Double Concerto For 2 Violins And Orchestra

The 'Eulenburg Audio Score' series contains the orchestral world's greatest musical treasures from the baroque, classical and romantic repertoire. Each volume is clearly-presented with authoritative scores, informative prefaces detailing the biographical and creative background- - CDs of great performances of each work in full length, from orchestras including the London Philharmonic Orchestra, the Royal Philharmonic Orchestra, and the Philharmonia Orchestra.NEW: This box-set of 25 masterpieces in a handy slipcase containing volumes 51-75 in the series is amazing value: almost 50% cheaper than buying each volume separately!This is the perfect gift for any music-lover. 'Eulenburg Audio Score' is the new way to hear, read and understand music. Eulenburg is the 130 year-old world-famous publishing brand, renowned for its top-quality, reliable study scores at reasonable prices. Focusing on the fields of opera, orchestral music, chamber music and vocal music, it is the favoured by conductors, orchestral musicians, soloists, students, teachers and music-lovers generally. The more you read, the more you hear! / Tout Instrument

Music Minus One Violin Deluxe 2-CD Set-Three beautiful Baroque concerti from the master composer Antonio Vivaldi all part of his famous 'L'Estro Armonico.' Glorious Venetian Baroque music rewarding to study and play. The wonderful 'Double' Concerto includes printed parts for both primo and secondo violin and includes accompaniments with orchestra minus primo violin as well as with orchestra only (minus both violins) for you and a fellow violinist to perform. Suitable for a variety of technical levels. Includes a high-quality printed music score and 2 compact discs with complete and stereo accompaniment recordings. Performed by Geoffrey Applegate violin Lenore Sjoberg 2nd violin Accompaniment: ClassicChamber Orchestra Conductor: Emil Kahn

(from Concerto for Two Violins and Piano)-One of the all-time favorites in string pedogogy literature here is the Bach Double superbly arranged for string ensemble retaining the original violin parts and now supported by well-scored ensemble parts (with optionalkeyboard). Larry Moore's arrangement is a welcome edition for today's string ensembles.

Ed. G.F. Malipiero - 3 Vl 1 3 Vl 2 2 Vla 2 Vc CB Trp1 Trp2 Harpsichord-Contains: 3 Violins I - 3 Violins II - 2 Violas - 2 Cellos - 1 DoubleBass - 1 Trumpet I - 1 Trumpet II -1 Harpsichord

This collection presents a varied repertoire by J. S. Bach arranged for the Organ by Martin Setchell.Bringing a wealth of popular pieces under the fingers and feet of intermediate players this volume caters for all parts of the church service as well as providing recital repertoire and popular encores.Taking its cue from the Baroque practice of transcription and with the needs of modern players in mind Bach Transcriptions For Organ presents a set of pieces with wide and varied use and makes a valuable addition to any organist's repertoire.This volume includes:A selection of varied repertoire by J.S. Bach in new arrangements for the Organ.16 pieces from a cross-section of the master's instrumental and Choral works.Practical new transcriptions by a leading concert organist suited to most Organs.Music suitable for all parts of a church service - preludes postludes and communion pieces - as well as recital repertoire and popular encores.A host of well-known favourites including the Badinerie from Orchestral Suite No. 2 the slow movement of the Double Violin Concerto and the Pastoral Symphony from the Christmas Oratorio as well as less familiar works.

In Circles - 16 Imaginary Dances for 18 Players (2010). Parts are available on hire: hire@ewh.dk Instr.: FluteOboeClarinet in BbBass ClarinetBassoonHorn2 Trumpets In BbTenor-Bassposaune2 PercussionistsPiano2 ViolinsViola2 CellosDouble Bass Programme note About five years ago the Ensemble Modern commissioned a composition giving me relatively free rein over instrumentation duration and completion date. I was very excited about the opportunity and eager to start work but first I had to finish asymphony and a cello concerto. However when I wanted to begin writing the piece for Frankfurt inspiration became silent and remained silent for the next three years apart from the two works for chamber orchestra: I experienced my first writer’s block. This was not my first commission but the first time that I was seriously worried about a piece and started thinking about the commissioning ensemble and its expectations. If anything I held the Ensemble Modern in too high esteem. The ensemble is notorious for being a group of all-rounders who have already seen and done everything. However it was simply time for me to challenge my self-belief as composer and to search out what kind of composer I really am. Whatever the true reason was I still didn’t get anything down on paper. Nothing would gel. In 2008 a stipend from a New York foundation led me to an Italian lavender-castle from the 15th century far away from everything else deep in Umbria. The deadline for my first opera moved dangerously closer but was barely started. The next commission for an orchestra was also waiting in addition to the piece for EM: only empty sheets.  When I came home six weeks later though I hadn’t finished anything the spell was broken. Behind the massive walls drafts had been created for what within the