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You've selected:
One Note Concerto for piano and orchestra
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43 sheet music found
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1
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 ≈
21.49€
One-Note Concerto for piano and orchestra
One-Note Concerto for piano and orchestra
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Orchestra
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INTERMEDIATE/ADVANCED
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David Rubinstein
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One-Note Concerto for piano an
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David Rubinstein
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SheetMusicPlus
Full Orchestra - Level 4 - Digital Download SKU: A0.1249638 Composed by David Rubinstein. 20th Century,21st Century,Comedy. Score and Parts. 170 pages. D...
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Full Orchestra - Level 4 - Digital Download SKU: A0.1249638 Composed by David Rubinstein. 20th Century,21st Century,Comedy. Score and Parts. 170 pages. David Rubinstein #844042. Published by David Rubinstein (A0.1249638). ...one of the very few piano concertos ever written that I could handle technically. -Peter Schickele (P.D.Q. Bach) Transposed orchestral score and parts - one PDF.One-Note Concerto: a neo-classical romp on the key of B7 for piano and orchestra in three short movements. Premiered by the Hartford Symphony in 2006.One-Note Concerto combines a wide range of melodies that are surprisingly woven together through the reiteration - by the 'soloist' - of a single pitch (a very high “Bâ€). From carnival-like tunes in the first movement, to introspective waltzes in the second, to a violent (yet lighthearted!) presto in the finale, this concerto aggressively pursues a sense of musical drama with its tongue firmly placed in its cheek.† -  Jamie Allen, director of the Santa Fe New Music YouthFest.
$75.00 ≈
67.19€
Thierry Pélicant: Concerto for Bassoon and Orchestra, piano reduction and solo part
Thierry Pélicant: Concerto for Bassoon and Orchestra, piano reduction and solo part
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Bassoon, Piano (duet)
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ADVANCED
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Contemporary
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Thierry Pélicant
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Thierry Pélicant: Concerto fo
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Musik Fabrik Music Publishing
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SheetMusicPlus
Bassoon,Piano - Level 5 - Digital Download SKU: A0.534689 Composed by Thierry Pélicant. 20th Century,Concert,Contemporary. Score and part. 25 pages. M...
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Bassoon,Piano - Level 5 - Digital Download SKU: A0.534689 Composed by Thierry Pélicant. 20th Century,Concert,Contemporary. Score and part. 25 pages. Musik Fabrik Music Publishing #6230963. Published by Musik Fabrik Music Publishing (A0.534689). A four-movement concerto for bassoon and orchestra (PIC22(CA)22/2100/Timp/2perc/strings) by the noted French composer. Duration is about 16 minutes. This file is the piano reduction and solo part. The score is also available for sale. The parts are on rental from the publisher. Thierry Pélicant was born in 1957 at Sainte-Adresse, France. After studying the organ and the horn, his meeting with Jean-Claude Hartemann, the Musical Director of the Opéra Comique in Paris lead him to decide to explore conducting. He was the student of Haremann for fifteen years. He is the Musical Director of the André Messager Orchestre and has also directed the Orchestre Philharmonique de l’Oise since 1980, one of the oldest French orchestras, since it was founded in 1750. A passionate supporter of French music, Pélicant reconstructed the Messe solennelle of L.V.A Boïeldieu and Te Deum of 1792 by Philidor and premièred and recorded the Suite Parnassienne, Massenet’s last work. At the same time, he has also served the music of our time in premièring or recording the works of Dazzi, Marchand, Braconnier, Bénard, Drouin, Preschez, etc. As a composer, musical grammar and stylistic debates only interest him from afar. As a true gourmet (since cooking is another of his passions), he strives to write the music that pleases him, that would be enjoyable to play and which would be enjoyable to hear, hopefully with real pleasure and in which he tries to express the emotions and the pleasant or surprising states of being which, to hime, these works are tied. Through this process, he has created concertos (for oboe, for bassoon, for organ, for contrabass), Escales & paysages, ma monumental literary concerto for narrator, piano and orchestra, composed with his friend Dominique Preschez, Operas (Histoires comme ça, Ribouldingue, Élise et le fantôme) ; With the poet Luis Porquet, he wrote the song cycle Ombre légère (for soprano, harp and orchestre), Rhapsodie du Havre (for tenor and chamber orchestra, a commission from the Forum de Normandie to commemorate the 500 years of the founding of the city Le Havre), Et de toi, Bethleem, Christmas oratorio for baritone, chorus and orchestra and, finally, commissioned by the Orchestre de l’Oise in honor of the centennial of the First World War 14, fresque de la Grande Guerre, for the tenor Daniel Gà lvez-Vallejo, children’s chorus and orchestra. In the area of chamber music, he has written a sonata for horn and piano, for the Festival de Giverny, Borée, (quintet for oboe and strings), Sextuor d’été, , and Milonga, (septet inspired by the World of Tango Music). Published in 2005, his novel Carnets de Walter Crane, explores the sufferings of a composer who has the obligation to write a string quartet ...
$19.95 ≈
17.87€
Theme from Piano Concerto - Level 1 piano arrangement
Theme from Piano Concerto - Level 1 piano arrangement
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Piano solo
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BEGINNER
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Amy Beach
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Cameron Smith
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Theme from Piano Concerto - Le
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Cameron E Smith
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SheetMusicPlus
Easy Piano - Level 1 - Digital Download SKU: A0.902458 Composed by Amy Beach (1867-1944). Arranged by Cameron Smith. Children,Instructional,Romantic Peri...
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Easy Piano - Level 1 - Digital Download SKU: A0.902458 Composed by Amy Beach (1867-1944). Arranged by Cameron Smith. Children,Instructional,Romantic Period,Standards. Score. 1 pages. Cameron E Smith #5996573. Published by Cameron E Smith (A0.902458). Basic Info:Piano Solo Sheet Music, digital downloadLevel: Level 1 Early ElementaryDetailed Description:Piano Concerto for piano and orchestra in c# minor, composed by Romantic composer Amy Beach. Opus 45, first movement, Allegro Moderato. 19th century. American Romantic. Historic Women Composers. Classical Piano Repertoire for the earliest beginner.This is an early elementary level arrangement in the key of C Major and serves as an introduction to historic women composers of the Romantic period. 4/4 time signature. 14 measures. Right hand is in a 5-finger, middle C position. Left hand is in a 5-finger position, one note below middle C. Eighth-notes, quarter-notes, half-notes and dotted half-notes.Technique: 5th finger stretch in the right hand is introduced. 5-finger scales. No accidentals. There are also level 2-4 arrangements of this piece available.History: This arrangement provides a long-awaited opportunity to introduce the very youngest pianist to melodies composed by women in the time period usually associated with the music of Brahms or Tchaikovsky. Amy Beach was the best-known woman composer of her time and the first in the United States to become world famous. She was the first American woman to write a symphony and was a well-respected pianist in her time. Beach fought hard throughout her life to change the common perception that women's music would always be lesser than men's. Looking for more easy piano versions of works by historical women composers? In the search bar above, type PLPS. This arrangement was commissioned by Penny Lazarus Piano Studio as part of an effort to expand the early piano repertoire with pieces by women composers of the last 900 years. Learn more about the project at PennyLazarusPianoStudio.com.
$1.99 ≈
1.78€
Thierry Pélicant: Concerto for Bassoon and Orchestra,orchestral score
Thierry Pélicant: Concerto for Bassoon and Orchestra,orchestral score
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Chamber Orchestra
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ADVANCED
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Contemporary
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Thierry Pélicant
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Thierry Pélicant: Concerto fo
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Musik Fabrik Music Publishing
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SheetMusicPlus
Chamber Orchestra - Level 5 - Digital Download SKU: A0.534690 Composed by Thierry Pélicant. 20th Century,Contemporary. Score and parts. 96 pages. Musi...
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Chamber Orchestra - Level 5 - Digital Download SKU: A0.534690 Composed by Thierry Pélicant. 20th Century,Contemporary. Score and parts. 96 pages. Musik Fabrik Music Publishing #6230969. Published by Musik Fabrik Music Publishing (A0.534690). A four-movement concerto for bassoon and orchestra (PIC22(CA)22/2100/Timp/2perc/strings) by the noted French composer. Duration is about 16 minutes. This file is the orchestral score only. The piano reduction and solo part. is also available for sale. The parts are on rental from the publisher. Thierry Pélicant was born in 1957 at Sainte-Adresse, France. After studying the organ and the horn, his meeting with Jean-Claude Hartemann, the Musical Director of the Opéra Comique in Paris lead him to decide to explore conducting. He was the student of Haremann for fifteen years. He is the Musical Director of the André Messager Orchestre and has also directed the Orchestre Philharmonique de l’Oise since 1980, one of the oldest French orchestras, since it was founded in 1750. A passionate supporter of French music, Pélicant reconstructed the Messe solennelle of L.V.A Boïeldieu and Te Deum of 1792 by Philidor and premièred and recorded the Suite Parnassienne, Massenet’s last work. At the same time, he has also served the music of our time in premièring or recording the works of Dazzi, Marchand, Braconnier, Bénard, Drouin, Preschez, etc. As a composer, musical grammar and stylistic debates only interest him from afar. As a true gourmet (since cooking is another of his passions), he strives to write the music that pleases him, that would be enjoyable to play and which would be enjoyable to hear, hopefully with real pleasure and in which he tries to express the emotions and the pleasant or surprising states of being which, to hime, these works are tied. Through this process, he has created concertos (for oboe, for bassoon, for organ, for contrabass), Escales & paysages, ma monumental literary concerto for narrator, piano and orchestra, composed with his friend Dominique Preschez, Operas (Histoires comme ça, Ribouldingue, Élise et le fantôme) ; With the poet Luis Porquet, he wrote the song cycle Ombre légère (for soprano, harp and orchestre), Rhapsodie du Havre (for tenor and chamber orchestra, a commission from the Forum de Normandie to commemorate the 500 years of the founding of the city Le Havre), Et de toi, Bethleem, Christmas oratorio for baritone, chorus and orchestra and, finally, commissioned by the Orchestre de l’Oise in honor of the centennial of the First World War 14, fresque de la Grande Guerre, for the tenor Daniel Gà lvez-Vallejo, children’s chorus and orchestra. In the area of chamber music, he has written a sonata for horn and piano, for the Festival de Giverny, Borée, (quintet for oboe and strings), Sextuor d’été, , and Milonga, (septet inspired by the World of Tango Music). Published in 2005, his novel Carnets de Walter Crane, explores the sufferings of a composer who has the obligation to write a string quartet ..
$29.95 ≈
26.83€
Focus on Grace ... A concerto for jazz saxophone and orchestra (2010)
Focus on Grace ... A concerto for jazz saxophone and orchestra (2010)
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Orchestra
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INTERMEDIATE/ADVANCED
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Thomas Oboe Lee
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Focus on Grace ... A concerto
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Thomas Oboe Lee
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SheetMusicPlus
Full Orchestra - Level 4 - Digital Download SKU: A0.869355 Composed by Thomas Oboe Lee. 20th Century,Classical,Contemporary,Jazz,Romantic Period. Score a...
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Full Orchestra - Level 4 - Digital Download SKU: A0.869355 Composed by Thomas Oboe Lee. 20th Century,Classical,Contemporary,Jazz,Romantic Period. Score and parts. 73 pages. Thomas Oboe Lee #15875. Published by Thomas Oboe Lee (A0.869355). Instrumentation: solo alto saxophone & 2222-4231-perc-drumset-strings. Program note. Maestro Max Hobart called me in the spring of 2009 and told me to check out this young jazz phenom on the saxophone named Grace Kelly. I said OK, that’s cool. That summer we went to the Regatta Bar in Harvard Square to hear her play with her band, and I was duly impressed by her musicality, soulfulness and chops. Max asked if I would be interested in writing a concerto for her and the Wellesley Symphony. I said, Sure. It sounds like a great idea. One of the most cherished jazz records in my vast collection is the collaboration between Stan Getz and Eddie Sauter entitled Focus. Eddie, who used to be an arranger for the Benny Goodman Band in the forties, went on to create the Sauter Finegan Band in the early fifties. The band was one of the first to include the piccolo, oboe, bassoon, harp, celesta, French horn, tuba, xylophone, glockenspiel, chimes, timpani, and other unusual symphonic instruments in the standard big band format of trumpets, trombones, saxophones and rhythm section of piano, bass and drum set. On the album Focus Eddie Sauter composed seven tracks of music for string orchestra and rhythm section. Stan Getz did not have a written part - he just improvised over the written music. If you are not familiar with this recording, then you will do yourself a huge favor if you go find it and add it to your own CD collection. The music is phenomenal and Stan is on top of his game, soaring above the strings with endless melodic inventions, flights of imagination and whimsy! It is one of those desert island CDs one should not be without. When I emailed Grace about this project and mentioned Stan Getz’s Focus, she said, It’s one of my favorite albums. So, we got off on a positive note immediately. My work, Focus on Grace … Concerto for Jazz Saxophone and Orchestra, is very much inspired both by the Stan Getz album and by the performances I heard of Grace and her band. The first movement is based on a funk groove in D minor: Grace’s part is initially written-out but she improvises freely in the coda. The second movement is a boss nova: as in the Stan Getz album, Grace does not have a written part but improvises over a set of chord changes provided by the orchestra. The third and last movement is an Afro-Cuban groove in six-eight: Grace has a written melody at first but soon launches into improvisation on a 12-bar blues in F. She ends the concerto in a free cadenza to show off her virtuosity and saxophone chops. ENJOY!!!
$9.99 ≈
8.95€
Grand Duo, opus 151 (2012) full score
Grand Duo, opus 151 (2012) full score
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Violin and Piano
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INTERMEDIATE/ADVANCED
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Thomas Oboe Lee
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Grand Duo, opus 151
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Thomas Oboe Lee
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SheetMusicPlus
Piano,Violin - Level 4 - Digital Download SKU: A0.869204 Composed by Thomas Oboe Lee. 20th Century,Baroque,Classical,Contemporary,Romantic Period. With A...
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Piano,Violin - Level 4 - Digital Download SKU: A0.869204 Composed by Thomas Oboe Lee. 20th Century,Baroque,Classical,Contemporary,Romantic Period. With Andante … 3. 2 pages. Thomas Oboe Lee #3901. Published by Thomas Oboe Lee (A0.869204). Program note: This is the third duo for violin and piano in my portfolio. The first one was written back when I was a student at the New England Conservatory of Music. It was my opus 3, The Sensuous Gargoyle (1975). My next one was a four-movement work entitled Tunesmith … An American Beauty Pageant (1993). It was commissioned by the Music Department at Lehigh University and premiered by two of its faculty members, Paul Chou and Paul Salerni. The violin has always been my favorite instrument. I have written twelve string quartets. For the violinist extraordinaire Irina Muresanu I wrote a big violin concerto in 2009, and a Partita for solo violin in 2011. I am slated to write another concerto, albeit a chamber one, for the Boston Classical Orchestra and violinist Sharon Roffman for a premiere in the fall of 2013. Last year I decided to write a third duo for violin and piano. I wanted to do something substantial and grandiose, hence the title Grand Duo, opus 151. Both Schubert and Lou Harrison have written works with the same title. So I thought, why not? The work is in five movements. 1. Misterioso … 2. Andante … 3. Allegro … Trio! 4. Largo … 5. Allegro … Enjoy! Audio link. Copy and paste the URL link into your browser.https://thomasoboelee.bandcamp.com/album/grand-duo-opus-151-2012Video link: https://youtu.be/xThob_BQkDE
$9.99 ≈
8.95€
Nocturne for violin and orchestra
Nocturne for violin and orchestra
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Orchestra, Violin
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Classical
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Nocturne for violin and orches
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Schott Music - Digital
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SheetMusicPlus
Violin and orchestra - Digital Download Completed and orchestrated after the sketches of Debussy by Robert Orledge. Composed by Robert Orledge and Clau...
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Violin and orchestra - Digital Download Completed and orchestrated after the sketches of Debussy by Robert Orledge. Composed by Robert Orledge and Claude Debussy (1862-1918). Arranged by Robert Orledge. This edition: vocal/piano score. Violin Library. Downloadable. Duration 10 minutes. Schott Music - Digital #Q46518. Published by Schott Music - Digital
The Belgian violinist, Eugene Ysaye (1858-1931), with his impressive blend of virtuosity and poetry, was a great admirer of the young Debussy's music who led the Paris premiere of his only string quartet in December 1893. In September 1892, Debussy was planning an American tour with the financial support of Prince Andre Poniatowski that was to include his 'nearly completed three Scenes au crepuscule', inspired by the Symbolist poetry of his friend Henri de Regnier. He made 'extensive revisions' to them in 1893, even if all that seems to have survived is a series of sketches in Bibliotheque Nationale de France, MS 20632(2), most of which appear to be for violin and orchestra in E or B major. Another related, and more virtuosic, theme emerged in a Parisian sale in June 2006, which opens the main part of the present Nocturne (after a slow introduction).
We also learn from Ernest Chausson in April 1893 that Debussy was composing a work for Ysaye's first American tour in 1894-95, which at one stage was described as a 'concerto'. Then, as Debussy was putting the finishing touches to L'Apres-midi d'un faune in 1894, he told Ysaye he was now working on 'three Nocturnes for solo violin and orchestra which are destined for you', and which undoubtedly derived from his earlier 'Twilight scenes'. The first was to be 'for strings only'. the second for three flutes, four horns, three trumpets and two harps. the third combines all these instruments'. He also informed Ysaye, perhaps with Whistler's Nocturnes in mind, that they were to be like 'a study in grey in painting'. Debussy only abandoned this project in November 1896 after Ysaye told him he would not be able to premiere the Nocturnes in Brussels 'for financial reasons'.
My completion comes closest to the third Nocturne Debussy planned and to being a rondo with related episodes. The dynamic idea that emerged in 2006, which was scored by Debussy, leads naturally into the 'twilight' theme in B major beginning on solo cello and doublebasses, with the high, haunting three-note idea first heard at the outset floating above on solo violin, exactly as Debussy conceived it. All five of Debussy's themes are harmonized and they vary in length between three and thirteen bars: none of them relate to the orchestral Nocturnes of 1897-99. Rather than develop any of these themes, they are presented in changing harmonic backgrounds in the contemporary manner of L'Apres-midi d'un faune, and the whole work centres on an expansive scalar which joins the various aspects of Debussy's 'twilight' themes together in a new perspective.
$19.99 ≈
17.91€
The Mansion - for Guitar and Orchestra - reduction
The Mansion - for Guitar and Orchestra - reduction
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Piano, Guitar (duet)
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ADVANCED
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Britt Andrew Burns
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The Mansion - for Guitar and O
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Indie Classical Publications
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SheetMusicPlus
Solo Guitar - Level 5 - Digital Download SKU: A0.971794 Composed by Britt Andrew Burns. Contemporary,Halloween. Individual part. 25 pages. Indie Classica...
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Solo Guitar - Level 5 - Digital Download SKU: A0.971794 Composed by Britt Andrew Burns. Contemporary,Halloween. Individual part. 25 pages. Indie Classical Publications #41347. Published by Indie Classical Publications (A0.971794). THE MANSION was composed in 2011. The inspiration for the work came from a reoccurring dream (or nightmare) I would have about being lost in a large, haunted mansion. The mansion would be abandoned, yet would be full of unexpected noises and surprises around every corner. Because of this, the music is intended to sound a little haunting, yet adventurous at the same time, because both of these emotions were strong in the dreams. I no longer have this reoccurring dream, and I have never come to understand why I used to have this dream. I have been a student of the guitar for over 18 years, and I wanted to write a concerto-like work for the nylon string guitar and orchestra. Because an orchestra can be overpowering to the acoustic guitar, I have suggested that the guitarist use an acoustic guitar amplifier. The volume can be adjusted to the performers discretion, but the guitar needs to always be heard. Although the work is also technically challenging, I tried to write something that would still be accessible for the audience. Almost all of the thematic material comes from a simple 5-note motive that can be heard at the beginning of the piece in the piano and guitar. This work does not follow a specific form, although many of the sections do repeat. Originally for guitar and orchestra, this arrangement is for guitar and piano.Difficulty: grade 5Duration: 7:45
$12.00 ≈
10.75€
Carson Cooman: Pittsburgh Concerto (2005) for orchestra, study score
Carson Cooman: Pittsburgh Concerto (2005) for orchestra, study score
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Orchestra
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ADVANCED
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Contemporary
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Carson Cooman
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Carson Cooman: Pittsburgh Conc
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Musik Fabrik Music Publishing
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SheetMusicPlus
Full Orchestra - Level 5 - Digital Download SKU: A0.533667 Composed by Carson Cooman. Contemporary. Score and parts. 54 pages. Musik Fabrik Music Publish...
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Full Orchestra - Level 5 - Digital Download SKU: A0.533667 Composed by Carson Cooman. Contemporary. Score and parts. 54 pages. Musik Fabrik Music Publishing #3037087. Published by Musik Fabrik Music Publishing (A0.533667). Pittsburgh Concerto (2005) was written for the Carnegie Mellon Philharmonic and isdedicated to Amy Stabenow, concert manager at Carnegie Mellon’s School of Music. Thepiece was conceived as a tribute to the city of Pittsburgh, Pennsylvania, USA.The work contains only two specific “programmatically inspired†images related toPittsburgh. They form the outer two sections of the work. The inner four sections areinspired more abstractly by various aspects of the city, its landscapes, and its people; theyfeature a series of solos and duets for many members of the orchestra – in the manner of a“concerto for orchestra.â€The opening of the work is inspired by Pittsburgh’s history as America’s steel capital.Colors and sounds of the clangorous industrial age of America’s past are evoked. The basicmusical material (a six-note cell) for the entire work is presented in this aggressiveintroduction. Throughout the rest of the work, this basic material is developed in ways thatrange from lushly romantic to aggressively athletic.The following section is marked “slow, lush†and features a duet first between trumpet andtuba, over warm harmonies in the orchestra. A brief duet for vibraphone and marimba leadsto an extended viola solo.The next section is fast and energetic. It begins with an athletic duet for English horn andbass trombone, followed by a ringing duet of tubular bells and crotales. The final solo is forviolin, as the orchestral texture disintegrates around it.The next section, marked “slow, mysticalâ€, begins with a duet between piano and bassclarinet. A passionate horn duo follows before a passage for solo bass leads directly into thenext section.This section is fragmentary and halting. An unpitched duo of bass drum and flexatonebegins, leading to an aggressive and abortive duet between solo flute and bassoon. Finally,an extended cello solo closes the section.The final part of the work is inspired by my first visit to Pittsburgh. When driving in fromPittsburgh airport (which is far outside the city), the city itself is “hidden†from the road byhills. Upon reaching the hills, one enters the Fort Pitt tunnel and, after a few moments,emerges from it on a suspension bridge over the Monongahela River. Late at night, this wasa truly breathtaking moment as the city and its rivers emerged suddenly in a mass of glitteringlights. The ecstatic rush of the lighted city at night is portrayed in this section – amidstfragments from the opening, recalling the industrial past, now transformed into somethingnew.Instrumentation3 Flutes (3rd dbl. Picc.)2 OboesEnglish Horn3 Clarinets in BbBass Clarinet in Bb2 BassoonsContrabassoon4 Horns in F/Bb3 Trumpets in Bb2 TrombonesBass TromboneTubaTimpaniPercussion (3 players)I: tubular bells, bass drumII: vibraphone (motor off)III: crotales, marimba, flexatone(Percussion II needs two rosined bows.Percussion III needs one rosined bow.)PianoViolin IViolin IIViolaCelloContrabass(principal/solo contrabass must have machine extension to low Db)This is the score only. The parts are available on rental from the publisher
$25.95 ≈
23.25€
Focus on Grace ... A concerto for jazz saxophone and orchestra (2010)
Focus on Grace ... A concerto for jazz saxophone and orchestra (2010)
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Thomas Oboe Lee
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Focus on Grace ... A concerto
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Thomas Oboe Lee
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SheetMusicPlus
Small Ensemble - Level 4 - Digital Download SKU: A0.869266 Composed by Thomas Oboe Lee. 20th Century,Contemporary,Jazz,Latin,Romantic Period. Score and p...
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Small Ensemble - Level 4 - Digital Download SKU: A0.869266 Composed by Thomas Oboe Lee. 20th Century,Contemporary,Jazz,Latin,Romantic Period. Score and parts. 73 pages. Thomas Oboe Lee #2019061. Published by Thomas Oboe Lee (A0.869266). Instrumentation: Alto sax solo and orchestra, 2222-4231-perc-drum set-strings Program note. Maestro Max Hobart called me in the spring of 2009 and told me to check out this young jazz phenom on the saxophone named Grace Kelly. I said OK, that’s cool. That summer we went to the Regatta Bar in Harvard Square to hear her play with her band, and I was duly impressed by her musicality, soulfulness and chops. Max asked if I would be interested in writing a concerto for her and the Wellesley Symphony. I said, Sure. It sounds like a great idea. One of the most cherished jazz records in my vast collection is the collaboration between Stan Getz and Eddie Sauter entitled Focus. Eddie, who used to be an arranger for the Benny Goodman Band in the forties, went on to create the Sauter Finegan Band in the early fifties. The band was one of the first to include the piccolo, oboe, bassoon, harp, celesta, French horn, tuba, xylophone, glockenspiel, chimes, timpani, and other unusual symphonic instruments in the standard big band format of trumpets, trombones, saxophones and rhythm section of piano, bass and drum set. On the album Focus Eddie Sauter composed seven tracks of music for string orchestra and rhythm section. Stan Getz did not have a written part - he just improvised over the written music. If you are not familiar with this recording, then you will do yourself a huge favor if you go find it and add it to your own CD collection. The music is phenomenal and Stan is on top of his game, soaring above the strings with endless melodic inventions, flights of imagination and whimsy! It is one of those desert island CDs one should not be without. When I emailed Grace about this project and mentioned Stan Getz’s Focus, she said, It’s one of my favorite albums. So, we got off on a positive note immediately. My work, Focus on Grace … Concerto for Jazz Saxophone and Orchestra, is very much inspired both by the Stan Getz album and by the performances I heard of Grace and her band. The first movement is based on a funk groove in D minor: Grace’s part is initially written-out but she improvises freely in the coda. The second movement is a boss nova: as in the Stan Getz album, Grace does not have a written part but improvises over a set of chord changes provided by the orchestra. The third and last movement is an Afro-Cuban groove in six-eight: Grace has a written melody at first but soon launches into improvisation on a 12-bar blues in F. She ends the concerto in a free cadenza to show off her virtuosity and saxophone chops. ENJOY!!!
$9.99 ≈
8.95€
Concerto for Trumpet with Piano Reduction
Concerto for Trumpet with Piano Reduction
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Trumpet, Piano
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ADVANCED
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Contemporary
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Graeme Culpepper
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Concerto for Trumpet with Pian
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Graeme Culpepper
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SheetMusicPlus
Piano,Trumpet - Level 5 - Digital Download SKU: A0.1028166 Composed by Graeme Culpepper. Contemporary. Score and part. 47 pages. Graeme Culpepper #686634...
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Piano,Trumpet - Level 5 - Digital Download SKU: A0.1028166 Composed by Graeme Culpepper. Contemporary. Score and part. 47 pages. Graeme Culpepper #6866343. Published by Graeme Culpepper (A0.1028166). Concerto for Trumpet and Orchestra Composer: Graeme Culpepper Year: 2022 Program Notes: I feel that there is a time in every composer's life when they decide to write a concerto. Writing a concerto is as intriguing as it is difficult, as finding a balance between soloist and ensemble can prove to be a tricky task. What’s more, is deciding upon said ensemble. In today’s musical climate, the supporting ensemble can be a variety of different instrumental groups ranging from a chamber ensemble consisting of just a few musicians to a full symphony orchestra. In my humble opinion, with a genre as grand as a concerto, especially one involving the trumpet, I find it fitting to use the orchestra to accompany the trumpet. However, I opted to use an orchestra without a trumpet section to better support the soloist. This concerto’s first movement is built upon a couple of form-defining motifs. One in the form of an ostinato that is constantly changing meter, and another that is a simple short rhythmic cell that is able to fit in a variety of different textures throughout the movement. This movement also introduces the main motif throughout the entire concerto: a melodic sequence consisting of a minor third, a perfect fifth, followed by another minor third which resolves down by half step. This is the unifying motif of the entire concerto. I often ponder as to where the material in the second movement came from. After a long time of reflection, I have come to the conclusion that it is a subconscious expression of myself that comes from deep within. The second movement is perhaps the most vulnerable I have ever been with any of the music I have written, and the experience I personally have when listening to it is one that is very intimate. The third movement is a thrilling romp that is entirely built on the unifying motif mentioned earlier. The whole movement is essentially one big variation of itself. This movement is arguably the most technical and gives the trumpet soloist a great opportunity to show off their skill. This movement is also built upon a one-bar rhythmic ostinato so that the tension in this movement is never fully resolved until the very last bar, in hopes that this will keep the listener on their toes at all times. Performed live in Recital Hall at Indiana University Jacobs School of Music on March 1st, 2022Purchase includes Full Score + Solo Trumpet Part.
$19.99 ≈
17.91€
Beethoven's Sonata Pathetique, opus 13, 3rd movement, as a Piano Concerto
Beethoven's Sonata Pathetique, opus 13, 3rd movement, as a Piano Concerto
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Piano solo
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INTERMEDIATE/ADVANCED
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Classical
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Aere Greenway
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Aere Greenway
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Beethoven's Sonata Pathetique,
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Aere R Greenway
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SheetMusicPlus
Level 4 - Digital Download SKU: A0.1200096 By Aere Greenway. By Ludwig van Beethoven, and Aere Greenway. Arranged by Aere Greenway. Classical,Romantic Pe...
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Level 4 - Digital Download SKU: A0.1200096 By Aere Greenway. By Ludwig van Beethoven, and Aere Greenway. Arranged by Aere Greenway. Classical,Romantic Period. Accompaniment. Duration 343. Aere R Greenway #798901. Published by Aere R Greenway (A0.1200096). Transform your piano solo, into a piano concerto! Simply put the orchestra-parts audio file on your phone, and connect your phone to the performance venue's sound system. Â When ready to perform, press play on the audio file on your phone, listen for the introductory timpani note, and start playing the piano part along with the pre-recorded orchestra parts.
$9.97 ≈
8.93€
Beethoven's Sonata Pathetique, opus 13, 2nd movement, as a Piano Concerto
Beethoven's Sonata Pathetique, opus 13, 2nd movement, as a Piano Concerto
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Piano solo
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INTERMEDIATE/ADVANCED
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Classical
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Aere Greenway
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Aere Greenway
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Beethoven's Sonata Pathetique,
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Aere R Greenway
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SheetMusicPlus
Level 4 - Digital Download SKU: A0.1200095 By Aere Greenway. By Ludwig van Beethoven, and Aere Greenway. Arranged by Aere Greenway. Classical,Romantic Pe...
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Level 4 - Digital Download SKU: A0.1200095 By Aere Greenway. By Ludwig van Beethoven, and Aere Greenway. Arranged by Aere Greenway. Classical,Romantic Period. Accompaniment. Duration 300. Aere R Greenway #798897. Published by Aere R Greenway (A0.1200095). Transform your piano solo, into a piano concerto! Simply put the orchestra-parts audio file on your phone, and connect your phone to the performance venue's sound system. Â When ready to perform, press play on the audio file on your phone, listen for the introductory timpani note, and start playing the piano part along with the pre-recorded orchestra parts.
$9.97 ≈
8.93€
Carson Cooman: Piano Concerto (2005) for solo piano and strings, score and parts
Carson Cooman: Piano Concerto (2005) for solo piano and strings, score and parts
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Chamber Orchestra
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ADVANCED
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Contemporary
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Carson Cooman
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Carson Cooman: Piano Concerto
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Musik Fabrik Music Publishing
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SheetMusicPlus
Chamber Orchestra - Level 5 - Digital Download SKU: A0.533631 Composed by Carson Cooman. Classical,Contemporary. Score and parts. 65 pages. Musik Fabrik ...
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Chamber Orchestra - Level 5 - Digital Download SKU: A0.533631 Composed by Carson Cooman. Classical,Contemporary. Score and parts. 65 pages. Musik Fabrik Music Publishing #3033835. Published by Musik Fabrik Music Publishing (A0.533631). Piano Concerto (2005) for solo piano and strings was commissioned by Nathaniel Blume andSymphonic Underground. The work was written in celebration of the Mozart Year 2006.Unlike most recent piano concerti, this work is a concerto designed for small performingforces. It sits between typical chamber music and the typical piano concerto.The work was inspired by the various Mozart concerti (such as K. 449) which are oftenperformed with very small string sections. Thus, this concerto may be performed with as fewas single strings on each part, or a larger full string orchestraThe work is cast in one movement, containing two large sections (sub-movements).Structurally, the piece is a highly condensed version of Classical period symphonic form.The first section of the work is an exposition-development/sonata allegro combined with aslow movement. The second section is a combination of a triple-meter scherzo and a rondofinale.The musical material throughout derives tonally from the three notes of a D-major triad (D,F#, and A). Those three pitches serve as transformation centers for the work's material andalso plot the tonal areas of each section. The musical material of the work thus ranges fromhighly Classical melodies (although all original) and textures to more Romantic andmodernist elements that transform out of the initial material.
$64.95 ≈
58.19€
Carson Cooman: Piano Concerto (2005) for solo piano and strings, score only
Carson Cooman: Piano Concerto (2005) for solo piano and strings, score only
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Chamber Orchestra
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ADVANCED
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Contemporary
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Carson Cooman
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Carson Cooman: Piano Concerto
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Musik Fabrik Music Publishing
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SheetMusicPlus
Chamber Orchestra - Level 5 - Digital Download SKU: A0.533630 Composed by Carson Cooman. Classical,Contemporary. Score and parts. 31 pages. Musik Fabrik ...
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Chamber Orchestra - Level 5 - Digital Download SKU: A0.533630 Composed by Carson Cooman. Classical,Contemporary. Score and parts. 31 pages. Musik Fabrik Music Publishing #3033833. Published by Musik Fabrik Music Publishing (A0.533630). Piano Concerto (2005) for solo piano and strings was commissioned by Nathaniel Blume andSymphonic Underground. The work was written in celebration of the Mozart Year 2006.Unlike most recent piano concerti, this work is a concerto designed for small performingforces. It sits between typical chamber music and the typical piano concerto.The work was inspired by the various Mozart concerti (such as K. 449) which are oftenperformed with very small string sections. Thus, this concerto may be performed with as fewas single strings on each part, or a larger full string orchestraThe work is cast in one movement, containing two large sections (sub-movements).Structurally, the piece is a highly condensed version of Classical period symphonic form.The first section of the work is an exposition-development/sonata allegro combined with aslow movement. The second section is a combination of a triple-meter scherzo and a rondofinale.The musical material throughout derives tonally from the three notes of a D-major triad (D,F#, and A). Those three pitches serve as transformation centers for the work's material andalso plot the tonal areas of each section. The musical material of the work thus ranges fromhighly Classical melodies (although all original) and textures to more Romantic andmodernist elements that transform out of the initial material.
$25.95 ≈
23.25€
Concertino Barocco (after C.P.E. Bach and G.B. Pescetti)
Concertino Barocco (after C.P.E. Bach and G.B. Pescetti)
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2 Pianos, 4 hands
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INTERMEDIATE/ADVANCED
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Classical
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Carl Philipp Emanuel Bach, Gio
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Kiyoshi Tamagawa
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Concertino Barocco
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Mastery for Strings Press
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SheetMusicPlus
2 Pianos,4 Hands,Piano Duet - Level 4 - Digital Download SKU: A0.945464 Composed by Carl Philipp Emanuel Bach, Giovanni Battista Pescetti. Arranged by Ki...
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2 Pianos,4 Hands,Piano Duet - Level 4 - Digital Download SKU: A0.945464 Composed by Carl Philipp Emanuel Bach, Giovanni Battista Pescetti. Arranged by Kiyoshi Tamagawa. Baroque. Score. 12 pages. Mastery for Strings Press #5999147. Published by Mastery for Strings Press (A0.945464). The practice of adding an accompaniment to a composition originally created for a solo instrument is a time-honored tradition in Western art music, whether the additional music be for one or a few instruments or an entire ensemble. In the latter case a concerto movement can be fabricated from a solo work. The Concertino Barocco (Little Baroque Concerto) takes as its basis two pieces of the Baroque era that have long been popular repertoire for advancing students of the keyboard: the Solfeggio (or Solfeggietto) by C.P.E. Bach, and the third movement, Presto, from the Sonata in C minor by Giovanni Battista Pescetti. These works are transformed into two miniature concerto movements by adding and interpolating short tutti passages at various points in the form, rather in the style of Antonio Vivaldi. Not a note has been added or subtracted from the original keyboard solos, so that a student who has mastered the originals may play this Concertino simply by memorizing the exact points in the original pieces where additional music for the orchestra has been added and they must wait to continue.
$9.99 ≈
8.95€
Vivaldi Concerto RV 93 1st movement
Vivaldi Concerto RV 93 1st movement
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String Orchestra
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INTERMEDIATE
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Antonio Vivaldi
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Martin Lass
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Vivaldi Concerto RV 93 1st mov
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MA Lass & I Lass
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SheetMusicPlus
String Orchestra - Level 3 - Digital Download SKU: A0.1417819 Composed by Antonio Vivaldi. Arranged by Martin Lass. Baroque,Chamber,Children,Classical,In...
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String Orchestra - Level 3 - Digital Download SKU: A0.1417819 Composed by Antonio Vivaldi. Arranged by Martin Lass. Baroque,Chamber,Children,Classical,Instructional. 19 pages. MA Lass & I Lass #999240. Published by MA Lass & I Lass (A0.1417819). Martin Lass is an Australian violinist, composer, arranger, and teacher. He is most well known for his performance career as a classical crossover and popular music artist with 11 CD recordings, numerous awards and accolades, and performances with the likes of Luciano Pavorotti, Julio Iglesias, and Joan Baez. Before this, he was a founding member of the Australian Chamber Orchestra, as well as playing with the Sydney Symphony Orchestra and the Australian Opera and Ballet Orchestra. When he is not spending time with his wife of 46 years, his three middle-aged children, and his two grandchildren, he spends his time and energy teaching, writing, arranging, and performing. Vivaldi's Concerto RV 93 was originally written for lute or guitar solo plus strings and basso continuo. Here, the 1st movement of the concerto has been arranged for an intermediate-level student string orchestra without continuo or piano accompaniment. To this end, the work has been simplified: the original key of D major has been changed to C major; some rhythms have been simplified, including doubling all note values and changing the time signature to 2/2; some registers have been changed in order to keep parts in 1st position; and extensive dynamics and articulations have been added to assist students with musical interpretation according to Baroque music conventions. That said, some crescendos have been added for effect. It is anticipated that the one repeat will be done, as is traditional. The upper strings are expected to be able to play low 2nd and 4th fingers, and the cellos have both backward and forward extensions but only leave 1st position in two short identical passages. The main challenge of the piece lies in the bowing style and the articulations, aforementioned.Level: 2.0 - 2.5Duration: 3mParts ListViolin IViolin IIViolin III (from Viola) (optional)ViolaVioloncelloDouble BassFull Score.
$39.00 ≈
34.94€
Concerto No 3 in C Minor for Violincello (with piano reduction)
Concerto No 3 in C Minor for Violincello (with piano reduction)
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Cello, Piano
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Contemporary
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Tim Yarham
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Concerto No 3 in C Minor for V
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True Art is Angsty
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SheetMusicPlus
Cello,Piano - Digital Download SKU: A0.1005072 Composed by Tim Yarham. 20th Century,Contemporary. Score and part. 56 pages. True Art is Angsty #4854405. ...
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Cello,Piano - Digital Download SKU: A0.1005072 Composed by Tim Yarham. 20th Century,Contemporary. Score and part. 56 pages. True Art is Angsty #4854405. Published by True Art is Angsty (A0.1005072). The cello is one of the more beautiful and exotic instruments in an orchestra, with its deep voice from low in the register to beautiful high tones. Concerto No 3 in C Minor features a solo cello with piano accompaniment, stretching the range of the cellist and showing off the technical fluidity and soaring voice as well as the deepest notes.
$20.00 ≈
17.92€
Concerto in Eb for Saxophone
Concerto in Eb for Saxophone
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Alto Saxophone and Piano
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ADVANCED
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Classical
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Alexander Glazunov
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Karl Logue
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Concerto in Eb for Saxophone
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LogueRhythm Productions
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SheetMusicPlus
Alto Saxophone,Piano - Level 5 - Digital Download SKU: A0.1039782 Composed by Alexander Glazunov. Arranged by Karl Logue. Romantic Period. Score and part...
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Alto Saxophone,Piano - Level 5 - Digital Download SKU: A0.1039782 Composed by Alexander Glazunov. Arranged by Karl Logue. Romantic Period. Score and part. 49 pages. LogueRhythm Productions #644624. Published by LogueRhythm Productions (A0.1039782). A new and far more playable piano reduction of the orchestral score, this is perfect for Solo and Concerto competitions. Includes optional notes for more advanced pianists, and the saxophone includes cues from the orchestra to aid in counting long rests.
$9.99 ≈
8.95€
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One Note Concerto for piano and orchestra
