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Quatuor à cordes: 2 violons, alto, violoncelle (6)
Alto, Orgue (4)
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Piano Quintette: piano, violon, alto, violoncelle,… (1)
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3 Pièces Pour Alto Et Piano (BOULANGER NADIA)
11.83
3 Pièces Pour Alto Et Piano (BOULANGER NADIA)
Alto, Piano
Leduc, Alphonse
Par BOULANGER NADIA. Nadia Boulanger's Three Pieces for Viola and Piano Poster...
(+)
Par BOULANGER NADIA. Nadia Boulanger's Three Pieces for Viola and Piano Posterity has retained of Nadia Boulanger only her gifts as a virtuoso of the piano and organ, her skill as a conductor (of vocal ensemble and orchestra) and most of all, her incredible charisma as a teacher. For nearly sixty years, 'Mademoiselle' made the most of her famous Wednesdays, bringing rigour and passion to the training of several generations of musicians: among so many others, Aaron Copland, Leonard Bernstein, Igor Markevitch, Michel Legrand, Witold Lutoslawski, Astor Piazzolla, Quincy Jones and John-Eliot Gardiner have all kept unforgettable memories of these times. Was Nadia Boulanger wrong to let teaching music take precedence over her composing, as Gabriel Fauré, the great master she venerated, believed? The publication of Three Pieces for Viola and Piano, raises the question. This transcription of Three Pieces for cello and piano was composed between 1911 and 1913 and published by Heugel. The two initial pieces were originally written for organ: the first, in E flat minor, brings a moderate tempo to a melancholy cantilena with Romantic accents, while the second, in A minor, exudes warmth and tenderness. The third piece (C sharp minor), most likely originally titled Danse espagnole, heralds the Roaring Twenties with its restlessness and festive crackle. Together they emit a charm that is difficult to resist./ Répertoire / Alto et Piano
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Piano Quintet No.1 'Annunciation' (GLASS PHILIP)
46.07
Piano Quintet No.1 'Annunciation' (GLASS PHILIP)
Quintette avec Piano
[Conducteur et Parties séparées]
Dunvagen Music Publishers
Par GLASS PHILIP. This piece premiered in 2018 in Lincoln, Nebraska, played by p...
(+)
Par GLASS PHILIP. This piece premiered in 2018 in Lincoln, Nebraska, played by pianist Paul Barnes and the Chiara Quartet. 'Meditative...striking...touchingly played by Barnes and the quintet, 'Annunciation' is a romantic, late-period Glass masterwork.'-Lincoln Journal Star/ Répertoire / Quintette avec Piano
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String Quartet
44.03
String Quartet
Quatuor à cordes: 2 violons, alto, violoncelle
Barenreiter
A modern sequel to the music of the Romantic era. The first movement hints at th...
(+)
A modern sequel to the music of the Romantic era. The first movement hints at the chromatic of 'Tristan?- cantilena lines convey a mournful scene. It is succeeded by a brilliant scherzo with the cryptic title 'Erste fremde Szene? (First Foreign/Unknown Scene - one is invited to solve this riddle), while the third movement, with its singing quality, is related to the first. The final movement, a 'Zweite fremde Szene? ('Second Foreign/Unknown Scene?), alludes to the 'last dance? tradition, with its ironic undertones and the copious use of sixths, counterpointed with tarantella rhythms. A rewarding, striking work, equally valuable for concerts combining older compositions with new works as for contemporary music programmes. / Quatuor A Cordes
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Piano Quintet In C Minor (Pno Sc And Pts) (VAUGHAN WILLIAMS RALPH)
47.40
Piano Quintet In C Minor (Pno Sc And Pts) (VAUGHAN WILLIAMS RALPH)
Piano Quintette: piano, violon, alto, violoncelle, contre basse
[Partition]
-
Intermédiaire
Faber Music Limited
Par VAUGHAN WILLIAMS RALPH. The Piano Quintet in C is a substantial and superbly...
(+)
Par VAUGHAN WILLIAMS RALPH. The Piano Quintet in C is a substantial and superbly written work lasting some 30 minutes. The first movement, marked Allegro con fuoco, is expansive, loquacious and filled with late romantic passion, its harmonies Brahmsian for the most part but tinged with modality in the quieter passages. The expressive romantic melody of the Andante second movement is fully characteristic of the composer and resembles the song Silent Noon that he composed in the same year. The finale is a set of five well-differentiated variations, ending with a beautiful bell-like coda. This work was written in 1903. / Niveau : Intermédiaire / Répertoire / Quintette à Cordes
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Suite for Woodwind Quartet No. 1 (SCHWARZ OTTO M)
46.99
Suite for Woodwind Quartet No. 1 (SCHWARZ OTTO M)
4 Instruments à Vent
[Partition]
Symphonic Dimensions Publishing
Score + Parties. Par SCHWARZ OTTO M.. Agrandir l'image Suite for Woodwind Quart...
(+)
Score + Parties. Par SCHWARZ OTTO M.. Agrandir l'image Suite for Woodwind Quartet No. 1 Référence SDP019.20 Numéro d'edition : SDP 019.20 Indication de stock :Stock élevé (plus de 20 ex. commandables) In this suite we are immersed in the musical world of Otto M. Schwarz in all its variety. From light-hearted and tongue-in-cheek, through wild-romantic elements all the way to stylistic imitation and complex rhythmic passages, this work combines many different facets. In performance, this suite is sure to be an entertaining experience for musician and listener alike. The movements can be played sequentially or individually, as desired./ Répertoire / 4 Instruments à Vent
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String Quartet F sharp minor op. 28 (SENFTER JOHANNA)
62.16
String Quartet F sharp minor op. 28 (SENFTER JOHANNA)
Quatuor à cordes: 2 violons, alto, violoncelle
[Conducteur et Parties séparées]
Schott
Par SENFTER JOHANNA. The composer Johanna Senfter (1879 1961) from Oppenheim con...
(+)
Par SENFTER JOHANNA. The composer Johanna Senfter (1879 1961) from Oppenheim concerned herself with chamber music for strings all her life, even studied violin in Frankfurt herself. Max Reger then gave her lessons in Leipzig, first privately, then in his composition class at the conservatoire and valued her 'extraordinary compositional talent'. The strict teacher more and more became a committed promoter of the works by Johanna Senfter. For a period of 50 years, the composer concerned herself with the string quartet genre, from Quartet No. 1 in D minor Op. 4, composed shortly after the turn of the century, to the sixth and last Quartet in C minor Op. 115 which was performed for the first time in 1960, one year before her death. The Quartet in F sharp minor Op. 28 is her second quartet which was premiered in Darmstadt on 5 November 1922. In this work, as in later works, Senfter combined traditional form models – here Baroque movements like gavotte, saraband, gigue – with expressive, late Romantic musical language. The work, consisting of six short movements, may without doubt be regarded as a valuable addition to the quartet repertoire./ Répertoire / 2 Violons, Alto et Violoncelle
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Piano Trios on Stage (AUTEURS DIVERS / BROOKER DAVID (Arr)
23.25
Piano Trios on Stage (AUTEURS DIVERS / BROOKER DAVID (Arr)
Violon Ou Flûte, Violoncelle Et Piano
[Partition]
Universal Edition
Intermediate-level arrangements of well-known Classical and Romantic works. Par ...
(+)
Intermediate-level arrangements of well-known Classical and Romantic works. Par AUTEURS DIVERS / BROOKER DAVID (Arr.). In his preface to 'Piano Trios on Stage”, the arranger, David Brooker, reminds us that, just as the string quartet, the piano trio has always been one of the pillars of chamber music. In the 19th and early 20th century, it was almost like the later invention of the gramophone record, allowing larger works, in arrangement, as well as lighter pieces to be presented to small audiences, often as background music. David comments that string players have plenty of easy material to introduce them to the pleasure of making music with other instrumentalists but when it comes to piano parts these are usually written or arranged with a teacher or more advanced student in mind. David sets out to rectify that imbalance and his arrangements aim to put all three players on an equal footing. Of easy to intermediate standard, they are ideal for violinists, cellists and pianists who are now ready to try their hand at proper chamber music. The music is fun and instantly recognizable, drawing on Grieg's 'Peer Gynt”, Tchaikovsky's 'Nutcracker” and Leopold Mozart's 'Musical Sleigh Ride”./ Recueil / Violon Ou Flûte, Violoncelle Et Piano
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Quartettsatz in C minor (ORFF CARL)
54.39
Quartettsatz in C minor (ORFF CARL)
Quatuor à cordes: 2 violons, alto, violoncelle
[Conducteur et Parties séparées]
Schott
for String Quartet. Par ORFF CARL. Like the Quartettsatz of 1914 (ED 7816), Quar...
(+)
for String Quartet. Par ORFF CARL. Like the Quartettsatz of 1914 (ED 7816), Quartettsatz in c-Moll of 1921, premièred by the Henschel Quartet at the Orff Centre in Munich in 2007, testifies to Orff’s early struggles towards the classical-Romantic tradition. Originally left unfinished as a fragment in C sharp minor, the first version has now been reconstructed (in C minor) from a source that only survived as a copy with autograph corrections. It is interesting to see a new tonal language appearing quite suddenly (and notated without bar lines in the first version) in the coda./ Répertoire / Quatuor à Cordes
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Swedish Dances (BRUCH MAZ)
22.94
Swedish Dances (BRUCH MAZ)
Flûte Traversière, Hautbois et Piano
[Conducteur et Parties séparées]
-
Intermédiaire/avancé
Forton Music
Arrangeur: Robert Rainford. Par BRUCH MAZ. 7 short, melodic pieces with chances ...
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Arrangeur: Robert Rainford. Par BRUCH MAZ. 7 short, melodic pieces with chances for both soloists to shine. Max Bruch (1838-1920) was a German Romantic composer, conductor and teacher. A child prodigy, he composed his first pieces at the age of nine, and went on to hold musical posts in Mannheim, Berlin and Bonn. He also spent three seasons as conductor of the Liverpool Philharmonic Society. In his lifetime he was known mostly as a choral composer, but it is for his first violin concerto that he is chiefly remembered now. These dances were first published in 1892 for violin and piano, although Bruch later arranged them for solo piano, and also for orchestra. The slow, stately introduction leads in to seven dances in volume one, each a charming character study. Individual movements aredramatic, then tranquil: dance-like then reflective. The third, fifth and seventh movements have the feeling of folk-dances, while the others are more lyrical and expressive. Structurally the pieces are fairly simple, with melody sections flowing in to each other. Some ideas are developed into links and codas. In this arrangement, both solo players share the melodic material fairly evenly. Each has a solo movement to play, with the other movements featuring call and answer moments, harmony sections and contrapuntal elements to enjoy. Technically quite advanced, with the music covering the whole range of the instrument, these gems of pieces are well worth working on. / Niveau : Intermédiaire à Avancé / Répertoire / Flûte Traversière, Hautbois et Piano
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Sacred Quartets For All - String Quartet ,ensemble (easy)
11.60
Sacred Quartets For All - String Quartet ,ensemble (easy)
Quatuor à cordes: 2 violons, alto, violoncelle
Alfred Publishing
This quartet collection of 13 keyboard, vocal and instrumental pieces covering t...
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This quartet collection of 13 keyboard, vocal and instrumental pieces covering the Renaissance to the Romantic periods can be played together in harmony by any number or combination of instruments. Woodwinds, brass, strings, and percussion can play in like-instrument or mixed instrumentation. It's an all-purpose folio that makes sacred music fun! Contains: Adoramus Te (We Adore Thee) (Palestrina) * Amen (Stainer) * Cherubim Song (Archangelsky) * Chorale (Bach) * Deep River (Anonymous) * Gloria Patri (Purcell) * Go Down, Moses (Anonymous) * God Of Our Fathers (Warren) * Missa Apostolorum (Cavazzoni) * Old Hundredth (Bourgeois) * Onward, Christian Soldiers (Sullivan) * The Quest (Marianlieder) *Shir Hamaalot (Anonymous).
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Hugh Wood: Variations Op. 1: Viola: Instrumental Work
10.99
Hugh Wood: Variations Op. 1: Viola: Instrumental Work
Alto, Piano
[Partition]
Chester
For Viola and Piano this is the composer's first opused work. Premiered at the ...
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For Viola and Piano this is the composer's first opused work. Premiered at the Wigmore Hall in July 1959 by Cecil Aronowitz and Margaret Kitchen.Wood: In 1957 I knew I had newly discovered the music of Schoenberg and hispupils and I knew at once that they were to show me the way forward for my music; as indeed they have ever since. The revelation was primarily an emotional experience for me and however imperfectly their influence wasreceived it was obviously reflected in the all-out chromaticism (new for me then) in the many chains of twelve notes or lesser chromatic formations (which do not here amount to serial working and have only rarely done sosince) in the characteristic harmonic and rhythmic formations the wide and sometimes angular intervals of the melodies and in general the introverted romanticism. Anyway I knew then that this was the sort of music that Ihenceforth would want to write and so I called these Variations my Opus One.The declamatory Introduction leads into the Theme heard on the viola. Six Variations follow of which No.3 is the most violent and No.4 the mostsustainedly lyrical. The recitative-like sixth variation leads into the Finale a more extended movement. The Theme returning on the piano leads to a climax at which there is a citation from Beethoven’s C minor Variations forpiano. Then their characteristics sequence of chords is heard on the piano as an accompaniment to the final statement of my own theme on the viola in the closing bars of the work.
10.99 GBP - vendu par Musicroom GB
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101 JAZZ SONGS FOR VIOLA
21.68
101 JAZZ SONGS FOR VIOLA
Alto seul
[Partition]
Hal Leonard
Par . / Date parution : 2022-11-04/ Recueil / Alto
21.68 EUR - vendu par LMI-partitions
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