Cello and Piano. Composed by Various. Edited by Katharina Deserno, Rainer Mohrs. This edition: Saddle stitching. Sheet music with CD. String. Ob fur Unterricht oder das erste Konzert: Die Ausgabe enthalt leichte, bekannte Stucke von der Renaissance bis zur Moderne, die sorgfaltig nach technischen und musikalischen Anforderungen ausgewahlt wurden. Alle Stucke sind auf der beiliegenden CD enthalt. Renaissance, Modern, Classical. Edition/Softcover with CD. 21705. 44 pages. Schott Music #ED21705. Published by Schott Music

Arranged by Deborah Greenblatt. Cello Duet. For 2 cellos. Tunes for Two. Renaissance. Tune book. Standard Notation. 54 pages

By Various. Arranged by David Marlatt. Various. For Cello/Bass and Piano. String - Cello Studies or Collection. Solo Performer Series. Renaissance. Level: Medium-Difficult. Published by Eighth Note Publications.

34 Original Violoncello Duets from 5 Centuries. Edited by Beverley Ellis and Rainer Mohrs. This edition: Paperback/Soft Cover. Sheet music. String Ensemble. Baroque, Classical, Modern, Renaissance, Romantic. Performance score, softcover. 152 pages. Schott Music #ED 22416. Published by Schott Music

String Quartet

SKU: PR.154400180

Composed by Andrea Gabrieli. Edited by Hans David. Arranged by Hans Theodore David. Renaissance. Score and parts. With Standard notation. 28 pages. Theodore Presser Company #154-40018. Published by Theodore Presser Company (PR.154400180).

UPC: 680160642465. 9 x 12 inches.

Andrea Gabrieli was a major force in moving the classical music world toward the more modern Venetian school of the Renaissance. Called by Alfred Einstein One of the greatest and most influential masters of the Renaissance period, Gabrieli fully developed the use of choirs of voices and instruments, often in opposition to each other. David has selected three examples from a posthumous 1589 collection, advising that the four-part pieces were originally scored for viols but are here arranged for modern instruments. And while the arrangement will accommodate a number of players per part, single players would be more historically correct. As important as Andrea was to the Venetian School, his fame would be eclipsed by his nephew and student, Giovanni Gabrieli.

String Quartet

SKU: PR.15440018S

Composed by Andrea Gabrieli. Edited by Hans David. Arranged by Hans Theodore David. Renaissance. Score. With Standard notation. 12 pages. Theodore Presser Company #154-40018S. Published by Theodore Presser Company (PR.15440018S).

UPC: 680160642489. 9 x 12 inches.

Andrea Gabrieli was a major force in moving the classical music world toward the more modern Venetian school of the Renaissance. Called by Alfred Einstein One of the greatest and most influential masters of the Renaissance period, Gabrieli fully developed the use of choirs of voices and instruments, often in opposition to each other. David has selected three examples from a posthumous 1589 collection, advising that the four-part pieces were originally scored for viols but are here arranged for modern instruments. And while the arrangement will accommodate a number of players per part, single players would be more historically correct. As important as Andrea was to the Venetian School, his fame would be eclipsed by his nephew and student, Giovanni Gabrieli.

Cello and Piano. Composed by Various. Edited by Katharina Deserno, Rainer Mohrs. This edition: Saddle stitching. Sheet music with CD. String. Ob fur Unterricht oder das erste Konzert: Die Ausgabe enthalt leichte, bekannte Stucke von der Renaissance bis zur Moderne, die sorgfaltig nach technischen und musikalischen Anforderungen ausgewahlt wurden. Alle Stucke sind auf der beiliegenden CD enthalt. Renaissance, Modern, Classical. Edition/Softcover with CD. 21706. 60 pages. Schott Music #ED21706. Published by Schott Music

Arranged by Deborah Greenblatt. Trios for Strings. Set of parts. With Standard Notation. 56 pages per part pages. Published by Greenblatt and Seay (GS.BSG3BTFSV2-T).

6 Easy Concert Pieces. Composed by Arnold Trowell. Edited by Beverley Ellis. This edition: Saddle stitching. Sheet music. Schott Student Edition. 6 leichte Stucke fur Violoncello und Klavier. Classical. Softcover. Op. 4/7-12. 40 pages. Schott Music #SE 1050. Published by Schott Music

Cello and Piano. Composed by Various. Edited by Katharina Deserno and Rainer Mohrs. String. Softcover with CD. 30 pages. Schott Music #ED22216. Published by Schott Music (HL.49044780).

By Don Carlo Gesualdo (1566-1613). Arranged by Kenneth Amis. String Quintet. For 2 violins, viola, 2 cellos. Alternate 3rd violin for viola, alternate 2nd viola for 1st cello included. Renaissance Madrigal. Full score and set of parts. Duration 3:30

Arranged by Deborah Greenblatt. String Quartet. For 2 violins, viola, and cello. Renaissance. Set of parts. Standard Notation. 31 (violin 1), 31 (violin 2), 31 (viola), 31 (cello) pages. Published by Greenblatt and Seay

Original Works from the Baroque to the Modern Era. Composed by Various. Edited by Elmar Preusser. String. Baroque, Classical, Modern, Renaissance. Softcover. 80 pages. Schott Music #ED23345. Published by Schott Music

By Don Carlo Gesualdo. Arranged by Kenneth Amis. String Quintet. For 2 violins, 2 violas, cello. Alternate 3rd violin for 1st viola and alternate cello for 2nd viola included. Renaissance Madrigal. Full score and set of parts. Duration 3:15. Published by Amis Musical Circle. (

By Don Carlo Gesualdo (1566-1613). Arranged by Kenneth Amis. String Quintet. For 2 violins, viola, 2 cellos. Alternate 3rd violin for viola, alternate 2nd viola for 1st cello included. Renaissance Madrigal. Full score and set of parts. Duration 3:45

14 Easy Pieces. Composed by Daniel Kemminer. Edited by Katharina Deserno. This edition: Saddle stitching. Sheet music. Schott Student Edition. Classical. Softcover. 1035. 56 pages. Schott Music #SE 1035. Published by Schott Music (

By Magdalena Lombardini-Sirmen. Edited by Rachele Moser. For string quartet. Strings - Quartet. Sound Research of Women Composers: Music of the Renaissance and Baroque Period (B2). Chamber Music, Baroque. Intermediate. Score and parts. Composed 1760. Duration 12'09

(From the Renaissance to the Romantic Periods). Arranged by William Ryden. For Violin. Mixed Instruments - Flexible Instrumentation. Sacred Instrumental Ensembles for All. 24 pages. Published by Alfred Publishing.

(From the Renaissance to the Romantic Periods). Arranged by William Ryden. For Cello/Bass. Mixed Instruments - Flexible Instrumentation. Sacred Instrumental Ensembles for All. 24 pages. Published by Alfred Publishing.

Bridal Chorus from Lohengrin. Composed by Richard Wagner (1813-1883). Arranged by Wolfgang Birtel. This edition: Saddle stitching. Sheet music. Cello-Bibliothek (Cello Library). Classical, Wedding. Score and parts. 16 pages. Schott Music #CB 207. Published by Schott Music

Parts for String Quartet No.3 'Angel's Music' by Bent Sorensen (1988) Premiered by the Arditti String Quartet at the Danish Radio Concert Hall 16 November 1988. Score available: KP00250 The composer writes: 'Even when I was writing Adieu, I knew that I wished to write Angels Music. The title existed in an incomplete form in my mind and gradually more and more ideas and a few outlines became clear. The actual work on Angels Music was started in Rome, where I spent the autumn of 1987 staying at The Danish Academy. Whether this stay has influenced the quartet or not is impossible to say. however, it is true to say that, in the Roman churches I visited, I saw countless angels playing in the top of frescoes and altars. Without these angels, together with the many crackled-gold paintings in this city and my general fascination with the Italian renaissance painter Fra Angelico, (in fact there are only a few paintings by him in Rome, but even his name..!) I am not sure my quartet would have been what it is. Anyway I do feel that there is a bit of Italy in the piece. The angels apart there are, in the short rhythmic agitating part of the quartet, reminiscences of the Italian medieval Trotto dance, and in the most expressive part ofthe piece there are flashes of Puccini-like music. From the very beginning of my work on the quartet, the distant, extremely muted sound in the high register which opens the piece, was on my mind. A sound satiated with a dense heterophonic and polyphonic texture of elegiac melody and vibrating trills. I imagined that little songs (maybe angel songs) could be created in this density, these songs constantly echoing themselves. Gradually as this sound got a more and more concrete musical and instrumental form, I felt, that not only should the little songs be created, played and die out in an echo, but also that the general pattern of the quartet should give the feeling of music which, from the distance, is getting closer and closer, culminates and at last disappears like an echo. Related to this, the general pattern of Angels Music is divided into three: a pre-echo, culmination and echo.. The relationship between the three part is 5: 6: 4. The reason why I can say this precisely and prosaically is that it was necessary to me to mark the overall guidelines before I started to compose. I had to do this in order to enable the relationships to crawl from the small cells into the general pattern.'