsody it is not hard to find evidence for Brahms’ statement that I speak through my music. The foregoing is from a program note written for a 1997 New York Choral Society performance of the Alto Rhapsody in observance of the centenary of the death of Johannes Brahms. It has been taken from the society web page http://www.nychoral.org/brahms/brahms3.htmlAn English translation of the German text used by Brahms SOLOBut down there, who is it?His path loses itself in the bush. Behind him the branches close. The grass stands up again. Desolation surrounds him. O, who heals the wounds of the one to whom balm has become poison, who drank hatred of people from the fullness of love? Once despised, now a despiser. Secretly he destroys himself in unsatisfying self-seeking. CHORUS If there is in your psaltery, Father of Love, a tone his ear can hear, let it enliven his heart. .
$20.00 ≈
¥140.22
Presto from Sonata No.1, BWV 1001 - Flute and Piano (Individual Parts)
Presto from Sonata No.1, BWV 1001 - Flute and Piano (Individual Parts)
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Flûte traversière et Piano
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Johann Sebastian Bach and Robe
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César Madeira
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Presto from Sonata No.1, BWV 1
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Sheet Music To Play Editions
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SheetMusicPlus
Piano,Soprano Flute - Level 4 - SKU: A0.1229884 Composed by Johann Sebastian Bach and Robert Schumann. Arranged by César Madeira. 19th Century,Baroqu...
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Piano,Soprano Flute - Level 4 - SKU: A0.1229884 Composed by Johann Sebastian Bach and Robert Schumann. Arranged by César Madeira. 19th Century,Baroque,Classical,Early Music,Romantic Period. Score and part. 6 pages. Sheet Music To Play Editions #825642. Published by Sheet Music To Play Editions (A0.1229884). Presto from Bach's Sonata No.1 in G Minor, BWV 1001. Adapted by Schumann. Arrangement for Flute and Piano. With Individual Parts. Enjoy it!This file DOES NOT contain Full Score. Individual Parts only.Johann Sebastian Bach (1685 - 1750) was a German composer and musician of the Baroque period. He is known for instrumental compositions such as the Brandenburg Concertos and the Goldberg Variations, and for vocal music such as the St Matthew Passion and the Mass in B minor. Since the 19th-century Bach Revival, he has been generally regarded as one of the greatest composers of all time.For Tutorials, Play Alongs or request New Arrangements, visit the YouTube Channel: Sheet Music To Play
$5.99 ≈
¥42.00
Presto from Sonata No.1, BWV 1001 - Bb Clarinet and Piano (Individual Parts)
Presto from Sonata No.1, BWV 1001 - Bb Clarinet and Piano (Individual Parts)
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Clarinette et Piano
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Johann Sebastian Bach and Robe
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César Madeira
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Presto from Sonata No.1, BWV 1
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Sheet Music To Play Editions
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SheetMusicPlus
B-Flat Clarinet,Piano - Level 4 - SKU: A0.1229869 Composed by Johann Sebastian Bach and Robert Schumann. Arranged by César Madeira. 19th Century,Baro...
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B-Flat Clarinet,Piano - Level 4 - SKU: A0.1229869 Composed by Johann Sebastian Bach and Robert Schumann. Arranged by César Madeira. 19th Century,Baroque,Classical,Early Music,Romantic Period. Score and part. 6 pages. Sheet Music To Play Editions #825628. Published by Sheet Music To Play Editions (A0.1229869). Presto from Bach's Sonata No.1 in G Minor, BWV 1001. Adapted by Schumann. Arrangement for Bb Clarinet and Piano. With Individual Parts. Enjoy it!This file DOES NOT contain Full Score. Individual Parts only.Johann Sebastian Bach (1685 - 1750) was a German composer and musician of the Baroque period. He is known for instrumental compositions such as the Brandenburg Concertos and the Goldberg Variations, and for vocal music such as the St Matthew Passion and the Mass in B minor. Since the 19th-century Bach Revival, he has been generally regarded as one of the greatest composers of all time.For Tutorials, Play Alongs or request New Arrangements, visit the YouTube Channel: Sheet Music To Play
$5.99 ≈
¥42.00
Presto from Sonata No.1, BWV 1001 - Viola and Piano (Individual Parts)
Presto from Sonata No.1, BWV 1001 - Viola and Piano (Individual Parts)
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Alto, Piano
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Johann Sebastian Bach and Robe
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César Madeira
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Presto from Sonata No.1, BWV 1
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Sheet Music To Play Editions
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SheetMusicPlus
Piano,Viola - Level 4 - SKU: A0.1229877 Composed by Johann Sebastian Bach and Robert Schumann. Arranged by César Madeira. 19th Century,Baroque,Classi...
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Piano,Viola - Level 4 - SKU: A0.1229877 Composed by Johann Sebastian Bach and Robert Schumann. Arranged by César Madeira. 19th Century,Baroque,Classical,Early Music,Romantic Period. Score and part. 6 pages. Sheet Music To Play Editions #825635. Published by Sheet Music To Play Editions (A0.1229877). Presto from Bach's Sonata No.1 in G Minor, BWV 1001. Adapted by Schumann. Arrangement for Viola and Piano. With Individual Parts. Enjoy it!This file DOES NOT contain Full Score. Individual Parts only.Johann Sebastian Bach (1685 - 1750) was a German composer and musician of the Baroque period. He is known for instrumental compositions such as the Brandenburg Concertos and the Goldberg Variations, and for vocal music such as the St Matthew Passion and the Mass in B minor. Since the 19th-century Bach Revival, he has been generally regarded as one of the greatest composers of all time.For Tutorials, Play Alongs or request New Arrangements, visit the YouTube Channel: Sheet Music To Play
$5.99 ≈
¥42.00
Presto from Sonata No.1, BWV 1001 - Cello and Piano (Individual Parts)
Presto from Sonata No.1, BWV 1001 - Cello and Piano (Individual Parts)
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Violoncelle, Piano
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Johann Sebastian Bach and Robe
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César Madeira
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Presto from Sonata No.1, BWV 1
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Sheet Music To Play Editions
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SheetMusicPlus
Cello,Piano - Level 4 - SKU: A0.1229872 Composed by Johann Sebastian Bach and Robert Schumann. Arranged by César Madeira. 19th Century,Baroque,Classi...
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Cello,Piano - Level 4 - SKU: A0.1229872 Composed by Johann Sebastian Bach and Robert Schumann. Arranged by César Madeira. 19th Century,Baroque,Classical,Early Music,Romantic Period. Score and part. 6 pages. Sheet Music To Play Editions #825630. Published by Sheet Music To Play Editions (A0.1229872). Presto from Bach's Sonata No.1 in G Minor, BWV 1001. Adapted by Schumann. Arrangement for Violoncello and Piano. With Individual Parts. Enjoy it!This file DOES NOT contain Full Score. Individual Parts only.Johann Sebastian Bach (1685 - 1750) was a German composer and musician of the Baroque period. He is known for instrumental compositions such as the Brandenburg Concertos and the Goldberg Variations, and for vocal music such as the St Matthew Passion and the Mass in B minor. Since the 19th-century Bach Revival, he has been generally regarded as one of the greatest composers of all time.For Tutorials, Play Alongs or request New Arrangements, visit the YouTube Channel: Sheet Music To Play
$5.99 ≈
¥42.00
Presto from Sonata No.1, BWV 1001 - Violin and Piano (Individual Parts)
Presto from Sonata No.1, BWV 1001 - Violin and Piano (Individual Parts)
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Violon et Piano
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Johann Sebastian Bach and Robe
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César Madeira
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Presto from Sonata No.1, BWV 1
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Sheet Music To Play Editions
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SheetMusicPlus
Piano,Violin - Level 4 - SKU: A0.1229867 Composed by Johann Sebastian Bach and Robert Schumann. Arranged by César Madeira. Baroque,Classical,Early Mu...
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Piano,Violin - Level 4 - SKU: A0.1229867 Composed by Johann Sebastian Bach and Robert Schumann. Arranged by César Madeira. Baroque,Classical,Early Music,Multicultural,Romantic Period,World. 6 pages. Sheet Music To Play Editions #825626. Published by Sheet Music To Play Editions (A0.1229867). Presto from Bach's Sonata No.1 in G Minor, BWV 1001. Adapted by Schumann. Arrangement for Violin and Piano. With Individual Parts. Enjoy it!This file DOES NOT contain Full Score. Individual Parts only.Johann Sebastian Bach (1685 - 1750) was a German composer and musician of the Baroque period. He is known for instrumental compositions such as the Brandenburg Concertos and the Goldberg Variations, and for vocal music such as the St Matthew Passion and the Mass in B minor. Since the 19th-century Bach Revival, he has been generally regarded as one of the greatest composers of all time.For Tutorials, Play Alongs or request New Arrangements, visit the YouTube Channel: Sheet Music To Play
$5.99 ≈
¥42.00
Bach Cello Suite No 1 as original as possible with accompaniment
Bach Cello Suite No 1 as original as possible with accompaniment
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2 Violoncelles (duo)
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INTERMÉDIAIRE
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Georg Mertens and Johann Sebas
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Georg Mertens
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Bach Cello Suite No 1 as origi
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Georg Mertens
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SheetMusicPlus
Cello Duet Cello - Level 3 - SKU: A0.1505364 Composed by Georg Mertens and Johann Sebastian Bach. Arranged by Georg Mertens. Baroque,Chamber,Classical,H...
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Cello Duet Cello - Level 3 - SKU: A0.1505364 Composed by Georg Mertens and Johann Sebastian Bach. Arranged by Georg Mertens. Baroque,Chamber,Classical,Historic,Traditional. Score. 22 pages. Georg Mertens #1080749. Published by Georg Mertens (A0.1505364). Cello Suite No 1 in G major with an accompaniment for a second cello including bowings and fingerings after comparing the 4 surviving manuscripts and early prints in detail.Special attention is given to the 2 early scripts, which copied from Bach's original, the difficult to read copy by Kellner and Anna Magdalena's copy.A continue part has been added, developed by accompanying students for the pure joy of playing together.The accompaniment is dedicated to Robert Schumann, who added for the same reason an accompaniment to Cello Suite No 1, but unfortunately only some sketches have survived. The more elaborate parts to the whole Suite have unfortunately been lost.I thank Schumann for his idea to dare the step, just to add an accompaniment for the pure joy of playing these wonderful movements with friends together.
$12.99 ≈
¥91.07
Cello Suite No 1 as original as possible with a continuo accompaniment
Cello Suite No 1 as original as possible with a continuo accompaniment
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2 Violoncelles (duo)
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INTERMÉDIAIRE
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Georg Mertens and Johann Sebas
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Georg Mertens
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Cello Suite No 1 as original a
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Georg Mertens
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SheetMusicPlus
Cello Duet Cello - Level 3 - SKU: A0.1495796 Composed by Georg Mertens and Johann Sebastian Bach. Arranged by Georg Mertens. Baroque,Chamber,Classical,H...
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Cello Duet Cello - Level 3 - SKU: A0.1495796 Composed by Georg Mertens and Johann Sebastian Bach. Arranged by Georg Mertens. Baroque,Chamber,Classical,Historic,Traditional. Score. 22 pages. Georg Mertens #1072325. Published by Georg Mertens (A0.1495796). Cello Suite No 1 in G major with bowings and fingerings,after comparing the 4 surviving manuscripts and early prints in detail.Special attention is given to the 2 early scripts, which copied from Bach's original, the difficult to read copy bu Kellner and Anna Magdalena's copy.A continue part has been added, developed by accompanying students for the pure joy of playing together.The accompaniment is dedicated to Robert Schumann, who added for the same reason an accompaniment to Cello Suite No 1, but unfortunately only some sketches hav survived. The more elaborate parts to the whole Suite have unfortunately been lost. I thank Schumann for his idea to dare the step just to add an accompaniment for the pure joy of playing these wonderful movements with friends together.
$13.99 ≈
¥98.09
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Only Human Score Only Baroque
