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CHAM::Chamber Group (2)
Soli, Gemischter Chor 1 & 2, Orchester 1 & 2 (2)
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Saxophone Alto 2 (2)
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Tuba et Piano (2)
4 Parties Mixtes, Instruments à Cordes et Basse C… (2)
2 Flûtes traversières, Violoncelle (2)
Percussions et Piano (2)
Voix et Piano ou Guitare (2)
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Caisse Claire, Piano (2)
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Flûte à bec (Livre et Instrument) (2)
Euphonium et Orchestre d'Harmonie (2)
Trompette et Concert Band ou Harmonie (2)
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Chorale SSATTBB (1)
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ENS/PFC::Ensemble, Piano Chamber (1)
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Soprano, Violon et Orgue (1)
4 Percussions (1)
SAXOPHONE TUTOR, SAXOPHONE SOLO (1)
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2 Flûtes à bec, Piano (1)
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Ensemble Flexible (1)
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Flûte à bec Tenor (1)
Instrument En Mib (1)
Musique De Chambre (1)
TEN/PFA::Tenor, Piano Accompaniment (1)
2 Flûte à bec (duo) (1)
1 ou 2 Saxophones Alto (1)
2 Batteries (1)
VLN/VLC::Violon, Violoncelle (1)
Petit Orchestre Ou Voix Et Petit Orchestre (1)
2 Flûtes à Bec (SA) (1)
Saxophone et violoncelle (1)
Quintette de Saxophone: 5 saxophones (1)
Streichsextett - 2 Violinen, 2 Violen, 2 Violonce… (1)
Quatuor de Flûtes : 4 flûtes (1)
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3 Saxophones (Alto, Ténor, Baryton) (1)
1 A 4 Flûte(s) A Bec Alto Ou Autres Instruments M… (1)
Tous instruments (1)
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Horn + Electronic (1)
1 ou 2 Trompettes (1)
ACDN/STR ORCH::Accord‚on, Orchestre De Cordes (1)
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Alto, Orgue (1)
Banjo Tenor (1)
Voix Haute et Piano [ou Orchestre] (1)
3 Sopranos, 2 Violons, Alto, Violoncelle, Luth Bas (1)
Ensemble de guitares (1)
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Contrebasse Solo, 3 Contrebasses et Orchestre de C (1)
ORGA/SATB/MENSVOICES::Accompagnement Orgue/SATB/Vo… (1)
Accessoire (1)
Voix (1)
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VLN or ACDN/PFA::Accompagnement Piano (1)
Orgue ou Physharmonika (1)
Trio de Pianos, Salon Ensemble (1)
Choeur de Femmes (SSAA) (Piano Ad Libitum) (1)
Chorale SAB (1)
TEN/ORCH::Tenor, Orchestra (1)
2 Violons, Alto, Basse et 2 Cors en Fa (1)
4 Voix Mixtes a Cappella (1)
Guitar or Sitar (1)
SOP/PFA::Soprano, Accompagnement Piano (1)
Chant de Femmes et Piano (1)
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Concerto Per Violino, Archi E Bc, Rv 239 Op. Vi/6 (VIVALDI ANTONIO)
39.43
Concerto Per Violino, Archi E Bc, Rv 239 Op. Vi/6 (VIVALDI ANTONIO)
Violon, Ensembles de Cordes et Basse Continue
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Intermédiaire/avancé
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Ed. Critica A. Borin. Par VIVALDI ANTONIO. Casa Ricordi Milano in partnership wi...
(+)
Ed. Critica A. Borin. Par VIVALDI ANTONIO. Casa Ricordi Milano in partnership with Fondazione Giorgio Cini, Venezia (Istituto Antonio Vivaldi). Critical edition by Alessandro Borin. The six Concerts op. VI for violin, strings and continuo by Antonio Vivaldi were published in Amsterdam by Roger in 1719. Although the contribution of Vivaldi was probably modest – even to assume that the collection was published without the composer’s assistance and perhaps even his agreement - these six compositions mark a decisive step towards the definition of the classic Vivaldi Concerto, a change evident both from the systematic adoption of the three-movement plan and from the absence of any supplementary solo parts beyond the principalviolin. This critical edition is based on the first edition of Opus VI and its reprints, but takes also into consideration all the sources of single concertos printed into anthologies or transmitted in manuscript form (Wiesentheid and Dresden). The information gathered through the comparative analysis of the manuscript and the printed traditions of Vivaldi’s Opus 6 has permitted us to reconstruct the links among the sources, to clarify some problematic editorial decisions and formulate new hypotheses on the genesis and the intrinsic nature of the collection as a whole. / Niveau : Intermédiaire à Avancé / Date parution : 1905-07-09/ Répertoire / Violon, Ensembles de Cordes et Basse Continue
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Concerto Per Violino, Archi E Bc, Rv 216 Op. VI/4 (VIVALDI ANTONIO)
39.43
Concerto Per Violino, Archi E Bc, Rv 216 Op. VI/4 (VIVALDI ANTONIO)
Violon, Ensembles de Cordes et B.C.
-
Intermédiaire/avancé
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Ed. Critica A. Borin. Par VIVALDI ANTONIO. Casa Ricordi Milano in partnership wi...
(+)
Ed. Critica A. Borin. Par VIVALDI ANTONIO. Casa Ricordi Milano in partnership with Fondazione Giorgio Cini, Venezia (Istituto Antonio Vivaldi). Critical edition by Alessandro Borin. The six Concerts op. VI for violin, strings and continuo by Antonio Vivaldi were published in Amsterdam by Roger in 1719. Although the contribution of Vivaldi was probably modest – even to assume that the collection was published without the composer’s assistance and perhaps even his agreement - these six compositions mark a decisive step towards the definition of the classic Vivaldi Concerto, a change evident both from the systematic adoption of the three-movement plan and from the absence of any supplementary solo parts beyond the principalviolin. This critical edition is based on the first edition of Opus VI and its reprints, but takes also into consideration all the sources of single concertos printed into anthologies or transmitted in manuscript form (Wiesentheid and Dresden). The information gathered through the comparative analysis of the manuscript and the printed traditions of Vivaldi’s Opus 6 has permitted us to reconstruct the links among the sources, to clarify some problematic editorial decisions and formulate new hypotheses on the genesis and the intrinsic nature of the collection as a whole. / Niveau : Intermédiaire à Avancé / Date parution : 1905-07-09/ Répertoire / Violon, Ensembles de Cordes et B.C.
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Concerto Per Violino, Archi E Bc, Rv 280 Op. Vi/5 (VIVALDI ANTONIO)
39.43
Concerto Per Violino, Archi E Bc, Rv 280 Op. Vi/5 (VIVALDI ANTONIO)
Violon, Ensembles de Cordes et Basse Continue
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Intermédiaire/avancé
Ricordi
Ed. Critica A. Borin. Par VIVALDI ANTONIO. Casa Ricordi Milano in partnership wi...
(+)
Ed. Critica A. Borin. Par VIVALDI ANTONIO. Casa Ricordi Milano in partnership with Fondazione Giorgio Cini, Venezia (Istituto Antonio Vivaldi). Critical edition by Alessandro Borin. The six Concerts op. VI for violin, strings and continuo by Antonio Vivaldi were published in Amsterdam by Roger in 1719. Although the contribution of Vivaldi was probably modest – even to assume that the collection was published without the composer’s assistance and perhaps even his agreement - these six compositions mark a decisive step towards the definition of the classic Vivaldi Concerto, a change evident both from the systematic adoption of the three-movement plan and from the absence of any supplementary solo parts beyond the principalviolin. This critical edition is based on the first edition of Opus VI and its reprints, but takes also into consideration all the sources of single concertos printed into anthologies or transmitted in manuscript form (Wiesentheid and Dresden). The information gathered through the comparative analysis of the manuscript and the printed traditions of Vivaldi’s Opus 6 has permitted us to reconstruct the links among the sources, to clarify some problematic editorial decisions and formulate new hypotheses on the genesis and the intrinsic nature of the collection as a whole. / Niveau : Intermédiaire à Avancé / Date parution : 1905-07-09/ Répertoire / Violon, Ensembles de Cordes et Basse Continue
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Concerto Per Violino, Archi E Bc, Rv 324 Op. Vi/1 (VIVALDI ANTONIO)
39.43
Concerto Per Violino, Archi E Bc, Rv 324 Op. Vi/1 (VIVALDI ANTONIO)
Violon, Ensembles de Cordes et Basse Continue
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Intermédiaire/avancé
Ricordi
Ed. Critica A. Borin. Par VIVALDI ANTONIO. Casa Ricordi Milano in partnership wi...
(+)
Ed. Critica A. Borin. Par VIVALDI ANTONIO. Casa Ricordi Milano in partnership with Fondazione Giorgio Cini, Venezia (Istituto Antonio Vivaldi). Critical edition by Alessandro Borin. The six Concerts op. VI for violin, strings and continuo by Antonio Vivaldi were published in Amsterdam by Roger in 1719. Although the contribution of Vivaldi was probably modest – even to assume that the collection was published without the composer’s assistance and perhaps even his agreement - these six compositions mark a decisive step towards the definition of the classic Vivaldi Concerto, a change evident both from the systematic adoption of the three-movement plan and from the absence of any supplementary solo parts beyond the principalviolin. This critical edition is based on the first edition of Opus VI and its reprints, but takes also into consideration all the sources of single concertos printed into anthologies or transmitted in manuscript form (Wiesentheid and Dresden). The information gathered through the comparative analysis of the manuscript and the printed traditions of Vivaldi’s Opus 6 has permitted us to reconstruct the links among the sources, to clarify some problematic editorial decisions and formulate new hypotheses on the genesis and the intrinsic nature of the collection as a whole. / Niveau : Intermédiaire à Avancé / Date parution : 1905-07-09/ Répertoire / Violon, Ensembles de Cordes et Basse Continue
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Concerto Per Violino, Archi E Bc, Rv 318 Op. Vi/3 (VIVALDI ANTONIO)
39.43
Concerto Per Violino, Archi E Bc, Rv 318 Op. Vi/3 (VIVALDI ANTONIO)
Violon, Ensembles de Cordes et Basse Continue
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Intermédiaire/avancé
Ricordi
Ed. Critica A. Borin. Par VIVALDI ANTONIO. Casa Ricordi Milano in partnership wi...
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Ed. Critica A. Borin. Par VIVALDI ANTONIO. Casa Ricordi Milano in partnership with Fondazione Giorgio Cini, Venezia (Istituto Antonio Vivaldi). Critical edition by Alessandro Borin. The six Concerts op. VI for violin, strings and continuo by Antonio Vivaldi were published in Amsterdam by Roger in 1719. Although the contribution of Vivaldi was probably modest – even to assume that the collection was published without the composer’s assistance and perhaps even his agreement - these six compositions mark a decisive step towards the definition of the classic Vivaldi Concerto, a change evident both from the systematic adoption of the three-movement plan and from the absence of any supplementary solo parts beyond the principalviolin. This critical edition is based on the first edition of Opus VI and its reprints, but takes also into consideration all the sources of single concertos printed into anthologies or transmitted in manuscript form (Wiesentheid and Dresden). The information gathered through the comparative analysis of the manuscript and the printed traditions of Vivaldi’s Opus 6 has permitted us to reconstruct the links among the sources, to clarify some problematic editorial decisions and formulate new hypotheses on the genesis and the intrinsic nature of the collection as a whole. / Niveau : Intermédiaire à Avancé / Date parution : 1905-07-09/ Répertoire / Violon, Ensembles de Cordes et Basse Continue
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Concerto Per Violino, Archi E Bc, Rv 259 Op. Vi/2 (VIVALDI ANTONIO)
39.43
Concerto Per Violino, Archi E Bc, Rv 259 Op. Vi/2 (VIVALDI ANTONIO)
Violon, Ensembles de Cordes et B.C.
-
Intermédiaire/avancé
Ricordi
Ed. Critica A. Borin. Par VIVALDI ANTONIO. Casa Ricordi Milano in partnership wi...
(+)
Ed. Critica A. Borin. Par VIVALDI ANTONIO. Casa Ricordi Milano in partnership with Fondazione Giorgio Cini, Venezia (Istituto Antonio Vivaldi). Critical edition by Alessandro Borin. The six Concerts op. VI for violin, strings and continuo by Antonio Vivaldi were published in Amsterdam by Roger in 1719. Although the contribution of Vivaldi was probably modest – even to assume that the collection was published without the composer’s assistance and perhaps even his agreement - these six compositions mark a decisive step towards the definition of the classic Vivaldi Concerto, a change evident both from the systematic adoption of the three-movement plan and from the absence of any supplementary solo parts beyond the principalviolin. This critical edition is based on the first edition of Opus VI and its reprints, but takes also into consideration all the sources of single concertos printed into anthologies or transmitted in manuscript form (Wiesentheid and Dresden). The information gathered through the comparative analysis of the manuscript and the printed traditions of Vivaldi’s Opus 6 has permitted us to reconstruct the links among the sources, to clarify some problematic editorial decisions and formulate new hypotheses on the genesis and the intrinsic nature of the collection as a whole. / Niveau : Intermédiaire à Avancé / Date parution : 1905-07-09/ Répertoire / Violon, Ensembles de Cordes et B.C.
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String Quartet #8 (Score) (SCULTHORPE PETER)
14.80
String Quartet #8 (Score) (SCULTHORPE PETER)
Quatuor à cordes: 2 violons, alto, violoncelle
[Partition]
Faber Music Limited
Par SCULTHORPE PETER. '. . .this snazzy piece (filled with folky references and ...
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Par SCULTHORPE PETER. '. . .this snazzy piece (filled with folky references and odd percussion effects) takes the cake - a terrific, immediately entertaining and absorbing work.'San Francisco Chronicle (Heuwell Tircuit), 8 June 1986/ Répertoire / Quatuor à Cordes
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Michael Nyman: String Quartet No. 4: String Quartet: Score
24.99
Michael Nyman: String Quartet No. 4: String Quartet: Score
Quatuor à cordes: 2 violons, alto, violoncelle
[Partition]
Chester
String Quartet No.4 was written for the Camilli Quartet who gave the first perfo...
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String Quartet No.4 was written for the Camilli Quartet who gave the first performance at the Queen Elizabeth Hall London April 1995. It is dedicated to the memory of Nyman's composition teacher Alan Bush.This quartet is anarrative made up of a chain of twelve complete but often cross-related movements each quite simple in design. For instance the Scottish melody first heard in the second half of I is hinted at in the 2nd violin/viola in thesecond fast section of II and is directly quoted again during III and XII. The theme of the fast section of IV is taken up again in VIII; IX reverts to the mood of the opening of I while the rising scale/syncopated themes of II IX and the bass of X and XII are related. X also reintroduces the slow harmonics theme from VII. XII is (apparently) cast in the form of a baroque French rondeau. The main theme of VI was plucked out of the Quartet and used inmy score for Christopher Hampton’s film Carrington. Duration 40 minutes. A set of parts is available for sale.
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Tema E Variazioni Op. 5B (CALLIGARIS SERGIO)
44.36
Tema E Variazioni Op. 5B (CALLIGARIS SERGIO)
Piano Trio: piano, violon, violoncelle
[Conducteur et Parties séparées]
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Per Violino, Violoncello E Pianoforte. Par CALLIGARIS SERGIO. Sergio Calligaris ...
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Per Violino, Violoncello E Pianoforte. Par CALLIGARIS SERGIO. Sergio Calligaris was born in Rosario (1941), Argentina. He is one of the last musicians to incarnate the traditional 19th century figure of pianist, teacher and composer, inaugurated at the beginning of the 19th century by Muzio Clementi and carriedon after that by a sequence of famous names that the history of music has handed down to us. As a pianist, he began to give public performances at the age of 13, making his debut in his home town Rosario. Following this success, he embarked upon an extremely busy career as a soloist, giving numerous recitals in Buenos Aires and other citiesin Argentina. He continued to take advanced lessons with eminent exponents of the most prestigious international piano schools. In 1974 he became an Italian citizen and settled in Rome, teaching piano as principal instrument at the S. Pietro a Majella StateConservatory in Naples, the Luisa DAnnunzio Conservatory in Pescara and the Alfredo Casella Conservatory in Aquila. As a composer, he began - at just 9 years of age - to study in the rigorous school of Paul Hindemith, under the guidance of Father Luis Machado, from whom he inherited a love of counterpoint and a strong taste for harmony. He took a diploma incomposition, counterpoint and fugue at the age of 16 at the Amigos del Arte Society in Rosario, going on in 1964 to do an advanced course in 12-tone counterpoint at the Cleveland Institute of Music. The catalogue of his compositions, which has nowreached Op. 55, encompasses a huge range of instrumental/vocal chamber music and symphonic works: a vast and articulated catalogue, in which Sergio Calligaris’s composition expresses its inspiration through the dramatic development of a dialecticalcontrast between the two natures of the composer’s personality - the elegiac and the dithyrambic - which confront and interact with each other giving rise to artistic outcomes of a deeply moving nature. / Niveau : Intermédiaire / Répertoire / Violon, Violoncelle et Piano
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Sonata Op. 39 (1997)
93.66
Sonata Op. 39 (1997)
Alto, Piano
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Per Viola E Pianoforte. Par CALLIGARIS SERGIO. Sergio Calligaris was born in Ros...
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Per Viola E Pianoforte. Par CALLIGARIS SERGIO. Sergio Calligaris was born in Rosario (1941), Argentina. He is one of the last musicians to incarnate the traditional 19th century figure of pianist, teacher and composer, inaugurated at the beginning of the 19th century by Muzio Clementi and carriedon after that by a sequence of famous names that the history of music has handed down to us. As a pianist, he began to give public performances at the age of 13, making his debut in his home town Rosario. Following this success, he embarked upon an extremely busy career as a soloist, giving numerous recitals in Buenos Aires and other citiesin Argentina. He continued to take advanced lessons with eminent exponents of the most prestigious international piano schools. In 1974 he became an Italian citizen and settled in Rome, teaching piano as principal instrument at the S. Pietro a Majella StateConservatory in Naples, the Luisa DAnnunzio Conservatory in Pescara and the Alfredo Casella Conservatory in Aquila. As a composer, he began - at just 9 years of age - to study in the rigorous school of Paul Hindemith, under the guidance of Father Luis Machado, from whom he inherited a love of counterpoint and a strong taste for harmony. He took a diploma incomposition, counterpoint and fugue at the age of 16 at the Amigos del Arte Society in Rosario, going on in 1964 to do an advanced course in 12-tone counterpoint at the Cleveland Institute of Music. The catalogue of his compositions, which has nowreached Op. 55, encompasses a huge range of instrumental/vocal chamber music and symphonic works: a vast and articulated catalogue, in which Sergio Calligaris’s composition expresses its inspiration through the dramatic development of a dialecticalcontrast between the two natures of the composer’s personality - the elegiac and the dithyrambic - which confront and interact with each other giving rise to artistic outcomes of a deeply moving nature. / Niveau : Intermédiaire / Date parution : 1905-06-19/ Répertoire / Alto et Piano
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Tema E Variazioni Op. 5A (CALLIGARIS SERGIO)
44.36
Tema E Variazioni Op. 5A (CALLIGARIS SERGIO)
Clarinette, Violoncelle et Piano
[Conducteur et Parties séparées]
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Per Clarinetto, Violoncello E Pianoforte. Par CALLIGARIS SERGIO. Sergio Calligar...
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Per Clarinetto, Violoncello E Pianoforte. Par CALLIGARIS SERGIO. Sergio Calligaris was born in Rosario (1941), Argentina. He is one of the last musicians to incarnate the traditional 19th century figure of pianist, teacher and composer, inaugurated at the beginning of the 19th century by Muzio Clementi and carriedon after that by a sequence of famous names that the history of music has handed down to us. As a pianist, he began to give public performances at the age of 13, making his debut in his home town Rosario. Following this success, he embarked upon an extremely busy career as a soloist, giving numerous recitals in Buenos Aires and other citiesin Argentina. He continued to take advanced lessons with eminent exponents of the most prestigious international piano schools. In 1974 he became an Italian citizen and settled in Rome, teaching piano as principal instrument at the S. Pietro a Majella StateConservatory in Naples, the Luisa DAnnunzio Conservatory in Pescara and the Alfredo Casella Conservatory in Aquila. As a composer, he began - at just 9 years of age - to study in the rigorous school of Paul Hindemith, under the guidance of Father Luis Machado, from whom he inherited a love of counterpoint and a strong taste for harmony. He took a diploma incomposition, counterpoint and fugue at the age of 16 at the Amigos del Arte Society in Rosario, going on in 1964 to do an advanced course in 12-tone counterpoint at the Cleveland Institute of Music. The catalogue of his compositions, which has nowreached Op. 55, encompasses a huge range of instrumental/vocal chamber music and symphonic works: a vast and articulated catalogue, in which Sergio Calligaris’s composition expresses its inspiration through the dramatic development of a dialecticalcontrast between the two natures of the composer’s personality - the elegiac and the dithyrambic - which confront and interact with each other giving rise to artistic outcomes of a deeply moving nature. / Niveau : Intermédiaire / Répertoire / Clarinette, Violoncelle et Piano
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Sonnets (NORMAN ANDREW)
44.40
Sonnets (NORMAN ANDREW)
Alto, Piano
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Avancé
Schott
Par NORMAN ANDREW. Sonnets is a collection of miniatures for cello and piano. To...
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Par NORMAN ANDREW. Sonnets is a collection of miniatures for cello and piano. To me, these micro-pieces are sonnets not in the rigorously formalized Elizabethan or Petrarchan senses of the word. Rather, they grow from the term's older, freer roots in the Italian word sonetto, meaning 'little song' or 'little sound.' Each of my five little songs takes as its title and point of inspiration a fragment from a Shakespeare sonnet. - Andrew Norman / Niveau : Avancé / Répertoire / Alto et Piano
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Wolfgang Amadeus Mozart: A Musical Joke K. 522: String Quartet: Parts
21.75
Wolfgang Amadeus Mozart: A Musical Joke K. 522: String Quartet: Parts
Quatuor à cordes : 4 altos
G. Henle
for 2 Violins Viola Basso and 2 Horns-Wolfgang Amadeus Mozart's A Musical Joke...
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for 2 Violins Viola Basso and 2 Horns-Wolfgang Amadeus Mozart's A Musical Joke is filled with intentional mistakes by the composer who inserted odd notes into this amusing and mischievous piece in order to take an angry side-swipe atdilettante composer-colleagues of his time whose lack of imagination and artless compositional technique are here mercilessly demonstrated - the piece was not intended to parody musicians who play wrong notes as its later title?Village Musicians? suggests. A musical and intellectual delight for today?s performers and audiences alike this piece is now performable for the first time using a genuine Urtext quality edition based onthe autograph in Berlin. A Musical Joke is scored for 2 Violins Viola Basso and 2 Horns in F.
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Claude Debussy: Prelude a lapres-midi dun faune: Orchestra: Parts
5.00
Claude Debussy: Prelude a lapres-midi dun faune: Orchestra: Parts
Alto seul
Barenreiter
Scholarly critical edition with many corrections in the score and orchestral par...
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Scholarly critical edition with many corrections in the score and orchestral parts.Clear presentation of orchestral parts in an enlarged format 25.5 cm x 32.5 cm.?Prélude A L?Aprés-Midi D?Un Faune? often referred to as the first composition of the ?modern? era is one of Debussy?s most popular and frequently performed orchestral works. The piece comes down to us in an array of sources and several important ones are drawn upon for the first time in Bärenreiter?s scholarly-critical edition.Most of the currently available editions are based on the first edition from 1895 which however contains many engraver errors.When the corresponding orchestral parts are also taken into consideration countless discrepancies are revealed.Bärenreiter?s Urtext edition incorporates readings of a printed copy of the score from c. 1908 which shows corrections and emendations by the composer. These important changes found in no other source include metronome markings different pitches and additional notes as well as added tempo and articulation markings which all subtly enhance Debussy?s finely sculpted work. There is even a breath mark added to the famous solo Flute passage which opens the work.
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A New Tune A Day: Performance Pieces: Viola: Instrumental Album
12.99
A New Tune A Day: Performance Pieces: Viola: Instrumental Album
Alto seul
[Partition + CD]
-
Facile
Boston Music
The celebrated and award-winning series continues with a selection of pieces in ...
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The celebrated and award-winning series continues with a selection of pieces in a wide range of styles and varieties chosen to give you a superb repertoire of music at an early stage.From well-known classical melodies andshowstoppers of the stage to jazz hits folk songs and film themes - the diversity of these accessible arrangements will provide vital early experience in all manner of performance styles. The music includes full accompanimentsfor Piano Keyboard or Guitar making this volume the perfect companion to A New Tune A Day Book 1. Furthermore a professionally produced audio CD packed with stunning recorded accompaniments and demonstrations willallow you to develop your confidence and skills at home as well as offering spectacular backing tracks for your showcase performances.Take your playing to a new level with this superb collection.Voted Best InShow at NAMM 2006 by Music Inc. Magazine.
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Michael Nyman: String Quartet No. 3 Parts: String Quartet: Instrumental Work
42.50
Michael Nyman: String Quartet No. 3 Parts: String Quartet: Instrumental Work
Quatuor à cordes: 2 violons, alto, violoncelle
[Partition]
Chester
String Quartet No.3 was written for and first performed by the Balanescu Quarte...
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String Quartet No.3 was written for and first performed by the Balanescu Quartet February 1990 at the Queen Elizabeth Hall London. Duration 16 minutes. A score is available on sale..Quoting composer: In the summer of 1989 Icomposed a choral work Out of the Ruins for Agnieszka Piotrowska’s BBC2 documentary which dealt with the physical and emotional responses of some inhabitants of Leninakhan to the earthquake which devastated Armenia theprevious December. When he heard the recording of the work that I made with the Holy Echmiadzin Chorus under the fervent conducting of Khoren Meykhanejian Alex Balanescu suggested turning Out of the Ruins into a string quartet. There seemed no reason or opportunity to do this until I felt the need to add to the intensity of my experiences in Armenia the no less profound experience of witnessing the images of the Romanian revolution on television duringthe later part of December 1989.The compositional procedure was as follows: to take Out of the Ruins as a template on which the Romanian vocal or instrumental music would be superimposed quite often stretched into newintervallic shapes though the demands of the completely performed harmonic structure.
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Michael Nyman: String Quartet No.3: String Orchestra: Score
16.99
Michael Nyman: String Quartet No.3: String Orchestra: Score
Quatuor à cordes: 2 violons, alto, violoncelle
[Partition]
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Intermédiaire/avancé
Chester
The composer made this arrangement of the Third String Quartet for string orches...
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The composer made this arrangement of the Third String Quartet for string orchestra in March 2003. The first performance was given by the Eos Orchestra New York conducted by Ken Selden in the Concert Hall Ethical CulturalSociety New York City on 24 April 2003.Quoting composer: In the summer of 1989 I composed a choral work Out of the Ruins for Agnieszka Piotrowska’s BBC2 documentary which dealt with the physical and emotional responsesof some of the inhabitants of Leninakhan to the earthquake which devastated Armenia the previous December. When he heard the recording of the work that I made with the Holy Echmiadzin Chorus under the fervent conducting of KhorenMeykhanejian Alex Balanescu suggested turning Out of the Ruins into a string quartet. There seemed no reason or opportunity to do this until I felt the need to add to the intensity of my experiences in Armenia the no lessprofound experience of witnessing the images of the Romanian revolution on television during the latter part of December 1989.Just as the structure of my Third String Quartet (1990) may connect it with the First so they alsoshare a debt to Thurston Dart (my professor at King’s College London between 1961 and 1965). It was Dart who had the inspiration to send me to Romania in 1965 ostensibly to study folk music. The volumes of transcriptions that Ibrought back with me had remained unopened until with this proposed ‘celebratory’ string quartet (though at the time it was difficult to know quite what to celebrate in postrevolutionary Romania) an occasion arose where I coulduse this material in what seemed to me was a non-exploitative manner. The compositional procedure was as follows: to take Out of the Ruins as a template on which the Romanian vocal or instrumental music would besuperimposed quite often stretched into new intervallic shapes through the demands of the completely pre-formed harmonic structure.
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STRING QUARTET NO. 2 OP. 17 (BARTOK BELA) (BARTOK BELA)
14.77
STRING QUARTET NO. 2 OP. 17 (BARTOK BELA) (BARTOK BELA)
Quatuor à cordes: 2 violons, alto, violoncelle
[Partition]
G. Henle
Par BARTOK BELA. Bartók?s Second String Quartet was composed ? with several lon...
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Par BARTOK BELA. Bartók?s Second String Quartet was composed ? with several long interruptions ? between 1915 and 1918, after he had spent several years almost solely devoted to collecting folk music. The melody and rhythms of the riotous middle movement ?Allegro, molto capriccioso? provide impressive testimony of how his research trips had taken him as far as North Africa. The first edition of this quartet, published in Vienna in 1920, contains a conspicuous number of errors that were only partially corrected in a later revision undertaken by Bartók. As late as the 1940s he noted changes in his personal copy of the score that have never previously appeared in print. These late changes by Bartók are taken into account in this definitive edition of the string quartets supervised by Bartók scholar László Somfai, with problematic passages in the sources carefully documented. It is the first-ever Urtext edition of this work. Sensible page turns and cue notes in the parts mean that this edition is ideal for exploring Bartók?s sound world in performance. / Date parution : 2023-05-06/ Répertoire / Quatuor à Cordes
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STRING QUARTET NO. 2 OP. 17 (BARTOK BELA) (BARTOK BELA)
25.32
STRING QUARTET NO. 2 OP. 17 (BARTOK BELA) (BARTOK BELA)
Quatuor à cordes: 2 violons, alto, violoncelle
[Partition]
G. Henle
Par BARTOK BELA. Bartók?s Second String Quartet was composed ? with several lon...
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Par BARTOK BELA. Bartók?s Second String Quartet was composed ? with several long interruptions ? between 1915 and 1918, after he had spent several years almost solely devoted to collecting folk music. The melody and rhythms of the riotous middle movement ?Allegro, molto capriccioso? provide impressive testimony of how his research trips had taken him as far as North Africa. The first edition of this quartet, published in Vienna in 1920, contains a conspicuous number of errors that were only partially corrected in a later revision undertaken by Bartók. As late as the 1940s he noted changes in his personal copy of the score that have never previously appeared in print. These late changes by Bartók are taken into account in this definitive edition of the string quartets supervised by Bartók scholar László Somfai, with problematic passages in the sources carefully documented. It is the first-ever Urtext edition of this work. Sensible page turns and cue notes in the parts mean that this edition is ideal for exploring Bartók?s sound world in performance. / Date parution : 2023-05-06/ Répertoire / Quatuor à Cordes
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Michael Nyman: String Quartet No. 3 Score: String Quartet: Score
19.99
Michael Nyman: String Quartet No. 3 Score: String Quartet: Score
Quatuor à cordes: 2 violons, alto, violoncelle
[Partition]
Chester
String Quartet No.3 was written for and first performed by the Balanescu Quarte...
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String Quartet No.3 was written for and first performed by the Balanescu Quartet February 1990 at the Queen Elizabeth Hall London. Duration 16 minutes. Instrumental parts are available on sale.Quoting composer: In thesummer of 1989 I composed a choral work Out of the Ruins for Agnieszka Piotrowska’s BBC2 documentary which dealt with the physical and emotional responses of some inhabitants of Leninakhan to the earthquake whichdevastated Armenia the previous December. When he heard the recording of the work that I made with the Holy Echmiadzin Chorus under the fervent conducting of Khoren Meykhanejian Alex Balanescu suggested turning Out of the Ruinsinto a string quartet. There seemed no reason or opportunity to do this until I felt the need to add to the intensity of my experiences in Armenia the no less profound experience of witnessing the images of the Romanianrevolution on television during the later part of December 1989.The compositional procedure was as follows: to take Out of the Ruins as a template on which the Romanian vocal or instrumental music would be superimposed quite often stretched into new intervallic shapes though the demands of the completely performed harmonic structure.
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Goehr Alexander - Endsong Op.61 - Viola And Piano
16.40
Goehr Alexander - Endsong Op.61 - Viola And Piano
Alto, Piano
Schott
Six PiecesKlavierauszug mit Solostimme - VA/KL - viola and orchestracomposer: Go...
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Six PiecesKlavierauszug mit Solostimme - VA/KL - viola and orchestracomposer: Goehr, AlexanderÉditeur: Schott Music Ltd., Londonpages: 122A suite of six pieces, rather than a concerto, Schlussgesang - endsong in English - was sketched in a few weeks in Jerusalem in 1993, interrupted for the composition of Arianna and then taken up again and completed in 1996.Schlussgesang is written for a medium-sized orchestra accompanying the soloist. It was commissioned by the BBC. First performance by Tabea Zimmermann and the BBC Symphony Orchestra conducted by Oliver Knussen at the 1997 Aldeburgh Festival.Contenu - I Prelude - II Intermezzo Es blendet uns die Mondnacht... - III Introduzione Aber unter allem ist das Feuer... - IV Weinender Trapezkünstler - V ...kein Gedanke, nur ruhiger Schlaf (in Memoriam Oliver Messiaen) - VI Wir wurden aus dem Paradies vertrieben, aber zerstört wurde es nicht.
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Rheinberger Ga 31 (RHEINBERGER JOSEF GABRIEL)
215.50
Rheinberger Ga 31 (RHEINBERGER JOSEF GABRIEL)
Orchestre de chambre
[Partition]
Carus Verlag
Par RHEINBERGER JOSEF GABRIEL. Volume 31 contains, among other works, the Piano ...
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Par RHEINBERGER JOSEF GABRIEL. Volume 31 contains, among other works, the Piano Quartet, which was enthusiastically received by the critics in Rheinberger’s time: “The themes are noble, with significant content, the motivic development is rich and interesting, above all free from anything resembling a mould … and such a healthy musical wind blows through the entire work that I believe I am not mistaken if I forsee for this work a great success. ” This is how a contemporary critic reviewed the work. Indeed, op. 38 proceeded to become the most successful of Rheinberger’s chamber music works during his lifetime. The Sextet op. 191b is an effective arrangement of his Piano Trio No. 4 op. 191, for flute, oboe, clarinet, bassoon, horn and piano. All works are also available in separate editions./ Répertoire / Ensemble de Chambre
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Franz Joseph Haydn: Streichquartette Heft X Erdody-Quartette Op. 76: String
45.99
Franz Joseph Haydn: Streichquartette Heft X Erdody-Quartette Op. 76: String
Quatuor à cordes: 2 violons, alto, violoncelle
[Set de Parties séparées]
G. Henle
String Quartets Book X op. 76 Nr. 1-6-?Masterly and full of new ideas?: thus the...
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String Quartets Book X op. 76 Nr. 1-6-?Masterly and full of new ideas?: thus the Swedish ambassadorial secretary Silverstolpe when he first heard these pieces in 1797. Haydn?s friend the music historian Charles Burney reported in 1799 that he had ?nevertaken greater pleasure in instrumental music?. Our new edition of these six works including the famous ?Emperor Quartet? follows the text of the complete edition prepared by the Haydn Institute in Cologne. Boththe study edition (HN 9214) and the set of parts (HN 214) have highly informative notes on the source materials and alternative readings. Fold-out pages in the parts allow for optimum page turns.
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Franz Joseph Haydn: String Quartets Volume X op. 76 Nr. 1-6: String Quartet:
22.25
Franz Joseph Haydn: String Quartets Volume X op. 76 Nr. 1-6: String Quartet:
Quatuor à cordes: 2 violons, alto, violoncelle
[Conducteur d'étude / Miniature]
G. Henle
?Masterly and full of new ideas?: thus the Swedish ambassadorial secretary Silve...
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?Masterly and full of new ideas?: thus the Swedish ambassadorial secretary Silverstolpe when he first heard these pieces in 1797. Haydn?s friend the music historian Charles Burney reported in 1799 that he had ?nevertaken greater pleasure in instrumental music.? Our new edition of these six works including the famous ?Emperor Quartet ? follows the text of the complete edition prepared by the Haydn Institute in Cologne. Boththe study edition (HN 9214) and the set of parts (HN 214) have highly informative notes on the source materials and alternative readings. Fold-out pages in the parts allow for optimum page turns.
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More Time Pieces For Viola - Volume 1: Viola: Instrumental Album
9.50
More Time Pieces For Viola - Volume 1: Viola: Instrumental Album
Alto, Piano
[Partition]
ABRSM Publishing
Music through the Ages-Take a journey through time with More Time Pieces For Vio...
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Music through the Ages-Take a journey through time with More Time Pieces For Viola. These two volumes contain well-crafted arrangements presented in chronological order to take you from the seventeenth century right up to the present day. Pieces that regularly feature on the ABRSM Viola syllabus. Invaluable source of recital repertoire. Contrasting styles from Schubert to Stravinsky and from Wagner to Weill. Arrangements that practise the note ranges and keys of the grades. Maggy Lamb played the Viola with English National Opera and the Philharmonia Orchestra before taking up the post ofHead of Strings at St Peter’s School in York. She now divides her time between teaching performing and examining. Rachel Meredith is a Bristol University graduate. After a period performing both in the UK and abroad she now teaches upper strings in York. Rachel is also a syllabus selector and examiner for ABRSM.
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More Time Pieces For Viola - Volume 2: Viola: Instrumental Album
9.50
More Time Pieces For Viola - Volume 2: Viola: Instrumental Album
Alto, Piano
[Partition]
ABRSM Publishing
Music through the Ages-Take a journey through time with More Time Pieces For Vio...
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Music through the Ages-Take a journey through time with More Time Pieces For Viola. These two volumes contain well-crafted arrangements presented in chronological order to take you from the seventeenth century right up to the present day. Pieces that regularly feature on the ABRSM Viola syllabus. Invaluable source of recital repertoire. Contrasting styles from Schubert to Stravinsky and from Wagner to Weill. Arrangements that practise the note ranges and keys of the grades. Maggy Lamb played the Viola with English National Opera and the Philharmonia Orchestra before taking up the post ofHead of Strings at St Peter’s School in York. She now divides her time between teaching performing and examining. Rachel Meredith is a Bristol University graduate. After a period performing both in the UK and abroad she now teaches upper strings in York. Rachel is also a syllabus selector and examiner for ABRSM.
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