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From This Moment On for String Trio

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35 partitions trouvées

From This Moment On

From This Moment On #Trio à Cordes: violon, alto, violoncelle #INTERMÉDIAIRE #Shania Twain #Sherrry Lewis #From This Moment On #Sherry Lewis Publishing #SheetMusicPlus

String Trio Cello,Viola,Violin - Level 3 - SKU: A0.1486715 By Shania Twain. By Robert John Mutt Lange and Shania Twain. Arranged by Sherrry Lewis. Pop,W...(+)

$12.99 ≈ 11.68€

From This Moment On

From This Moment On #Trio à Cordes: violon, alto, violoncelle #INTERMÉDIAIRE #Shania Twain #Stephen W #From This Moment On #BurchMusic #SheetMusicPlus

String Trio Cello,Viola,Violin - Level 3 - SKU: A0.1217980 By Shania Twain. By Robert John Mutt Lange and Shania Twain. Arranged by Stephen W. Burch (AS...(+)

$15.00 ≈ 13.49€

Mysterious Moment for alto flute and string trio

Mysterious Moment for alto flute and string trio #Trio à Cordes: violon, alto, violoncelle #INTERMÉDIAIRE #Contemporain #David Warin Solomons #Mysterious Moment for alto flu #David Warin Solomons #SheetMusicPlus

String Ensemble,String Trio - Level 3 - SKU: A0.576736 Composed by David Warin Solomons. 20th Century,Contemporary. Score and parts. 7 pages. David Wari...(+)

$8.00 ≈ 7.19€

Aria from the Goldberg Variations for String Trio

Aria from the Goldberg Variations for String Trio #Classique #Johann Sebastian Bach #Dave Prudon #Aria from the Goldberg Variati #Prudon String Ensembles #SheetMusicPlus

String Ensemble,String Trio - Level 3 - SKU: A0.732749 Composed by Johann Sebastian Bach. Arranged by Dave Prudon. Baroque,Christmas,Contemporary,Sacred...(+)

$9.99 ≈ 8.98€

This Place Is A Shelter

This Place Is A Shelter #Piano Trio: piano, violon, violoncelle #FACILE #Contemporain #Olafur Arnalds #Musikeo #This Place Is A Shelter #Musikeo #SheetMusicPlus

Piano Trio,String Ensemble Cello,Piano,Violin - Level 2 - SKU: A0.845450 Composed by Olafur Arnalds. Arranged by Musikeo. Contemporary. Score and parts....(+)

$12.99 ≈ 11.68€

Trio for Incomplete Quartet

Trio for Incomplete Quartet #Trio à Cordes: 2 violons, alto #INTERMÉDIAIRE/AVANCÉ #Contemporain #Patrick Prejean #Trio for Incomplete Quartet #Patrick Prejean #SheetMusicPlus

String Ensemble,String Trio Viola,Violin - Level 4 - SKU: A0.1093116 Composed by Patrick Prejean. Classical,Contemporary. Score and parts. 44 pages. Pat...(+)

$35.00 ≈ 31.48€

Pas de Deux from the Nutcracker for Piano Trio (Violin, Cello & Piano) or Piano Quartet

Pas de Deux from the Nutcracker for Piano Trio (Violin, Cello & Piano) or Piano Quartet #3 Clarinettes (trio) #AVANCÉ #Classique #Peter Ilyich Tchaikovsky #Daniel Kelley #Pas de Deux from the Nutcracke #Last Resort Music Publishing #SheetMusicPlus

Woodwind Ensemble,Woodwind Trio Clarinet - Level 5 - SKU: A0.530479 Composed by Peter Ilyich Tchaikovsky. Arranged by Daniel Kelley. Children,Christmas,...(+)

$9.95 ≈ 8.95€

Mysterious Moment for oboe and string trio

Mysterious Moment for oboe and string trio #Contemporain #David Warin Solomons #Mysterious Moment for oboe and #David Warin Solomons #SheetMusicPlus

Small Ensemble Cello,Oboe,Viola,Violin - Level 3 - SKU: A0.576733 Composed by David Warin Solomons. 20th Century,Contemporary. Score and parts. 7 pages....(+)

$8.00 ≈ 7.19€

Poem For Carlita (viola part - vln, vla, cel)

Poem For Carlita (viola part - vln, vla, cel) #Mark Oâ€™Connor

#Mark O'Connor #therefore there is no return #Poem For Carlita #Mark O'Connor Musik International #SheetMusicPlus

String Ensemble,String Trio - Level 5 - SKU: A0.861805 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 10 pages. Mark O'Conn...(+)

String Ensemble,String Trio - Level 5 - SKU: A0.861805 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 10 pages. Mark O'Connor Musik International #6202197. Published by Mark O'Connor Musik International (A0.861805). Poem For Carlita (viola part â€“ vln, vla, cel) MO142CViola Part (score and parts available)Music by Mark Oâ€™Connor6 pages - 8:30 minutes in length Poem For Carlita In contemporary vocal music, there is a form called a story song. It is an odd form in that it does not contain any departure from the central idea; therefore there is no return. The story has a beginning and ending but uses subtle variation to push the idea along its way. .. much the way loving relationships evolve. The equivalent of the story song in classical music is a Poem, and this is what I have called this piece. An inspiration I used for my musical poem was the ocean and itâ€™s repetition of waves as they fall in to the shoreline. I grew up near the ocean and remember how the sounds of the relentless waves used tocalm me. While it was the repetitive sound of the sea that moved me as a child, today, I observed that each wave was not the same but in fact slightly different. I was amazed that it seemed that no two waves looked or sounded the same to me. This natural occurrence seemed to mirror my love for wife Carla. Each day was just something a tiny bit different. It was very natural to make these kinds of life experience connections. Bridges that joined nature, love and art. The poem begins slowly and inquisitively and builds through in intensity with loud and mightily passionate moments of emotion before the music comes down peacefully and reflectively, until the last statement played by the violin signifies that the sea is calm once again. Original music printed from the composerâ€™s manuscripts.Music editing, copying and engraving by Mark Oâ€™Connorusing Finale on Apple Macintosh 1998 Composed By Mark Oâ€™ConnorOriginally released on Appalachian Journey featuring Mark Oâ€™Connor, Yo-Yo Ma and Edgar Meyer, Sony ClassicalPoem for Carlita can be heard on Mark O'Connor's Crossing Bridges OMAC Recordshttps://omacrecords.com/omac-7-crossing-bridges Catalogue Number MO142CCopyright Â© 1998 by Mark Oâ€™Connor Music InternationalFor more information on violinist and composer Mark O'Connor, Oâ€™Connor String Camps, Touring Ensembles, Discography, Bio, Repertoire and more, please visitwww.markoconnor.com For information on the Oâ€™Connor Method â€“ instructional book series for violin, viola, cello and school string orchestra programs:www.oconnormethod.com

$4.50 ≈ 4.05€

Poem For Carlita (violin part - vln, vla, cel)
Poem For Carlita (violin part - vln, vla, cel) #Mark Oâ€™Connor
#Mark O'Connor #therefore there is no return #Poem For Carlita #Mark O'Connor Musik International #SheetMusicPlus

String Ensemble,String Trio - Level 5 - SKU: A0.861803 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 11 pages. Mark O'Conn...(+)

String Ensemble,String Trio - Level 5 - SKU: A0.861803 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 11 pages. Mark O'Connor Musik International #6202181. Published by Mark O'Connor Musik International (A0.861803). Poem For Carlita (violin part â€“ vln, vla, cel) MO142BViolin Part (score and parts available)Music by Mark Oâ€™Connor7 pages - 8:30 minutes in length Poem For Carlita In contemporary vocal music, there is a form called a story song. It is an odd form in that it does not contain any departure from the central idea; therefore there is no return. The story has a beginning and ending but uses subtle variation to push the idea along its way. .. much the way loving relationships evolve. The equivalent of the story song in classical music is a Poem, and this is what I have called this piece. An inspiration I used for my musical poem was the ocean and itâ€™s repetition of waves as they fall in to the shoreline. I grew up near the ocean and remember how the sounds of the relentless waves used to calm me. While it was the repetitive sound of the sea that moved me as a child, today, I observed that each wave was not the same but in fact slightly different. I was amazed that it seemed that no two waves looked or sounded the same to me. This natural occurrence seemed to mirror my love for wife Carla. Each day was just something a tiny bit different. It was very natural to make these kinds of life experience connections. Bridges that joined nature, love and art. The poem begins slowly and inquisitively and builds through in intensity with loud and mightily passionate moments of emotion before the music comes down peacefully and reflectively, until the last statement played by the violin signifies that the sea is calm once again. Original music printed from the composerâ€™s manuscripts.Music editing, copying and engraving by Mark Oâ€™Connorusing Finale on Apple Macintosh 1998 Composed By Mark Oâ€™ConnorOriginally released on Appalachian Journey featuring Mark Oâ€™Connor, Yo-Yo Ma and Edgar Meyer, Sony ClassicalPoem for Carlita can be heard on Mark O'Connor's Crossing Bridges OMAC Recordshttps://omacrecords.com/omac-7-crossing-bridges Catalogue Number MO142BCopyright Â© 1998 by Mark Oâ€™Connor Music InternationalFor more information on violinist and composer Mark O'Connor, Oâ€™Connor String Camps, Touring Ensembles, Discography, Bio, Repertoire and more, please visitwww.markoconnor.com For information on the Oâ€™Connor Method â€“ instructional book series for violin, viola, cello and school string orchestra programs:www.oconnormethod.com

$4.50 ≈ 4.05€

Poem For Carlita (cello part - vln, vla, cel)
Poem For Carlita (cello part - vln, vla, cel) #Mark Oâ€™Connor
#Mark O'Connor #therefore there is no return #Poem For Carlita #Mark O'Connor Musik International #SheetMusicPlus

String Ensemble,String Trio - Level 5 - SKU: A0.861806 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 10 pages. Mark O'Conn...(+)

String Ensemble,String Trio - Level 5 - SKU: A0.861806 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 10 pages. Mark O'Connor Musik International #6202205. Published by Mark O'Connor Musik International (A0.861806). Poem For Carlita (cello â€“ vln, vla, cel) MO142DCello Part (score and parts available)Music by Mark Oâ€™Connor15 pages - 8:30 minutes in length Poem For Carlita In contemporary vocal music, there is a form called a story song. It is an odd form in that it does not contain any departure from the central idea; therefore there is no return. The story has a beginning and ending but uses subtle variation to push the idea along its way. .. much the way loving relationships evolve. The equivalent of the story song in classical music is a Poem, and this is what I have called this piece. An inspiration I used for my musical poem was the ocean and itâ€™s repetition of waves as they fall in to the shoreline. I grew up near the ocean and remember how the sounds of the relentless waves used to calm me. While it was the repetitive sound of the sea that moved me as a child, today, I observed that each wave was not the same but in fact slightly different. I was amazed that it seemed that no two waves looked or sounded the same to me. This natural occurrence seemed to mirror my love for wife Carla. Each day was just something a tiny bit different. It was very natural to make these kinds of life experience connections. Bridges that joined nature, love and art. The poem begins slowly and inquisitively and builds through in intensity with loud and mightily passionate moments of emotion before the music comes down peacefully and reflectively, until the last statement played by the violin signifies that the sea is calm once again. Original music printed from the composerâ€™s manuscripts.Music editing, copying and engraving by Mark Oâ€™Connorusing Finale on Apple Macintosh 1998 Composed By Mark Oâ€™ConnorOriginally released on Appalachian Journey featuring Mark Oâ€™Connor, Yo-Yo Ma and Edgar Meyer, Sony ClassicalPoem for Carlita can be heard on Mark O'Connor's Crossing Bridges OMAC Recordshttps://omacrecords.com/omac-7-crossing-bridges Catalogue Number MO142DCopyright Â© 1998 by Mark Oâ€™Connor Music InternationalFor more information on violinist and composer Mark O'Connor, Oâ€™Connor String Camps, Touring Ensembles, Discography, Bio, Repertoire and more, please visitwww.markoconnor.com For information on the Oâ€™Connor Method â€“ instructional book series for violin, viola, cello and school string orchestra programs:www.oconnormethod.com

$4.50 ≈ 4.05€

Persecuted Then Crucified strings trio with piano key of G
Persecuted Then Crucified strings trio with piano key of G #Connie Boss #Connie Boss #Persecuted Then Crucified stri #Connie Boss #SheetMusicPlus

Cello,Piano Accompaniment,Violin - Level 3 - SKU: A0.1342288 Composed by Connie Boss. Arranged by Connie Boss. Easter,Holiday,Lent,Religious,Sacred. 27 ...(+)

Cello,Piano Accompaniment,Violin - Level 3 - SKU: A0.1342288 Composed by Connie Boss. Arranged by Connie Boss. Easter,Holiday,Lent,Religious,Sacred. 27 pages. Connie Boss #927805. Published by Connie Boss (A0.1342288). This song can be used for Lent or on Good Friday. Jesus was persecuted, then crucified to save us from our sins.This arrangement is in the key of G and is for strings trio - two violins and a cello and piano. Â I will have it in a lower range in key of C for mezzon soprano and alto or alot and tenor as well.questions or requests, email cdboss@cvalley.netLyrics are included on the violin parts to make it easier to follow along.Â They are below as well.Persecuted then CrucifiedRefrain:Persecuted, then crucifiedUp to the moment when he diedVerse 1:They stripped him of all His clothesThen they gave Him a scarlet robeÂ A crown of thorns placed on His headBlood ran down His face until His deathRefrain:Verse 2:He Carried the cross to CalvaryWhere it was His destinyThey nailed His feet and then His handsAmong two thieves the cross would standRefrain:Bridge 1:He saved others but he canâ€™t save himself!Â He says He is the king of Israel!Â Let him come down from the cross,Â Then, we will believe in him.Refrain:Verse 3:They put sour wine to His mouthHe did not drink it but spat it outThey divided up all His clothesWith the dice that they had rolledRefrain 2:Persecuted, then crucifiedUp to the moment when he diedThen He gave His final cryâ€œFather please forgive Â Â themâ€Bridge 2:Then he hung his head to dieThen the sky grew dark and dimTerrified, the people then realizedHe truly was the son of GodÂ Final ending:Persecuted, then crucifiedUp to the moment when he died.

$7.99 ≈ 7.19€

Eternal Father, Strong to Save — for String Quartet
Eternal Father, Strong to Save — for String Quartet #Quatuor à cordes: 2 violons, alto, violoncelle #FACILE #John Bacchus Dykes #Michele Galvagno #Eternal Father, Strong to Save #Artistic Score Engraving di Galvagno Michele #SheetMusicPlus

String Quartet Cello,String Quartet,Viola,Violin - Level 2 - SKU: A0.1112599 Composed by John Bacchus Dykes. Arranged by Michele Galvagno. 19th Century,...(+)

String Quartet Cello,String Quartet,Viola,Violin - Level 2 - SKU: A0.1112599 Composed by John Bacchus Dykes. Arranged by Michele Galvagno. 19th Century,Christian,Patriotic,Religious,Sacred. 16 pages. Artistic Score Engraving di Galvagno Michele #714609. Published by Artistic Score Engraving di Galvagno Michele (A0.1112599). Eternal Father, Strong to Save is a British hymn traditionally associated with seafarers, and was first written in 1860 by William Whiting (1825â€”1878), an Anglican churchman from Winchester. According to his recount, Whiting grew up near the ocean and, at the age of thirty-five, had felt his life spared by God when a violent storm nearly claimed the ship he was travelling on. This instilled in him a belief in God's command over the rage and calm of the sea. The music associated with it was written by John B. Dykes (1823â€”1876), another Anglican clergymen and composer of the music for nearly three hundred hymns. This edition comes in several arrangements for multiple ensembles. At the moment of the first edition it contains the original choir version (with the 1861 lyrics), a voice and piano version, and arrangements for string, cello, trombone, horn, woodwind, brass, and saxophone quartets. The cello, trombone, and horn quartet versions are slightly more elaborated. Additional versions will be created upon request, contact me to know more. This arrangement is dedicated to Martin Smith.

$4.50 ≈ 4.05€

Concerto
Concerto #Piano et Orchestre #AVANCÉ #Contemporain #Gyorgy Ligeti #Concerto #Schott Music - Digital #SheetMusicPlus

Piano and orchestra - difficult - For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minut...(+)

Piano and orchestra - difficult - 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 ≈ 21.58€

String Quartet No. 3
String Quartet No. 3 #Quatuor à cordes: 2 violons, alto, violoncelle #AVANCÉ #Contemporain #Julian Anderson #String Quartet No. 3 #Schott Music - Digital #SheetMusicPlus

String quartet - difficult - SKU: S9.Q771471 ‘hana no hanataba’. Composed by Julian Anderson. Downloadable. Duration 23 minutes. Schott Music...(+)

String quartet - difficult - SKU: S9.Q771471 ‘hana no hanataba’. Composed by Julian Anderson. Downloadable. Duration 23 minutes. Schott Music - Digital #Q771471. Published by Schott Music - Digital (S9.Q771471). My 3rd String Quartet is in six contrasted movements. Certain musical figures recur across the work, but there are few themes as such. The main emphasis is on contrast of mood, texture, harmony, pacing and timing. Unlike many of my works this quartet had no extra-musical inspiration, and in principle should have no subtitle. Certain features already present in my music became more prominent in this new work: modes (limited collections of pitches) have always helped me to focus musical character, but here a sense of key note for each mode became much more pronounced, as did the difference between modes for each section of the work. A sort of hybrid key-system emerged (even with equivalents of major and minor) which is not normal tonality, nor does it aim to imitate it. Unlike tonality this key-system includes noises, extended performance techniques and intervals outside Western tuning as available resources. What I hope it does is to focus the listening experience onto different musical areas, to encourage a sense of both modulation from one area to another and to give the music a sense of goal. No conscious knowledge of this is needed when listening: the music should communicate directly on its own.Here, then, is this collection of six musical colours, related and unrelated, different yet belonging together, variable yet in a set order. Hence the subtitle, chosen both for both its sound and its sense: ‘hana no hanataba’ meaning, in Japanese, ‘bouquet of flowers’.A brief description:1)Moderately fast. Short droplets of sounds gather increasing momentum. 2)Very fast. Canons and bells at different speeds.3)Very slow – fast – very slow – very fast – very slow. The main slow movement and its main scherzo. An emphasis on non-tempered tunings and on inhaling and exhaling waves of sound. The slow sections feature florid melodic writing. In the exuberant scherzo competing duos and trios create imaginary folk music.4)Extremely fast/extremely slow. Open strings and harmonics fuse into a single string instrument – like a sort of large resonating Medieval tromba marina.5)Very fast. A variation on movement 2). Variation, Schoenberg told Cage, is just a sort of repetition ‘with some things changed and others not.’6)Slow - Very Fast - Fast – Slow. The opening calm harmonies and florid melodies evoke movement 3) in different music. The fast part features one overt theme: a fanfare-like call to attention which is subject to extensive development. There is much use of non-Western tuning. At its climax the music freezes into a frieze – a wall of sound standing in front of the audience with increasing obstinacy and certainty as the work grinds towards its cadence.

$24.99 ≈ 22.48€

I'll Name The Dogs
I'll Name The Dogs #Trio à Cordes: violon, alto, violoncelle #INTERMÉDIAIRE/AVANCÉ #Blake Shelton #Sarah Cellobat Chaffee #I'll Name The Dogs #Sarah Cellobat Chaffee #SheetMusicPlus

String Trio Cello,Viola,Violin - Level 4 - SKU: A0.1193717 By Blake Shelton. By Ben Hayslip, Josh Thompson, and Matt Dragstrem. Arranged by Sarah Cellob...(+)

String Trio Cello,Viola,Violin - Level 4 - SKU: A0.1193717 By Blake Shelton. By Ben Hayslip, Josh Thompson, and Matt Dragstrem. Arranged by Sarah Cellobat Chaffee. Country,Pop,Rock,Wedding. 13 pages. Sarah Cellobat Chaffee #793190. Published by Sarah Cellobat Chaffee (A0.1193717). *INSTRUMENTATION: VIOLIN, VIOLA, CELLO*Released in 2017 as the lead single from Blake Shelton's album Texoma Shore, I'll Name The Dogs is a fun, upbeat country-pop gem that has since brought joy to people everywhere -- enough that it landed the song at #1 on the Billboard Country Airplay charts! Lyrically, the song is an adorable story describing the singer's readiness to settle down and start a family with his girl, complete with all the ways he's ready to share their life adventure together (eg. you name the kids and I'll name the dogs). The song's theme of matrimonial bliss and its old-school country charm has made it a popular request for weddings and events, so you can't go wrong adding this one to your gig books! This Cellobat arrangement for your violin, viola, and cello string trio maintains the cheerful vibe, country feel, lush harmonies, and sing-along-able melodies of the original for a chart that's sure to get your audience dancing. Rated advanced-intermediate due to a number of syncopated and otherwise tricky rhythms throughout -- it might be good to look over this one for a moment, but it will be learnable for students and sightreadable for professionals.Sarah â€œCellobatâ€ Chaffee is an in-demand acoustic & electric cellist and string arranger. Currently, she performs with legendary rock band Aerosmith in their â€œDeuces Are Wildâ€ residency show, and she is the principal cellist for the Raiders House Band, playing for a crowd of 60,000 at all of the team's home games. She also plays with many other groups including Premiere Wedding Music, Bella Electric Strings, the Femmes Of Rock, and David Perricoâ€™s Pop Strings Orchestra. Sarah has performed and recorded with numerous other artists including Disturbed, MÃ¶tley CrÃ¼e, Celine Dion, Halsey, Michael BublÃ©, Sarah Brightman, and Lady A. She is the exclusive arranger for a number of award-winning wedding and event companies all across the United States, including Premiere Wedding Music, Las Vegas Music Oasis, and Impulse Strings, and she has created custom arrangements for many other ensembles all over the world. You can find her at:http://www.cellobat.comhttp://www.instagram.com/cellobathttps://www.youtube.com/@Cellobat.

$14.99 ≈ 13.48€

Pas de Deux from the Nutcracker for Woodwind Trio or Clarinet Trio
Pas de Deux from the Nutcracker for Woodwind Trio or Clarinet Trio #Classique #Peter Ilyich Tchaikovsky #Daniel Kelley #Pas de Deux from the Nutcracke #Last Resort Music Publishing #SheetMusicPlus

Large Ensemble,Piano Trio Bassoon,Cello,Clarinet,Flute,Oboe,Piano,Viola,Violin - Level 5 - SKU: A0.530480 Composed by Peter Ilyich Tchaikovsky. Arranged...(+)

Large Ensemble,Piano Trio Bassoon,Cello,Clarinet,Flute,Oboe,Piano,Viola,Violin - Level 5 - SKU: A0.530480 Composed by Peter Ilyich Tchaikovsky. Arranged by Daniel Kelley. Children,Christmas,Concert,Romantic Period,Standards. Score and parts. 25 pages. Last Resort Music Publishing #3624211. Published by Last Resort Music Publishing (A0.530480). The Pas de Deux is visually stunning, musically gorgeous and one the most awaited moments in Act II of The Nutcracker. It is part of the entertainment in the Kingdom of Sweets to reward Clara for her help in saving the life of the Nutcracker and defeating the Mouse King, and comes after a series of divertissements that includes the famous Arabian Dance, Chinese Dance, Dance of the Mirlitons (little flutes) and the Waltz of the Flowers.Full Set of Parts includes: Part 1 Flute or Oboe or Violin Part 1 Clarinet in BbPart 2 Flute or Oboe or ViolinPart 2 ViolaPart 2 Clarinet in BbPart 3 Cello or BassoonPart 3 Bass Clarinet in BbKeyboard or GuitarScorePlayable by String Trio (Violin, Violin or Viola, & Cello), Woodwind Trio, Clarinet Trio, Piano Trio & more. The Keyboard Part is a full harmonization of Parts 2 and 3. Therefore, this arrangement can be played as a Piano Trio, or an entire trio could play with a pianist, as long as Part 1 is being played.Don't miss our other Nutcracker arrangements including Mother Ginger, Chocolate, Clara & the Nutcracker, Pas De Deux, Final Waltz, Apotheosis, Waltz of the Flowers, March, Tarantella, Children's Galop, Dance of the Reed Flutes, Chinese Dance, Dance of the Sugar Plum Fairy, March, Overture & Trepak! All available on SheetMusicPlus and www.lastresortmusic.comPublished by Last Resort Music Publishing www.lastresortmusic.com

$9.95 ≈ 8.95€

From This Moment On for String Trio (Violin 1, Violin 2, Cello)
From This Moment On for String Trio (Violin 1, Violin 2, Cello) #Violon, Violoncelle (duo) #Shania Twain #Veronica Joines #From This Moment On for String #Veronica Joines #SheetMusicPlus

By Shania Twain. Arranged by Veronica Joines. Score, Set of Parts. 12 pages. Published by Veronica Joines (H0.294679-23023). - Score,Set of Parts - - Veronica ...(+)

By Shania Twain. Arranged by Veronica Joines. Score, Set of Parts. 12 pages. Published by Veronica Joines (H0.294679-23023). - Score,Set of Parts - - Veronica Joines

$14.99 ≈ 13.48€

Luther: Out of the Depths for Piano Trio
Luther: Out of the Depths for Piano Trio #Martin Luther #James M #Luther: Out of the Depths for #jmsgu3 #SheetMusicPlus

Piano Trio,String Ensemble - Level 1 - SKU: A0.548730 Composed by Martin Luther. Arranged by James M. Guthrie, ASCAP. Easter,Instructional,Standards. Sc...(+)

Piano Trio,String Ensemble - Level 1 - SKU: A0.548730 Composed by Martin Luther. Arranged by James M. Guthrie, ASCAP. Easter,Instructional,Standards. Score and parts. 8 pages. Jmsgu3 #3412105. Published by jmsgu3 (A0.548730). Out of the DepthsÂ I Cry to YouÂ by Martin Luther. First verses feature modified counterpoint and harmony proceeding at quarter = 82. The final verse is reharmonized for maximum dramatic effect at a more contemplative tempo such as quarter = 64. Very powerful selection for Lent or Easter. Duration (3 verses) 3:05, 36 ms. Score: 4 pg. piano part 2 pg. violin part: 1 pg. cello part: 1 pg. Out of the Depths Aus tiefer Not schrei ich zu dir (From deep affliction I cry out to you), is, of course, a hymnÂ composed by Martin Luther. Moreover, Luther also wrote the lyrics which are essentially a paraphraseÂ of Psalm 130. First published in 1524, it is also one of eight songs in the original Lutheran hymnal. It appears likewise in many hymnals and in different translations. The lyrics furthermore stimulated compositions from the Renaissance to contemporary. Consequently, composers such as Johann Sebastian Bach built an entire chorale cantataÂ on it. Other composers similarly contributed compositions, such as Felix Mendelssohn and Max Reger. Luther Background Martin Luther, (1483 â€“1546) was a German professor of theology, composer, priest, and moreover, an influential character in the Protestant Reformation. Luther had a momentous impact on church and society due to his contributions to the musical arts. He wanted to disseminate the gospel among mankind and with this intention thought that the best way to do that was through music. Influence It is important to realize that other musicians, and their descendants, were encouraged by Lutherâ€™s songs and wrote their own hymns. Luther, to be sure, had a thorough musical education. For example, he knew secular and sacred songs from an early age. He, in particular, played the lute well and sang in the monastery when he was a monk. That is to say, music was an essential part of his life. He in fact first began writing songs in 1523, sometimes writing the melody as well as the lyrics. Luther was certainly able to evaluate the composers of his time. He thought especially highly of Josquin des and Ludwig Senfl. He was also acquainted, with this in mind, with other composers and their works. Legacy The Lutheran musical ethos soon covered all of Germany and later significantly fashioned Protestant musical culture. Heinrich SchÃ¼tz and Johann Sebastian Bach are the most compelling evidence of this Protestant musical culture. Additionally, as a point often overlooked, the pedal organ, first refined in northern Germany, became universally prevalent. As a matter of fact, Dieterich Buxtehude established a regular evening organ concert series in LÃ¼beck. Another key point is that this concert series, in turn, spread North German Musical ideas worldwide. Luther was especially convinced that music is a beautiful and exclusive offering of the divine.

$42.95 ≈ 38.63€

Eternal Father, Strong to Save — for Cello Quartet
Eternal Father, Strong to Save — for Cello Quartet #4 Violoncelles #FACILE #John Bacchus Dykes #Michele Galvagno #Eternal Father, Strong to Save #Artistic Score Engraving di Galvagno Michele #SheetMusicPlus

String Quartet Cello,String Quartet - Level 2 - SKU: A0.1112594 Composed by John Bacchus Dykes. Arranged by Michele Galvagno. 19th Century,A Cappella,Ch...(+)

String Quartet Cello,String Quartet - Level 2 - SKU: A0.1112594 Composed by John Bacchus Dykes. Arranged by Michele Galvagno. 19th Century,A Cappella,Christian,Patriotic,Sacred. 14 pages. Artistic Score Engraving di Galvagno Michele #714602. Published by Artistic Score Engraving di Galvagno Michele (A0.1112594). Eternal Father, Strong to Save is a British hymn traditionally associated with seafarers, and was first written in 1860 by William Whiting (1825â€”1878), an Anglican churchman from Winchester. According to his recount, Whiting grew up near the ocean and, at the age of thirty-five, had felt his life spared by God when a violent storm nearly claimed the ship he was travelling on. This instilled in him a belief in God's command over the rage and calm of the sea. The music associated with it was written by John B. Dykes (1823â€”1876), another Anglican clergymen and composer of the music for nearly three hundred hymns. This edition comes in several arrangements for multiple ensembles. At the moment of the first edition it contains the original choir version (with the 1861 lyrics), a voice and piano version, and arrangements for string, cello, trombone, horn, woodwind, brass, and saxophone quartets. The cello, trombone, and horn quartet versions are slightly more elaborated. Additional versions will be created upon request, contact me to know more. This arrangement is dedicated to Martin Smith.

$5.50 ≈ 4.95€

Eternal Father, Strong to Save — for French Horn Quartet
Eternal Father, Strong to Save — for French Horn Quartet #Quatuor de cuivres: 4 cors #INTERMÉDIAIRE #John Bacchus Dykes #Michele Galvagno #Eternal Father, Strong to Save #Artistic Score Engraving di Galvagno Michele #SheetMusicPlus

Horn - Level 3 - SKU: A0.1112595 Composed by John Bacchus Dykes. Arranged by Michele Galvagno. 19th Century,Christian,Patriotic,Sacred,Traditional. 14 p...(+)

Horn - Level 3 - SKU: A0.1112595 Composed by John Bacchus Dykes. Arranged by Michele Galvagno. 19th Century,Christian,Patriotic,Sacred,Traditional. 14 pages. Artistic Score Engraving di Galvagno Michele #714604. Published by Artistic Score Engraving di Galvagno Michele (A0.1112595). Eternal Father, Strong to Save is a British hymn traditionally associated with seafarers, and was first written in 1860 by William Whiting (1825â€”1878), an Anglican churchman from Winchester. According to his recount, Whiting grew up near the ocean and, at the age of thirty-five, had felt his life spared by God when a violent storm nearly claimed the ship he was travelling on. This instilled in him a belief in God's command over the rage and calm of the sea. The music associated with it was written by John B. Dykes (1823â€”1876), another Anglican clergymen and composer of the music for nearly three hundred hymns. This edition comes in several arrangements for multiple ensembles. At the moment of the first edition it contains the original choir version (with the 1861 lyrics), a voice and piano version, and arrangements for string, cello, trombone, horn, woodwind, brass, and saxophone quartets. The cello, trombone, and horn quartet versions are slightly more elaborated. Additional versions will be created upon request, contact me to know more. This arrangement is dedicated to Martin Smith.

$5.50 ≈ 4.95€

Eternal Father, Strong to Save - for Brass Quartet
Eternal Father, Strong to Save - for Brass Quartet #Musique Sacrée #John Bacchus Dykes #Michele Galvagno #Eternal Father, Strong to Save #Artistic Score Engraving di Galvagno Michele #SheetMusicPlus

Horn,Trombone,Trumpet - Level 2 - SKU: A0.1112593 Composed by John Bacchus Dykes. Arranged by Michele Galvagno. 19th Century,A Cappella,Patriotic,Praise...(+)

Horn,Trombone,Trumpet - Level 2 - SKU: A0.1112593 Composed by John Bacchus Dykes. Arranged by Michele Galvagno. 19th Century,A Cappella,Patriotic,Praise & Worship,Sacred. 18 pages. Artistic Score Engraving di Galvagno Michele #714601. Published by Artistic Score Engraving di Galvagno Michele (A0.1112593). Eternal Father, Strong to Save is a British hymn traditionally associated with seafarers, and was first written in 1860 by William Whiting (1825â€”1878), an Anglican churchman from Winchester. According to his recount, Whiting grew up near the ocean and, at the age of thirty-five, had felt his life spared by God when a violent storm nearly claimed the ship he was travelling on. This instilled in him a belief in God's command over the rage and calm of the sea. The music associated with it was written by John B. Dykes (1823â€”1876), another Anglican clergymen and composer of the music for nearly three hundred hymns. This edition comes in several arrangements for multiple ensembles. At the moment of the first edition it contains the original choir version (with the 1861 lyrics), a voice and piano version, and arrangements for string, cello, trombone, horn, woodwind, brass, and saxophone quartets. The cello, trombone, and horn quartet versions are slightly more elaborated. Additional versions will be created upon request, contact me to know more. This arrangement is dedicated to Martin Smith.

$4.50 ≈ 4.05€

Eternal Father, Strong to Save - for Trombone Quartet
Eternal Father, Strong to Save - for Trombone Quartet #Quatuor de cuivres: 4 trombones #FACILE #John Bacchus Dykes #Michele Galvagno #Eternal Father, Strong to Save #Artistic Score Engraving di Galvagno Michele #SheetMusicPlus

Trombone - Level 2 - SKU: A0.1112600 Composed by John Bacchus Dykes. Arranged by Michele Galvagno. 19th Century,Christian,Patriotic,Sacred,Traditional. ...(+)

Trombone - Level 2 - SKU: A0.1112600 Composed by John Bacchus Dykes. Arranged by Michele Galvagno. 19th Century,Christian,Patriotic,Sacred,Traditional. 14 pages. Artistic Score Engraving di Galvagno Michele #714610. Published by Artistic Score Engraving di Galvagno Michele (A0.1112600). Eternal Father, Strong to Save is a British hymn traditionally associated with seafarers, and was first written in 1860 by William Whiting (1825â€”1878), an Anglican churchman from Winchester. According to his recount, Whiting grew up near the ocean and, at the age of thirty-five, had felt his life spared by God when a violent storm nearly claimed the ship he was travelling on. This instilled in him a belief in God's command over the rage and calm of the sea. The music associated with it was written by John B. Dykes (1823â€”1876), another Anglican clergymen and composer of the music for nearly three hundred hymns. This edition comes in several arrangements for multiple ensembles. At the moment of the first edition it contains the original choir version (with the 1861 lyrics), a voice and piano version, and arrangements for string, cello, trombone, horn, woodwind, brass, and saxophone quartets. The cello, trombone, and horn quartet versions are slightly more elaborated. Additional versions will be created upon request, contact me to know more. This arrangement is dedicated to Martin Smith.

$5.50 ≈ 4.95€

Eternal Father, Strong to Save — for Saxophone Quartet
Eternal Father, Strong to Save — for Saxophone Quartet #Quatuor de Saxophones: 4 saxophones #FACILE #John Bacchus Dykes #Michele Galvagno #Eternal Father, Strong to Save #Artistic Score Engraving di Galvagno Michele #SheetMusicPlus

Saxophone Quartet,Woodwind Ensemble Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 2 - SKU: A0.1112597 Composed by John Bac...(+)

Saxophone Quartet,Woodwind Ensemble Alto Saxophone,Baritone Saxophone,Soprano Saxophone,Tenor Saxophone - Level 2 - SKU: A0.1112597 Composed by John Bacchus Dykes. Arranged by Michele Galvagno. 19th Century,Christian,Patriotic,Religious,Sacred. 14 pages. Artistic Score Engraving di Galvagno Michele #714606. Published by Artistic Score Engraving di Galvagno Michele (A0.1112597). Eternal Father, Strong to Save is a British hymn traditionally associated with seafarers, and was first written in 1860 by William Whiting (1825â€”1878), an Anglican churchman from Winchester. According to his recount, Whiting grew up near the ocean and, at the age of thirty-five, had felt his life spared by God when a violent storm nearly claimed the ship he was travelling on. This instilled in him a belief in God's command over the rage and calm of the sea. The music associated with it was written by John B. Dykes (1823â€”1876), another Anglican clergymen and composer of the music for nearly three hundred hymns. This edition comes in several arrangements for multiple ensembles. At the moment of the first edition it contains the original choir version (with the 1861 lyrics), a voice and piano version, and arrangements for string, cello, trombone, horn, woodwind, brass, and saxophone quartets. The cello, trombone, and horn quartet versions are slightly more elaborated. Additional versions will be created upon request, contact me to know more. This arrangement is dedicated to Martin Smith.

$4.50 ≈ 4.05€

Eternal Father, Strong to Save - for Woodwind Quartet
Eternal Father, Strong to Save - for Woodwind Quartet #Flûte, Hautbois, Clarinette, Basson #FACILE #John Bacchus Dykes #Michele Galvagno #Eternal Father, Strong to Save #Artistic Score Engraving di Galvagno Michele #SheetMusicPlus

Woodwind Ensemble,Woodwind Quartet Bassoon,Clarinet,Flute,Oboe - Level 2 - SKU: A0.1112602 Composed by John Bacchus Dykes. Arranged by Michele Galvagno....(+)

Woodwind Ensemble,Woodwind Quartet Bassoon,Clarinet,Flute,Oboe - Level 2 - SKU: A0.1112602 Composed by John Bacchus Dykes. Arranged by Michele Galvagno. 19th Century,Christian,Patriotic,Religious,Sacred. 14 pages. Artistic Score Engraving di Galvagno Michele #714612. Published by Artistic Score Engraving di Galvagno Michele (A0.1112602). Eternal Father, Strong to Save is a British hymn traditionally associated with seafarers, and was first written in 1860 by William Whiting (1825â€”1878), an Anglican churchman from Winchester. According to his recount, Whiting grew up near the ocean and, at the age of thirty-five, had felt his life spared by God when a violent storm nearly claimed the ship he was travelling on. This instilled in him a belief in God's command over the rage and calm of the sea. The music associated with it was written by John B. Dykes (1823â€”1876), another Anglican clergymen and composer of the music for nearly three hundred hymns. This edition comes in several arrangements for multiple ensembles. At the moment of the first edition it contains the original choir version (with the 1861 lyrics), a voice and piano version, and arrangements for string, cello, trombone, horn, woodwind, brass, and saxophone quartets. The cello, trombone, and horn quartet versions are slightly more elaborated. Additional versions will be created upon request, contact me to know more. This arrangement is dedicated to Martin Smith.

$4.50 ≈ 4.05€

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