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Viola and orchestra
FLUTE
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FOR FLUTE
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Kirculescu (Nicolae) - Moment muzical pt pian si orchestra (Musical moment for piano and orchestra)
Kirculescu (Nicolae) - Moment muzical pt pian si orchestra (Musical moment for piano and orchestra)
$2.00
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Piano and Orchestra
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Nicolae Kirculescu
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Andrei Lucian Drăgoi
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Andrei-Lucian Dragoi
Bernhard Heinrich Romberg, Concerto for Flute & Orchestra opus 17
Bernhard Heinrich Romberg, Concerto for Flute & Orchestra opus 17
$19.98
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Orchestra
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Bernhard Heinrich Romberg
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Elaine Baker D'Angelo
The Lord Is My Light (Arrangements Level 3-5 for VIOLA + Written Acc) Hymns
The Lord Is My Light (Arrangements Level 3-5 for VIOLA + Written Acc) Hymns
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Viola (band part)
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Frances Allitson
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Dr Jerry Nelson
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Jerry Nelson
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Rhapsody Concerto (1952)
Viola and orchestra
[Reduction]
Barenreiter
Concerto for Viola and Orchestra. By Bohuslav Martinu. Edited by Jurgen Sommer. ...
(+)
Concerto for Viola and Orchestra. By Bohuslav Martinu. Edited by Jurgen Sommer. For Flute (2), Oboe (2), Clarinet (b flat) (2), Bassoon (2), Horn (4), Trumpet (2), Kettledrum, Drums. Piano Reduction/Vocal Score. Duration 22`. Published by Baerenreiter-Ausgaben (German import). ISBN M006446872.
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Viola Concerto G major after the Clarinet Concerto
Viola and orchestra
[Score]
Kunzelmann
Edited by Teresa Schwamm. Full Scores. Full Score. Edition Kunzelmann #OCT10...
(+)
Edited by Teresa Schwamm. Full Scores. Full Score. Edition Kunzelmann #OCT10345. Published by Edition Kunzelmann
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Violaconcerto D major op. 1
Viola and orchestra
Amadeus Verlag
Viola and orchestra SKU: M7.BP-750-10 Composed by Carl Philipp Stamitz. E...
(+)
Viola and orchestra
SKU: M7.BP-750-10
Composed by Carl Philipp Stamitz. Edited by Ulrich Druner. Sheet music. Score. Op. 1. Amadeus Verlag #BP 750-10. Published by Amadeus Verlag (M7.BP-750-10).
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Schwanendreher
Viola and orchestra
[Study Score / Miniature]
Eulenburg
For Viola and Orchestra. By Paul Hindemith. (Study Score). Schott. Size 5.25x7....
(+)
For Viola and Orchestra. By Paul Hindemith. (Study Score). Schott. Size 5.25x7.5 inches. 80 pages. Published by Eulenburg Germany (Schott).
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Jacob Druckman: Viola Concerto: Viola
Viola and orchestra
Boosey and Hawkes
Viola Piano. Druckman J
36.50 GBP - Sold by Musicroom UK
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Benjamin Britten: Two Portraits for Strings (1930): Viola: Study Score
Viola and orchestra
[Study Score / Miniature]
Chester
Britten's Two Portraits for strings - the composer himself called them 'Sketches...
(+)
Britten's Two Portraits for strings - the composer himself called them 'Sketches' - were composed in August and September 1930 during the summer holidays preceding the sixteen-year-old composer's first term at the RoyalCollege of Music in London.Both are musical depictions of character the first portraying Britten's school friend David Layton and the second introducing a solo Viola (Britten's own string instrument) a self-portraitof the composer. According to Britten's diary he planned to compose a third portrait again for strings that was to depict another school friend Peter Floyd but this movement was not written. However David Layton was to beportrayed again though very differently in Britten's later quartet suite Alla Quartetto Serioso (1933) itself revised and re-titled in 1936 as Three Divertimenti.The Pencil manuscript score in theBritten-Pears Library at Aldeburgh although hastily written is very detailed ad dynamics and phrasing are carefully notated throughout. However in several places in the first 'Portrait' the notes themselves are either difficultto decipher or due to the highly chromatic nature of the music difficult to interpret - in some cases Britten has clearly made notational 'spelling' mistakes which have been silently corrected in this editon. A list ofthose places where the reading of the manuscript is doubtful may be obtained from the Britten-Pears Library Aldeburgh.As with virtually all orchestral music from his youth Britten did not hear either 'Portrait'performed. The first performance of Two Portraits was given by the Northern Sinfonia conducted by Martyn Brabbins broadcast by BBC Radio 3 on 5th December 1995 as part of a series entitled 'Britten's Apprenticeship'.The first concert performance of Portrait No.1 was given by the Britten Chamber Orchestra conducted by Andreas Mitisek at the Konzerthaus Schubert-Saal Vienna on 10th February 1996. The first concert performance of
16.99 GBP - Sold by Musicroom UK
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Trauermusik
Viola and orchestra
Schott
Ainsi, la musique de funérailles Hindemith composée à l'occasion de la mort s...
(+)
Ainsi, la musique de funérailles Hindemith composée à l'occasion de la mort subite du roi George v à Londres commence sons touchante belle chaîne, d'où un alto solo se plaindre démarque. Un jour après son achèvement, il était en / Alto (Violon, Violoncelle) Et Orchestre A Cordes
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Dufourt H. - Les Chardons D'apres Van Gogh
Français
Viola and orchestra
Lemoine, Henry
Les Chardons d'après Van Gogh Discipline / Instrument : Alto et orchestre ...
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Les Chardons d'après Van Gogh Discipline / Instrument : Alto et orchestre de chambre Nomenclature : 1(+picc).1(+ca).2(+clB).1(cbn) / 1.1.1.0 / perc / 1.1.2.1.1 Genre : contemporain Média : Partition Nombre de pages : 90 Format : A3 Editeur : Lemoine Réf. : 28792 Date de parution : 28/05/2009 ISBN / ISMN : 9790230987929 Création 09/09/2009 - Turin (Italie), Festival Settembre Musica, Geneviève Strosser (vla), Ensemble Orchestral Contemporain, Daniel Kawka (direction) Commanditaire Commande de l'Etat à l'initiative de Daniel Kawka et de l'Ensemble Orchestral Contemporain Notice Van Gogh écrit en 1888 : Le peintre de l'avenir, c'est un coloriste comme il n'y en a pas encore eu. A cette époque, Van Gogh se sépare des impressionnistes, élargit leur intuition de la couleur et la simplifie. La forme-couleur se crée plutôt qu'elle ne se recompose dans notre vision. Van Gogh ne se soucie plus que de l'énergie de l'image. Le peintre séjourne en Arles où Gauguin le rejoint quelque temps. Il veut rénover les fondements mêmes de l'art, changer la technique de la peinture. Il rêve de créer un atelier du Midi et pense trouver là le Japon idéal, les paysages de Monticelli, de Cézanne, le rayonnement du soleil et l'âpre lumière qui annonce l'art de l'avenir. Il forge un style original en deux cents tableaux, parmi lesquels les Tournesols (août 1888), Joseph Roulin, le postier (août 1888), L'Arlésienne (novembre 1888) et Les Chardons, qui datent de la même année. Des tons vifs et crus, des couleurs claires, éclatantes, étalées en des dispositions stridentes à grands coups de pinceau ou au couteau, résument tout le registre expressif de son art. Bleu contre jaune, vert contre rouge écarlate, lilas, gris-rose, gris-violet, bleu et vert, noir et jaune: la seule force des contrastes suffit au déploiement de la forme. Tournesols, oliviers, chaumes, cyprès, ravins, rochers, chardons, tous ces motifs lacérés, distordus, ont l'intensité spontanée d'un tourment intérieur. Van Gogh a délibérément renoncé à la capture de l'instant fugitif comme à la représentation de la lumière, de l'air, de l'atmosphère - la qualité transitoire de l'impression visuelle lui importe peu désormais. Ses toiles sont emportées par la véhémence des touches, la brutale évidence des couleurs, leur vitalité convulsive. Désespoir, lucidité, emportement sont les traits d'un art que l'on a reconnu précurseur de l'expressionnisme. Les Chardons nous découvrent les racines du monde, une sorte de brasier originel d'où jaillissent trois flamèches. Les assises géologiques du paysage - l'expression est de Cézanne - y semblent déchiquetées, consumées dans une perpétuelle fournaise. C'est un enchevêtrement d'arêtes vives, une nature émiettée, une image de passion et de fureur. Au fond, à gauche, se découpe un petit pan de ciel bleu, encastré dans un horizon surélevé de montagnes vertes. La terre, chauffée à blanc, y occupe tout l'espace. Au premier plan, un fourmillement de stries incandescentes qui se tordent et crépitent. Les Chardons d'après Van Gogh - ma propre transposition musicale inspirée du tableau auquel elle emprunte son titre - sont écrits pour un alto soliste et une formation de chambre de quinze instrumentistes. Cette pièce s'attache à restituer la vitalité sourde de la toile, son atmosphère d'embrasement. Elle n'a ni contours ni limites, ni, à proprement parler, de schèmes d'organisation. J'y ai plutôt recherché des agencements formels doués d'une valeur dynamique, donnant au modelé de la masse sonore un rôle ambigu: axes de forces, impulsion des gestes, variété des dimensions directrices, tensions du matériau, conflit des principes formateurs. L'alto décrit en permanence la trajectoire idéale d'un mouvement irréel - formes spiralées, volutes, arabesques. Mais il fraie son chemin dans un milieu constamment hostile. Le choix du timbre de l'alto met en valeur le registre du sous-médium, à l'intensité contenue. La technique d'écriture consiste en une composition de textures, dont le propre est l'enchevêtrement des forces et des formes. Les structures perceptibles elles-mêmes procèdent du seul jeu des masses et des couleurs. J'ai évidemment mis l'accent sur la dynamique de l'interaction des couleurs qui forment la trame sonore. Je nourris toutefois un certain scepticisme à l'égard des méthodes scientifiques et raisonnées qui s'appliquent au traitement des propriétés acoustiques du son. La culture du son n'est pas, à mon sens, réductible à la science du son. La musique, me semble-t-il, a ceci de commun avec la peinture qu'elle peut investir la couleur de qualités contraires. Un bleu violacé peut s'assimiler aussi bien à un pourpre tirant sur le bleu qu'à un bleu en train de rougir. Van Gogh soutenait précisément l'idée d'un dynamisme, et même d'une intentionnalité de la couleur, capable de se déployer selon des foyers et des aires de diffusion, en transgressant toute limite. La musique que je souhaite écrire n'a pourtant rien de commun avec une nouvelle forme d'impressionnisme. C'est le drame que je recherche dans la plastique sonore. Ce drame peut être aussi bien celui des structures dispersées que de l'amplification indéfinie des actes, celui de la violence des masses tumultueuses comme celui du surgissement ou de l'essor. La partition est une Commande de l'Etat, à l'initiative de Daniel Kawka et de l'Ensemble Orchestral Contemporain. Hugues Dufourt
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