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harpsichord. 4 Cellos
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You've selected:
harpsichord. 4 Cellos
Sheetmusic to print
20 sheet music found
<
1
Couperin, F. - Laa Petit RIen for Two Cellos
Couperin, F. - Laa Petit RIen for Two Cellos
#
2 Cellos (duet)
#
EASY
#
Classical
#
F
#
Linda M
#
Couperin, F. - Laa Petit RIen
#
Linda M Scott
#
SheetMusicPlus
Cello Duet Cello - Level 2 - Digital Download SKU: A0.540454 Composed by F. Couperin. Arranged by Linda M. Scott. Baroque. Score. 4 pages. Linda M Scott ...
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Cello Duet Cello - Level 2 - Digital Download SKU: A0.540454 Composed by F. Couperin. Arranged by Linda M. Scott. Baroque. Score. 4 pages. Linda M Scott #4287663. Published by Linda M Scott (A0.540454). François Couperin (1668 – 11 1733) was a French Baroque composer, organist and harpsichordist.This piece is based on a work originally composed for harpsichord. An easy, accessible baroque duo for two cellos. Ideal for advanced beginners or intermediate students, adult amateurs and performers.
$5.99 ≈
¥43.44
Bach, J.S. - Andante for Two Cellos
Bach, J.S. - Andante for Two Cellos
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2 Cellos (duet)
#
INTERMEDIATE
#
Classical
#
Johann Sebastian Bach
#
SheetMusic4Strings
#
Bach, J.S. - Andante for Two C
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Linda M Scott
#
SheetMusicPlus
Cello Duet Cello - Level 3 - Digital Download SKU: A0.540413 Composed by Johann Sebastian Bach. Arranged by SheetMusic4Strings. Baroque. Score. 4 pages. ...
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Cello Duet Cello - Level 3 - Digital Download SKU: A0.540413 Composed by Johann Sebastian Bach. Arranged by SheetMusic4Strings. Baroque. Score. 4 pages. Linda M Scott #4284417. Published by Linda M Scott (A0.540413). J. S. Bach, (1685-1750) a prominent organist in his time, was an extremely prolific composer of many works. From his Sonata No. 2 (Mvt. 2) BWV 1030 for flute and harpsichord, this is arranged as a duo for two cellos. Ideal for advanced students, adult amateurs and performers. The rhythmic content includes 32nd notes, syncopations, grace notes and tied notes.
$5.99 ≈
¥43.44
Aria from the Goldberg Variations: for cello quartet
Aria from the Goldberg Variations: for cello quartet
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4 Cellos
#
EASY
#
Classical
#
Johann Sebastian Bach
#
Meri Dolevski
#
Aria from the Goldberg Variati
#
Meri Dolevski
#
SheetMusicPlus
String Quartet Cello,String Quartet - Level 2 - Digital Download SKU: A0.817842 Composed by Johann Sebastian Bach. Arranged by Meri Dolevski. Baroque. Sc...
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String Quartet Cello,String Quartet - Level 2 - Digital Download SKU: A0.817842 Composed by Johann Sebastian Bach. Arranged by Meri Dolevski. Baroque. Score and parts. 8 pages. Meri Dolevski #3911821. Published by Meri Dolevski (A0.817842). Originally for organ or harpsichord, here is a new arrangement suitable for mixed ability players for cello quartet of JS Bach's Aria from the Goldberg Variations
$19.99 ≈
¥144.96
In My Life
In My Life
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2 Cellos (duet)
#
INTERMEDIATE
#
Rock
#
The Beatles
#
David McKeown
#
In My Life
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David McKeown
#
SheetMusicPlus
Cello Duet Cello - Level 3 - Digital Download SKU: A0.588488 By The Beatles. By John Lennon and Paul McCartney. Arranged by David McKeown. Rock. Score. 4...
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Cello Duet Cello - Level 3 - Digital Download SKU: A0.588488 By The Beatles. By John Lennon and Paul McCartney. Arranged by David McKeown. Rock. Score. 4 pages. David McKeown #5324709. Published by David McKeown (A0.588488). In My Life by the Beatles, was released on the 1965 album, Rubber Soul. It was chiefly written and sung by John Lennon, who claimed it was his first serious attempt at personal song-writing. The song features a baroque style piano solo by George Martin. The tempo was too fast for him to perform it, so he played it at half tempo and layer doubled the tape speed. The resulting tinny sound gave rise to a host of copycat harpsichord solos on contemporary pop songs.This version of In My Life is arranged as a duet for two Cellos. Musicians at an intermediate level will find In My Life ideal for formal and informal concert performance. Most of the duet is straightforward though the transcribed piano solo is difficult for both players; these eight bars can be skipped without affecting the overall structure of the song. The overall performance time is around two and a half minutes. The full YouTube performance above is the Clarinet Duet version of In My Life.Teachers will enjoy using this arrangement as a fun way to help with ensemble skills and syncopated rhythms.There are many more top quality arrangements and compositions by David McKeown for you to browse at http://www.sheetmusicplus.com/publishers/david-mckeown/6203
$5.99 ≈
¥43.44
Arioso - Bach (Cello duet)
Arioso - Bach (Cello duet)
#
2 Cellos (duet)
#
Classical
#
Johann Sebastian Bach
#
Robin Hood Editions
#
Arioso - Bach
#
Robin Hood Editions
#
SheetMusicPlus
Cello Duet Cello - Digital Download SKU: A0.1121907 Composed by Johann Sebastian Bach. Arranged by Robin Hood Editions. Baroque,Chamber,Christmas,Classic...
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Cello Duet Cello - Digital Download SKU: A0.1121907 Composed by Johann Sebastian Bach. Arranged by Robin Hood Editions. Baroque,Chamber,Christmas,Classical,Wedding. Score. 4 pages. Robin Hood Editions #723085. Published by Robin Hood Editions (A0.1121907). Arrangement for Cello duet. SCORE AND PARTS! Arioso, from Harpsichord Concerto No.5 in F minor, BWV 1056. With this arrangement, you will be able to interpret this song in an very accessible way ! Do not hesitate to seek out Robin Hood Editions works for more quality arrangements and sheet music.
$5.60 ≈
¥40.61
Four Seasons Spring Mvt 1
Four Seasons Spring Mvt 1
#
Classical
#
Antonio Vivaldi
#
David Tobin, Jeff Meegan, and
#
Four Seasons Spring Mvt 1
#
Audio Network Limited
#
SheetMusicPlus
Large Ensemble Cello,Double Bass,Harpsichord,Viola,Violin - Level 4 - Digital Download SKU: A0.575411 Composed by Antonio Vivaldi. Arranged by David Tobi...
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Large Ensemble Cello,Double Bass,Harpsichord,Viola,Violin - Level 4 - Digital Download SKU: A0.575411 Composed by Antonio Vivaldi. Arranged by David Tobin, Jeff Meegan, and Julian Gallant. Baroque,Classical,Traditional. Score and parts. 51 pages. Audio Network Limited #184743. Published by Audio Network Limited (A0.575411). Our version of the first movement of Spring shortens the original but increases activity in the middle parts of the orchestra, creating new lines for the violas and cellos. We’ve written out the harpsichord continuo part and included in the PDF 4 duplicates of the Violins, Viola and Cello parts as well as 2 duplicates of the Contrabass. This is to ensure you can print adequate amounts of parts when working with larger ensembles!------------- You can find a video showcasing the whole score and a professional recording of the piece from Abbey Road here:https://youtu.be/egRdwwlbP1w -------------We hope you enjoy our arrangement and do tag us on social media if you use it @audionetwork and @meegantobinmusic. We'd love to hear from you!
$20.00 ≈
¥145.03
Four Seasons Autumn Mvt 1
Four Seasons Autumn Mvt 1
#
Classical
#
Antonio Vivaldi
#
David Tobin, Jeff Meegan, and
#
Four Seasons Autumn Mvt 1
#
Audio Network Limited
#
SheetMusicPlus
Large Ensemble Cello,Double Bass,Harpsichord,Viola,Violin - Level 4 - Digital Download SKU: A0.575438 Composed by Antonio Vivaldi. Arranged by David Tobi...
(+)
Large Ensemble Cello,Double Bass,Harpsichord,Viola,Violin - Level 4 - Digital Download SKU: A0.575438 Composed by Antonio Vivaldi. Arranged by David Tobin, Jeff Meegan, and Julian Gallant. Baroque,Classical,Traditional. Score and parts. 49 pages. Audio Network Limited #184781. Published by Audio Network Limited (A0.575438). Autumn has perhaps one of the most famous themes in the set and we thought the whole orchestra should contribute to that. We’ve created more activity for the cellos, more dialogue between the parts, defined dynamics and a new continuo realisation for modern performance. The PDF provided includes 4 duplicates of the Violins, Viola and Cello parts as well as 2 duplicates of the Contrabass. This is to ensure you can print adequate amounts of parts when working with larger ensembles! ------------- You can find a video showcasing the whole score and a professional recording of the piece from Abbey Road here:https://youtu.be/wxaFjBibyLk -------------We hope you enjoy our arrangement and do tag us on social media if you use it @audionetwork and @meegantobinmusic. We'd love to hear from you!
$20.00 ≈
¥145.03
Bach: Brandenburg Concerto No. 3 for Saxophone Choir
Bach: Brandenburg Concerto No. 3 for Saxophone Choir
#
Saxophone ensemble
#
INTERMEDIATE/ADVANCED
#
Classical
#
Johann Sebastian Bach
#
James M
#
Bach: Brandenburg Concerto No.
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jmsgu3
#
SheetMusicPlus
Saxophone Ensemble,Woodwind Ensemble Alto Saxophone,Baritone Saxophone,Bass Saxophone,Soprano Saxophone - Level 4 - Digital Download SKU: A0.1402348 Comp...
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Saxophone Ensemble,Woodwind Ensemble Alto Saxophone,Baritone Saxophone,Bass Saxophone,Soprano Saxophone - Level 4 - Digital Download SKU: A0.1402348 Composed by Johann Sebastian Bach. Arranged by James M. Guthrie. Baroque,Contest,Festival,Historic,Standards,Traditional. 149 pages. Jmsgu3 #985560. Published by jmsgu3 (A0.1402348). Bach's Brandenburg Concerto No. 3 is significant for its composition and structure. It features nine solo strings divided into three groups of violins, violas, and cellos, showcasing a colorful instrumentation and demanding performance requirements. The concerto opens majestically with distinct groupings of soloists by instrument, maintaining these divisions throughout the movement with moments of independence for each soloist. The closing movement, a vigorous allegro, follows a similar pattern with the nine players divided by instrument. Additionally, the concerto includes a two-note adagio cadence where musicians were intended to improvise a link between the outer movements. This concerto is a prime example of the Baroque concerto style. It demonstrates Bach's mastery in creating intricate and harmonious compositions that challenge performers while showcasing the beauty of different instruments working together harmoniously.The historical context of Bach's Brandenburg Concertos is rooted in the Baroque era and Bach's circumstances. Composed around 1711-1720 and dedicated in 1721 to Christian Ludwig, the Margrave of Brandenburg, these concertos were a collection of six concerti grossi that showcased a balance between various groups of soloists and a small orchestra. Bach's decision to compile these concertos was influenced by his need for employment and his encounter with Christian Ludwig, who commissioned several works after being impressed by his performance in Berlin around 1719. Despite Bach's hopes for a position at the Brandenburg court, the Margrave did not pay for the work, possibly because the pieces were revisions of earlier compositions rather than new creations specifically for him. Moreover, the Brandenburg Concertos exemplify the concerto grosso genre popular during the Baroque era, featuring a more significant number of soloists than usual and expansive music that showcases a variety of instruments in different combinations. Bach's innovative use of instruments like trumpets, recorders, French horns, oboes, flutes, violino piccolo, violas da gamba, and harpsichord in these concertos highlights his creativity and mastery in composing intricate and diverse musical pieces. The historical significance lies in Bach's ability to blend different musical styles and forms while creating a set of concertos that music lovers cherish today.
$74.95 ≈
¥543.49
Bach: Brandenburg Concerto No. 3 for Saxophone Choir - Score Only
Bach: Brandenburg Concerto No. 3 for Saxophone Choir - Score Only
#
Classical
#
Johann Sebastian Bach
#
James M
#
Bach: Brandenburg Concerto No.
#
jmsgu3
#
SheetMusicPlus
Woodwind Ensemble - Level 4 - Digital Download SKU: A0.1401651 Composed by Johann Sebastian Bach. Arranged by James M. Guthrie. Baroque,Contest,Festival,...
(+)
Woodwind Ensemble - Level 4 - Digital Download SKU: A0.1401651 Composed by Johann Sebastian Bach. Arranged by James M. Guthrie. Baroque,Contest,Festival,Historic,Standards,Traditional. 70 pages. Jmsgu3 #984834. Published by jmsgu3 (A0.1401651). Bach's Brandenburg Concerto No. 3 is significant for its composition and structure. It features nine solo strings divided into three groups of violins, violas, and cellos, showcasing a colorful instrumentation and demanding performance requirements. The concerto opens majestically with distinct groupings of soloists by instrument, maintaining these divisions throughout the movement with moments of independence for each soloist. The closing movement, a vigorous allegro, follows a similar pattern with the nine players divided by instrument. Additionally, the concerto includes a two-note adagio cadence where musicians were intended to improvise a link between the outer movements. This concerto is a prime example of the Baroque concerto style. It demonstrates Bach's mastery in creating intricate and harmonious compositions that challenge performers while showcasing the beauty of different instruments working together harmoniously.The historical context of Bach's Brandenburg Concertos is rooted in the Baroque era and Bach's circumstances. Composed around 1711-1720 and dedicated in 1721 to Christian Ludwig, the Margrave of Brandenburg, these concertos were a collection of six concerti grossi that showcased a balance between various groups of soloists and a small orchestra. Bach's decision to compile these concertos was influenced by his need for employment and his encounter with Christian Ludwig, who commissioned several works after being impressed by his performance in Berlin around 1719. Despite Bach's hopes for a position at the Brandenburg court, the Margrave did not pay for the work, possibly because the pieces were revisions of earlier compositions rather than new creations specifically for him. Moreover, the Brandenburg Concertos exemplify the concerto grosso genre popular during the Baroque era, featuring a more significant number of soloists than usual and expansive music that showcases a variety of instruments in different combinations. Bach's innovative use of instruments like trumpets, recorders, French horns, oboes, flutes, violino piccolo, violas da gamba, and harpsichord in these concertos highlights his creativity and mastery in composing intricate and diverse musical pieces. The historical significance lies in Bach's ability to blend different musical styles and forms while creating a set of concertos that music lovers cherish today.
$49.95 ≈
¥362.21
Vivaldi - Bassoon Concerto in A minor RV 499 for Bassoon, Strings and Cembalo
Vivaldi - Bassoon Concerto in A minor RV 499 for Bassoon, Strings and Cembalo
#
Chamber Orchestra
#
INTERMEDIATE/ADVANCED
#
Classical
#
Antonio Vivaldi
#
Santino Cara
#
Vivaldi - Bassoon Concerto in
#
Santino Cara
#
SheetMusicPlus
Chamber Orchestra - Level 4 - Digital Download SKU: A0.518562 Composed by Antonio Vivaldi. Arranged by Santino Cara. Baroque. Score and parts. 76 pages. ...
(+)
Chamber Orchestra - Level 4 - Digital Download SKU: A0.518562 Composed by Antonio Vivaldi. Arranged by Santino Cara. Baroque. Score and parts. 76 pages. Santino Cara #129267. Published by Santino Cara (A0.518562). Complete score and parts of the Bassoon Concerto RV 499 for Bassoon, Strings and Cembalo. Composed in Venice in 1723 by Antonio Vivaldi. Reconstructed and elaborated in Rome in 2002 by Santino Cara. 3 Movements: 1. Allegro, 2. Largo, 3. Allegro Single PDF file with: Complete score of the concerto with separate parts for Bassoon, Violins 1 and Violins 2, Cellos with Solo cello, Double basses, Harpsichord.
$18.80 ≈
¥136.33
Vivaldi - Bassoon Concerto in A minor RV 500 for Bassoon, Strings and Cembalo
Vivaldi - Bassoon Concerto in A minor RV 500 for Bassoon, Strings and Cembalo
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Chamber Orchestra
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INTERMEDIATE/ADVANCED
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Classical
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Santino Cara
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Santino Cara
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Vivaldi - Bassoon Concerto in
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Santino Cara
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SheetMusicPlus
Chamber Orchestra - Level 4 - Digital Download SKU: A0.900660 By Santino Cara. By Antonio Vivaldi. Arranged by Santino Cara. Baroque. Score and parts. 75...
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Chamber Orchestra - Level 4 - Digital Download SKU: A0.900660 By Santino Cara. By Antonio Vivaldi. Arranged by Santino Cara. Baroque. Score and parts. 75 pages. Santino Cara #506940. Published by Santino Cara (A0.900660). Complete score and Parts of the Bassoon Concerto in A minor RV 500 for Bassoon, Strings and Cembalo. Composed in Venice in 1730 by Antonio Vivaldi. Reconstructed and elaborated in Rome in 2019 by Santino Cara. 3 Movements: 1. Allegro non molto, 2. Largo, 3. Allegro. Single PDF file with: Complete score of the concerto and separate parts for Bassoon, Violins 1 and Violins 2, Cellos with solo cello, Double basses, Harpsichord.
$19.00 ≈
¥137.78
Vivaldi - Double Concerto in A major RV 546 for Violin, Cello, Strings and Cembalo
Vivaldi - Double Concerto in A major RV 546 for Violin, Cello, Strings and Cembalo
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Chamber Orchestra
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INTERMEDIATE/ADVANCED
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Classical
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Santino Cara
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Santino Cara
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Vivaldi - Double Concerto in A
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Santino Cara
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SheetMusicPlus
Chamber Orchestra - Level 4 - Digital Download SKU: A0.547614 By Santino Cara. By Antonio Vivaldi. Arranged by Santino Cara. Baroque. Score and parts. 92...
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Chamber Orchestra - Level 4 - Digital Download SKU: A0.547614 By Santino Cara. By Antonio Vivaldi. Arranged by Santino Cara. Baroque. Score and parts. 92 pages. Santino Cara #157322. Published by Santino Cara (A0.547614). Complete score and parts of the Double Concerto in A major RV 546 for Violin and Violoncello concertanti, Strings and Cembalo. Composed in Venice between 1723 by Antonio Vivaldi. Reconstructed and elaborated in Rome in 2021 by Santino Cara. 3 Movements: 1. Allegro, 2. Andante, 3. Allegro. Single PDF file with: Complete score of the concert and the separate parts for Violin and Cello concertanti, Violins 1 and Violins 2, Cellos with solo cello, Double bass, Harpsichord.
$19.99 ≈
¥144.96
We Will Glorify
We Will Glorify
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Twila Paris
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Twila Paris
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Jack Schrader
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We Will Glorify
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Hope Publishing - Digital
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SheetMusicPlus
Choral (Choral, Orchestra) - Digital Download SKU: H1.C5299DP Composed by Twila Paris. Arranged by Jack Schrader. Piano Accompaniment with Optional Orche...
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Choral (Choral, Orchestra) - Digital Download SKU: H1.C5299DP Composed by Twila Paris. Arranged by Jack Schrader. Piano Accompaniment with Optional Orchestra. Contemporary, Hymntune, Celebration, General Worship, God's Attributes/Character, Lamb of God, Adoration & Praise. Octavo. 12 pages. Hope Publishing - Digital #C5299DP. Published by Hope Publishing - Digital (H1.C5299DP). By Twila Paris. 2 Chronicles 29:30 - Exodus:3:6 - Isaiah 66:5 - Philippians 2:1 - Philippians 2:2 - Philippians 2:3 - Philippians 2:4 - Philippians 2:5 - Philippians 2:6 - Philippians 2:7 - Philippians 2:8 - Philippians 2:9 - Philippians 2:10 - Phil.Praise Hymn by Twila Paris Twila Paris' praise hymn has been given an energetic treatment, with lots of fire and dash by Jack Schrader. Mark Kellner's symphonic orchestration builds in impact to a grand climax. This blockbuster from 2000 is also available in an SAB setting. The Orchestration Part includes instrumentation for piano, harpsichord, flute, oboe, 3 trumpets, 2 horns, 2 trombones, tuba, percussion, timpani, harp, violins, violas, cellos and basses.
$3.25 ≈
¥23.57
We Will Glorify
We Will Glorify
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Twila Paris
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Twila Paris
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Jack Schrader
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We Will Glorify
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Hope Publishing - Digital
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SheetMusicPlus
Choral (Choral, Orchestra) - Digital Download SKU: H1.C5095DP Composed by Twila Paris. Arranged by Jack Schrader. Piano Accompaniment with Optional Orche...
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Choral (Choral, Orchestra) - Digital Download SKU: H1.C5095DP Composed by Twila Paris. Arranged by Jack Schrader. Piano Accompaniment with Optional Orchestra. Contemporary, Hymntune, Praise & Worship, Celebration, General Worship, God's Attributes/Character, Lamb of God, Adoration & Praise. Octavo. 12 pages. Hope Publishing - Digital #C5095DP. Published by Hope Publishing - Digital (H1.C5095DP). By Twila Paris. 2 Chronicles 29:30 - Exodus:3:6 - Isaiah 66:5 - Philippians 2:1 - Philippians 2:2 - Philippians 2:3 - Philippians 2:4 - Philippians 2:5 - Philippians 2:6 - Philippians 2:7 - Philippians 2:8 - Philippians 2:9 - Philippians 2:10 - Phil.Praise Hymn by Twila Paris Twila Paris' praise hymn has been given an energetic treatment, with lots of fire and dash by Jack Schrader. Mark Kellner's symphonic orchestration builds in impact to a grand climax. This blockbuster from 2000 is also available in an SAB setting. The Orchestration Part includes instrumentation for piano, harpsichord, flute, oboe, 3 trumpets, 2 horns, 2 trombones, tuba, percussion, timpani, harp, violins, violas, cellos and basses.
$3.25 ≈
¥23.57
Vivaldi - Six Cello Sonatas Op.14 for Cello and Cembalo - Full scores and cello part
Vivaldi - Six Cello Sonatas Op.14 for Cello and Cembalo - Full scores and cello part
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Classical
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Antonio Vivaldi
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Santino Cara
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Vivaldi - Six Cello Sonatas Op
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Santino Cara
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SheetMusicPlus
Instrumental Duet Cello,Harpsichord,Instrumental Duet - Level 4 - Digital Download SKU: A0.517102 Composed by Antonio Vivaldi. Arranged by Santino Cara. ...
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Instrumental Duet Cello,Harpsichord,Instrumental Duet - Level 4 - Digital Download SKU: A0.517102 Composed by Antonio Vivaldi. Arranged by Santino Cara. Baroque. Score and parts. 77 pages. Santino Cara #3430125. Published by Santino Cara (A0.517102). Complete scores and Cello part, of the Six Cellos Sonatas Op.14 for Cello and Cembalo by Antonio Vivaldi. Reconstructed and elaborated by Santino Cara, from the manuscripts for cello and continuo kept at the Conservatory of San Pietro a Majella in Naples.
$36.40 ≈
¥263.95
Sonata in F major HWV 370 Op. 1 Nr. 12 - 2nd Movement (Allegro) for solo violin and easy string orch
Sonata in F major HWV 370 Op. 1 Nr. 12 - 2nd Movement (Allegro) for solo violin and easy string orch
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String Orchestra
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EASY
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Classical
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George Frideric Handel
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Claudio Porstmann
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Sonata in F major HWV 370 Op.
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Claudio Porstmann
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SheetMusicPlus
String Orchestra - Level 2 - Digital Download SKU: A0.835232 Composed by George Frideric Handel. Arranged by Claudio Porstmann. Baroque,Classical,Instruc...
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String Orchestra - Level 2 - Digital Download SKU: A0.835232 Composed by George Frideric Handel. Arranged by Claudio Porstmann. Baroque,Classical,Instructional,Standards. Score and parts. 12 pages. Claudio Porstmann #4595965. Published by Claudio Porstmann (A0.835232). The second movement of this charming piece by the great G.F. Händel. The original composition is for solo violin and harpsichord, but this arrangement is a student version of the more well-known second movement. The original tempo marking is allegro, but here it is held at a comfortable andante pace for the students to be able to harmonize well together. Ideal for Grades 3-4.The download includes the conductor's score as well as all the individual parts: Solo violin, Violin I, Violin II, Viola, Cellos and Contrabass.
$9.99 ≈
¥72.44
Vivaldi - Violin Concerto in A major RV 340 for Violin, Strings and Cembalo
Vivaldi - Violin Concerto in A major RV 340 for Violin, Strings and Cembalo
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Chamber Orchestra
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INTERMEDIATE/ADVANCED
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Classical
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Santino Cara
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Santino Cara
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Vivaldi - Violin Concerto in A
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Santino Cara
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SheetMusicPlus
Chamber Orchestra - Level 4 - Digital Download SKU: A0.1044068 By Santino Cara. By Antonio Vivaldi. Arranged by Santino Cara. Baroque. Score and parts. 9...
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Chamber Orchestra - Level 4 - Digital Download SKU: A0.1044068 By Santino Cara. By Antonio Vivaldi. Arranged by Santino Cara. Baroque. Score and parts. 93 pages. Santino Cara #648792. Published by Santino Cara (A0.1044068). Complete score and parts of the Violin Concerto in A major RV 340 for Violin concertante, Strings and Cembalo. Composed in Venice in 1722 by Antonio Vivaldi. Dedicated to his friend the German violinist and composer Johann Georg Pisendel. 3 Movements: 1. Allegro, 2. Siciliano (Adagio), 3. Allegro with Candenza. Single PDF file with: Complete score of the concert with separate parts for Violin Concertante, Violins 1 and Violins 2, Cellos with solo cello, Double basses and Harpsichord.
$20.40 ≈
¥147.93
Vivaldi - Double Violin Concerto in C major RV 505 for Two Violins, Strings and Cembalo
Vivaldi - Double Violin Concerto in C major RV 505 for Two Violins, Strings and Cembalo
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Chamber Orchestra
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INTERMEDIATE/ADVANCED
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Classical
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Santino Cara
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Santino Cara
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Vivaldi - Double Violin Concer
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Santino Cara
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SheetMusicPlus
Chamber Orchestra - Level 4 - Digital Download SKU: A0.1040612 By Santino Cara. By Antonio Vivaldi. Arranged by Santino Cara. Baroque. Score and parts. 1...
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Chamber Orchestra - Level 4 - Digital Download SKU: A0.1040612 By Santino Cara. By Antonio Vivaldi. Arranged by Santino Cara. Baroque. Score and parts. 103 pages. Santino Cara #645408. Published by Santino Cara (A0.1040612). Complete score and parts of the Double Concerto in C major RV 505 for Two Violins, Strings and Cembalo. Composed in Venice in 1722 by Antonio Vivaldi. Reconstructed and elaborated in Rome in 2019 by Santino Cara. 3 Movements: 1. Allegro, 2. Andante, 3. Allegro non molto e cantabile. In the pdf file with the complete score of the concert there are also the separate parts of the: Two concertanti violins, ripieni Violins 1 and 2, Violas, Cellos and solo cello, Double basses and Harpsichord with the two concertanti violins.
$22.40 ≈
¥162.43
We Will Glorify
We Will Glorify
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Twila Paris
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Twila Paris
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Jack Schrader
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We Will Glorify
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Hope Publishing - Digital
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SheetMusicPlus
(Choral, Orchestra) - Digital Download SKU: H1.C5095ODP Composed by Twila Paris. Arranged by Jack Schrader. Piano Accompaniment with Optional Orchestra. ...
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(Choral, Orchestra) - Digital Download SKU: H1.C5095ODP Composed by Twila Paris. Arranged by Jack Schrader. Piano Accompaniment with Optional Orchestra. Contemporary, Hymntune, Celebration, General Worship, God's Attributes/Character, Lamb of God, Adoration & Praise. Set of Instrumental Parts. 49 pages. Hope Publishing - Digital #C5095ODP. Published by Hope Publishing - Digital (H1.C5095ODP). By Twila Paris. 2 Chronicles 29:30 - Exodus:3:6 - Isaiah 66:5 - Philippians 2:1 - Philippians 2:2 - Philippians 2:3 - Philippians 2:4 - Philippians 2:5 - Philippians 2:6 - Philippians 2:7 - Philippians 2:8 - Philippians 2:9 - Philippians 2:10 - Phil.Praise Hymn by Twila Paris Twila Paris' praise hymn has been given an energetic treatment, with lots of fire and dash by Jack Schrader. Mark Kellner's symphonic orchestration builds in impact to a grand climax. This blockbuster from 2000 is also available in an SAB setting. The Orchestration Part includes instrumentation for piano, harpsichord, flute, oboe, 3 trumpets, 2 horns, 2 trombones, tuba, percussion, timpani, harp, violins, violas, cellos and basses.
$89.95 ≈
¥652.26
Concerto
Concerto
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Piano and Orchestra
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ADVANCED
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Contemporary
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Gyorgy Ligeti
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Concerto
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Schott Music - Digital
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SheetMusicPlus
Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. D...
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Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minutes. Schott Music - Digital #Q53630. Published by Schott Music - Digital
I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. .
The markings of the movements are the following: .
1. Vivace molto ritmico e preciso .
2. Lento e deserto .
3. Vivace cantabile .
4. Allegro risoluto .
5. Presto luminoso.
The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. .
The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. .
In the Piano Concerto I realized new concepts of harmony and rhythm. .
The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. .
In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. .
The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. .
In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. .
Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). .
The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). .
Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. .
These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. .
The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). .
The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. .
Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. .
Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. .
This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. .
The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. .
I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. .
(Gyorgy Ligeti)
$23.99 ≈
¥173.96
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harpsichord. 4 Cellos
