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Tema E Variazioni Op. 5B (CALLIGARIS SERGIO)
51.51
Tema E Variazioni Op. 5B (CALLIGARIS SERGIO)
Piano Trio: piano, violon, violoncelle
[Conducteur et Parties séparées]
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Per Violino, Violoncello E Pianoforte. Par CALLIGARIS SERGIO. Sergio Calligaris ...
(+)
Per Violino, Violoncello E Pianoforte. Par CALLIGARIS SERGIO. Sergio Calligaris was born in Rosario (1941), Argentina. He is one of the last musicians to incarnate the traditional 19th century figure of pianist, teacher and composer, inaugurated at the beginning of the 19th century by Muzio Clementi and carriedon after that by a sequence of famous names that the history of music has handed down to us. As a pianist, he began to give public performances at the age of 13, making his debut in his home town Rosario. Following this success, he embarked upon an extremely busy career as a soloist, giving numerous recitals in Buenos Aires and other citiesin Argentina. He continued to take advanced lessons with eminent exponents of the most prestigious international piano schools. In 1974 he became an Italian citizen and settled in Rome, teaching piano as principal instrument at the S. Pietro a Majella StateConservatory in Naples, the Luisa DAnnunzio Conservatory in Pescara and the Alfredo Casella Conservatory in Aquila. As a composer, he began - at just 9 years of age - to study in the rigorous school of Paul Hindemith, under the guidance of Father Luis Machado, from whom he inherited a love of counterpoint and a strong taste for harmony. He took a diploma incomposition, counterpoint and fugue at the age of 16 at the Amigos del Arte Society in Rosario, going on in 1964 to do an advanced course in 12-tone counterpoint at the Cleveland Institute of Music. The catalogue of his compositions, which has nowreached Op. 55, encompasses a huge range of instrumental/vocal chamber music and symphonic works: a vast and articulated catalogue, in which Sergio Calligaris’s composition expresses its inspiration through the dramatic development of a dialecticalcontrast between the two natures of the composer’s personality - the elegiac and the dithyrambic - which confront and interact with each other giving rise to artistic outcomes of a deeply moving nature. / Niveau : Intermédiaire / Répertoire / Violon, Violoncelle et Piano
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Chanson de nuit
23.60
Chanson de nuit
Quatuor à cordes: 2 violons, alto, violoncelle
Schott
8 Twentieth-Century Pieces. Having touched on the romantic era in 'To a Wild Ros...
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8 Twentieth-Century Pieces. Having touched on the romantic era in 'To a Wild Rose' and the classical era in 'An die Musik', Kember moves forward to the twentieth-century with this thoughtfully chosen collection for string quartet. The Schott String Quartet Series With the first books in the series focusing on baroque, classical and romantic styles, The Schott String Quartet Series has expanded to cover music ranging from traditional pieces through to Eastern-influenced works. Aside from 'Indian Summer', which features original compositions, each book contains original arrangements of well known themes, which have often never been arranged for string quartet before. An important characteristic of these arrangements is that they allow all four instruments to demand the attention throughout the music. The pieces are suitable for amateur musicians or school students and are ideal for public performance./ Recueil / Quatuor à Cordes
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Chanson de matin
23.60
Chanson de matin
Quatuor à cordes: 2 violons, alto, violoncelle
Schott
8 Twentieth-Century Pieces. Having touched on the romantic era in 'To a Wild Ros...
(+)
8 Twentieth-Century Pieces. Having touched on the romantic era in 'To a Wild Rose' and the classical era in 'An die Musik', Kember moves forward to the twentieth-century with this thoughtfully chosen collection for string quartet. The Schott String Quartet Series With the first books in the series focusing on baroque, classical and romantic styles, The Schott String Quartet Series has expanded to cover music ranging from traditional pieces through to Eastern-influenced works. Aside from 'Indian Summer', which features original compositions, each book contains original arrangements of well known themes, which have often never been arranged for string quartet before. An important characteristic of these arrangements is that they allow all four instruments to demand the attention throughout the music. The pieces are suitable for amateur musicians or school students and are ideal for public performance./ Recueil / Quatuor à Cordes
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Sonata Op. 39 (1997)
106.30
Sonata Op. 39 (1997)
Alto, Piano
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Per Viola E Pianoforte. Par CALLIGARIS SERGIO. Sergio Calligaris was born in Ros...
(+)
Per Viola E Pianoforte. Par CALLIGARIS SERGIO. Sergio Calligaris was born in Rosario (1941), Argentina. He is one of the last musicians to incarnate the traditional 19th century figure of pianist, teacher and composer, inaugurated at the beginning of the 19th century by Muzio Clementi and carriedon after that by a sequence of famous names that the history of music has handed down to us. As a pianist, he began to give public performances at the age of 13, making his debut in his home town Rosario. Following this success, he embarked upon an extremely busy career as a soloist, giving numerous recitals in Buenos Aires and other citiesin Argentina. He continued to take advanced lessons with eminent exponents of the most prestigious international piano schools. In 1974 he became an Italian citizen and settled in Rome, teaching piano as principal instrument at the S. Pietro a Majella StateConservatory in Naples, the Luisa DAnnunzio Conservatory in Pescara and the Alfredo Casella Conservatory in Aquila. As a composer, he began - at just 9 years of age - to study in the rigorous school of Paul Hindemith, under the guidance of Father Luis Machado, from whom he inherited a love of counterpoint and a strong taste for harmony. He took a diploma incomposition, counterpoint and fugue at the age of 16 at the Amigos del Arte Society in Rosario, going on in 1964 to do an advanced course in 12-tone counterpoint at the Cleveland Institute of Music. The catalogue of his compositions, which has nowreached Op. 55, encompasses a huge range of instrumental/vocal chamber music and symphonic works: a vast and articulated catalogue, in which Sergio Calligaris’s composition expresses its inspiration through the dramatic development of a dialecticalcontrast between the two natures of the composer’s personality - the elegiac and the dithyrambic - which confront and interact with each other giving rise to artistic outcomes of a deeply moving nature. / Niveau : Intermédiaire / Date parution : 1905-06-19/ Répertoire / Alto et Piano
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English Madrigals: Wind Ensemble: Score and Parts
10.50
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Quatuor à cordes: 2 violons, alto, violoncelle
Spartan Press
Madrigals are vocal compositions and can be traced back to 13th Century Italy. D...
(+)
Madrigals are vocal compositions and can be traced back to 13th Century Italy. During the latter part of the 16th Century Nicholas Yonge of St. Paul's Cathedral in London published a collection of Italian Madrigals and translated the words into English. Thomas Morley organist of St. Pauls and around the same time as nicholas Yonge wrote many of the finest madrigals of this the greatest madrigal period. It was a very rich period of English musical compoosition made so by such illustrious names as Byrd Gibbons Tallis and Weelkes. Madrigal societies are still active and date from 1741 when the first was formed in the City of London. America also has participated in therevival of singing madrigals and has activated madrigal singing in universities and high schools.
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5 Argentinean Folk Pieces
31.40
5 Argentinean Folk Pieces
En Français
Flûte, Alto et Piano
Billaudot
This short suite, much inspired by Bartók's Six Romanian Folk Dances, is based ...
(+)
This short suite, much inspired by Bartók's Six Romanian Folk Dances, is based on traditional dances and songs of Argentina. Although the original rhythms and melodies are often transformed by the use of contemporary techniques, the piece preserves the authentic spirit of each of these folk forms.Zamba de Vargas, a well known folk song, refers to a battle in Argentina between two armies of gauchos during the civil wars of the nineteenth century.Ojos Azules (Blue Eyes) is an introspective lament for lost love of Quichua origin (Northwest of Argentina). It was first collected by musicologist Leda Valladares.Both the Milonga and the Valsecito Criollo, (folk forms which developed in rural areas and then made it to the outskirts of Buenos Aires at the turn of the century) are original themes written by me based on my own personal understanding of the genre.Lastly, the Baguala is inspired on a transcription documented by Isabel Aretz which was reproduced in Las Canciones Folklóricas de la Argentina and published by Instituto Nacional de Musicología of Buenos Aires in 1969.Commissioned by and dedicated to the Minnesota Sinfonia and to its Music Director, Jay Fishman. / Flûte, Alto Et Piano
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Michael Nyman: String Quartet No. 1 Score: String Quartet: Score
22.99
Michael Nyman: String Quartet No. 1 Score: String Quartet: Score
Quatuor à cordes: 2 violons, alto, violoncelle
[Partition]
Chester
Dedicated to Thurston Dart Michael Nyman?s professor at King?s College London ...
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Dedicated to Thurston Dart Michael Nyman?s professor at King?s College London much of String Quartet No. 1 borrows and is inspired by the works of seventeenth century composer John Bull whosecomplete keyboard works Dart gave Nyman as a birthday present. The other main source of inspiration was Schöneberg?s Second String Quartet from the early 20th century.In his introduction to the piece Nymandescribes his two background ideas when composing the work: first to make an almost ?orchestral? chamber music and second to exorcise the impressive and oppressive history of the String quartet by making his work a compendium ofquotations from the quartet repertoire. Commissioned by the Arditti Quartet and first performed by them in 1985 String Quartet No. 1 has a duration of 25:44 minutes.Michael Nyman is an Englishcomposer of minimalist music pianist librettist and musicologist known for numerous film and his multi-platinum soundtrack album to ?The Piano?. He has additionally written a number of operas six concerti four stringquartets and many other chamber works.
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Robert Saxton: Fantazia For String Quartet: String Quartet: Score
8.99
Robert Saxton: Fantazia For String Quartet: String Quartet: Score
Quatuor à cordes: 2 violons, alto, violoncelle
[Partition]
Chester
Quoting Saxton: My Fantazia for String Quartet was complete in December 1993 in ...
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Quoting Saxton: My Fantazia for String Quartet was complete in December 1993 in response to a commission from the London International String Quartet Competition for a test piece for the 1994 competition. Funds were provided bythe John S Cohen Foundation.The title gives the clue to the nature of the music: the viol fantasia was the chosen form of composition for the greatest English composers of the mid-seventeenth century Lawes Jenkins Ferraboscoin particular. They inherited the techniques of vocal polyphony from Byrd and Gibbons and forged a new instrumental polyphonic style. The culmination of this genre was reached in the magnificent works of Henry Purcell around1680 and it was Purcell who adopted the spelling ‘Fantazia’.I have always loved this music and when asked to write a short piece for strings I decided to pay tribute to this under-rated tradition. Most fantazias consistedof short joined sections and I have expanded this to create and eight-minute piece in three larger sections the essence being contrapuntal interplay and equality of part-writing. (Any idea of stylistic reference would be absurdion the late twentieth century). The first section is a lyrical allegro moderato which leads into a sustained and intense slow movement; this in turn gives way to a final quick section of a dancing character a featurefrequently encountered in Purcell’s own consort pieces.
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Tema E Variazioni Op. 5A (CALLIGARIS SERGIO)
51.51
Tema E Variazioni Op. 5A (CALLIGARIS SERGIO)
Clarinette, Violoncelle et Piano
[Conducteur et Parties séparées]
-
Intermédiaire
Ricordi
Per Clarinetto, Violoncello E Pianoforte. Par CALLIGARIS SERGIO. Sergio Calligar...
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Per Clarinetto, Violoncello E Pianoforte. Par CALLIGARIS SERGIO. Sergio Calligaris was born in Rosario (1941), Argentina. He is one of the last musicians to incarnate the traditional 19th century figure of pianist, teacher and composer, inaugurated at the beginning of the 19th century by Muzio Clementi and carriedon after that by a sequence of famous names that the history of music has handed down to us. As a pianist, he began to give public performances at the age of 13, making his debut in his home town Rosario. Following this success, he embarked upon an extremely busy career as a soloist, giving numerous recitals in Buenos Aires and other citiesin Argentina. He continued to take advanced lessons with eminent exponents of the most prestigious international piano schools. In 1974 he became an Italian citizen and settled in Rome, teaching piano as principal instrument at the S. Pietro a Majella StateConservatory in Naples, the Luisa DAnnunzio Conservatory in Pescara and the Alfredo Casella Conservatory in Aquila. As a composer, he began - at just 9 years of age - to study in the rigorous school of Paul Hindemith, under the guidance of Father Luis Machado, from whom he inherited a love of counterpoint and a strong taste for harmony. He took a diploma incomposition, counterpoint and fugue at the age of 16 at the Amigos del Arte Society in Rosario, going on in 1964 to do an advanced course in 12-tone counterpoint at the Cleveland Institute of Music. The catalogue of his compositions, which has nowreached Op. 55, encompasses a huge range of instrumental/vocal chamber music and symphonic works: a vast and articulated catalogue, in which Sergio Calligaris’s composition expresses its inspiration through the dramatic development of a dialecticalcontrast between the two natures of the composer’s personality - the elegiac and the dithyrambic - which confront and interact with each other giving rise to artistic outcomes of a deeply moving nature. / Niveau : Intermédiaire / Répertoire / Clarinette, Violoncelle et Piano
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Chopiniana con delizia (HERDZIN KRZYSZTOF)
54.50
Chopiniana con delizia (HERDZIN KRZYSZTOF)
Quintette avec Piano
PWM (Polskie Wydawnictwo Muzyczne)
Par HERDZIN KRZYSZTOF. Chopiniana con delizia is a very interesting music projec...
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Par HERDZIN KRZYSZTOF. Chopiniana con delizia is a very interesting music project. Sometimes it is difficult to draw the line where Chopin ends and Herdzin begins. The artist engages in a kind of a dialogue with the 19th-century creator. By using Chopinesque motifs, by ‘filtering’ phrases of the genius composer through his sensitivity and experience of a 21st-century artist, Herdzin has created a work that provokes me to pose the following question: what kind of music would Fryderyk Chopin write if he were to live in the present day? [...] Jakub Stankiewicz, fragment of preface, translated by Zaneta Pniewska / Date parution : 2022-11-08/ Répertoire / Quintette avec Piano
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String Quartet #8 (Score) (SIMPSON ROBERT)
14.70
String Quartet #8 (Score) (SIMPSON ROBERT)
Quatuor à cordes: 2 violons, alto, violoncelle
[Partition]
Faber Music Limited
Par SIMPSON ROBERT. '. . .the quartet is a highly distinctive work, a welcome ad...
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Par SIMPSON ROBERT. '. . .the quartet is a highly distinctive work, a welcome addition to Simpson's significant contribution to the British twentieth-century string quartet.'Trevor Bray, Music and Letters Vol. 68, 3 April 1989/ Répertoire / Quatuor à Cordes
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Rêves De Jacob (MILHAUD DARIUS)
78.10
Rêves De Jacob (MILHAUD DARIUS)
Hautbois, Violon, Alto, Violoncelle et Contrebasse
Heugel
Par MILHAUD DARIUS. French composer and teacher, Darius Milhaud (1892-1974) was ...
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Par MILHAUD DARIUS. French composer and teacher, Darius Milhaud (1892-1974) was a prolific composer of the 20th century as a member of 'Les Six'. His compositions remain highly regarded, Jacob's Dreams being no exception. Milhaud 's compositions are influenced by jazz and polytonality, as exemplified in Jacob's Dreams. Composed in 1949, Jacob's Dreams is a dance suite, written for Oboe, Violin, Viola, Cello and Double Bass. It is an alternative, exciting suite, based on the dreams of Jacob in the Bible and made up of five movements; 1) Jacob's Pillow, 2) The first dream (the angel's ladder), 3) Prophecy, 4) Second dream(fight with the dark angel and benediction), and 5) Israel (Hymn). Milhaud makes use of variation in articulation, complex rhythms, chromaticism, accidentals, harmonics, altering tempos, variation in dynamics and a wide tessitura, amongst other aspects. Milhaud 's Jacob's Dream is essential to all advanced ensembles seeking modern and exciting repertoire./ Répertoire / Hautbois, Violon, Alto, Violoncelle et Contrebasse
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Golliwogg's Cakewalk (BIRTEL WOLFGANG)
20.60
Golliwogg's Cakewalk (BIRTEL WOLFGANG)
Trio avec Piano
[Conducteur et Parties séparées]
Schott
from Children's Corner. Par BIRTEL WOLFGANG. The famous Golliwogg’s Cakewalk i...
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from Children's Corner. Par BIRTEL WOLFGANG. The famous Golliwogg’s Cakewalk is the final piece from Debussy's cycle Children’s Corner which consists of 6 miniatures for piano, written for his daughter in the years 1906-1908. The style corresponds to that of ragtime, a dance which was in vogue around the turn of the century. In the middle section, he parodies several times the beginning of the opera Tristan and Isolde by Richard Wagner with whom Debussy had a rather ambiguous relationship. The present arrangement now allows musicians to play the popular movement in a version for piano trio./ Répertoire / Trio avec Piano
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Bernard Herrmann: Echoes For String Quartet (Parts): String Quartet: Parts
16.99
Bernard Herrmann: Echoes For String Quartet (Parts): String Quartet: Parts
Quatuor à cordes: 2 violons, alto, violoncelle
[Partition]
Novello & Co Ltd.
This single-movement for String quartet employs some of the more familiar elemen...
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This single-movement for String quartet employs some of the more familiar elements of Herrmannâ??s compositional style: short musical phrases repeated and then repeated again in other positions sharp use of dynamics among them. It is a fascinating sidelight into the work of one of the 20th centuryâ??s most brilliant composers.Bernard Herrmann was among the greatest of all composers of music for cinema and there are many who avow that he was the greatest of all. A very short list of the films for which this award-winning composer created soundtracks includes Citizen Kane The Man Who Knew Too Much Vertigo Jason and Argonauts Fahrenheit 451 Obsession and Taxi Driver. He had along and fertile association with Alfred Hitchcock during the most productive period of Hitchcockâ??s career and with Orson Welles from the time of the Mercury Theatre on the Air. In addition to his conducting and composing work for the entertainment world Herrmann wrote concert pieces including a symphony opera and cantata.
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Beneath the Starry Sky (BELLA MATE)
15.10
Beneath the Starry Sky (BELLA MATE)
Basson, Violoncelle et Piano ou 2 Violoncelles et
[Partition]
EMB (Editio Musica Budapest)
for bassoon, violoncello and piano or two violoncellos and piano. Par BELLA MATE...
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for bassoon, violoncello and piano or two violoncellos and piano. Par BELLA MATE. A special piece - a special story: In 2020, a renowned architect approached a composer to create a new piece of music for his daughter's wedding, which the happy father could give to the young couple as a wedding present. In earlier eras of private patronage, such a story would have been natural, but in the 21st century it is an odd story. The composition subtly alludes to the occasion: against the background of the piano, a duet of two instruments tells the story of a serene love (the piece can either be performed with a bassoon and a violoncello, or with two violoncellos). Máté Bella, who moves at home among different musical styles, shapes the song of lovers longing for each other in a way reminiscent of barcarolas sung by Venetian gondoliers. / Date parution : 2022-09-27/ Répertoire / Basson, Violoncelle et Piano ou 2 Violoncelles et
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Reza Vali: String Quartet No. 2: String Quartet: Score & Parts
168.50
Reza Vali: String Quartet No. 2: String Quartet: Score & Parts
Quatuor à cordes: 2 violons, alto, violoncelle
Lauren Keiser Music Publishing
Written for Cuarteto Latinoamericano this 4-movement work marks a stylistic shi...
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Written for Cuarteto Latinoamericano this 4-movement work marks a stylistic shift from Vali's first quartet which followed mid-20th Century atonal and serial techniques. In contrast String Quartet No. 2 is a fusion oftraditional Persian melodic modes with Western classical harmonic and formal sensibilities.
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Strygekvartetter / String Quartets (LANGGAARD RUED)
167.80
Strygekvartetter / String Quartets (LANGGAARD RUED)
Quatuor à cordes: 2 violons, alto, violoncelle
Wilhelm Hansen
Par LANGGAARD RUED. Rued Langgaard (1893-1952) is one of the most important Dani...
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Par LANGGAARD RUED. Rued Langgaard (1893-1952) is one of the most important Danish composers of the 20th century. He has, however, only acquired this status many years after his death. Langgaard was an eminent musical talent, but with his romantic and symbolist view of art, he ended up as an outsider in an era when the trend-setting Musical life of the time was dominated by Carl Nielsen?s sober and modern attitude. / Date parution : 2022-04-01/ Recueil / Quatuor à Cordes
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Reza Vali: String Quartet No. 2: String Quartet: Score
76.99
Reza Vali: String Quartet No. 2: String Quartet: Score
Quatuor à cordes: 2 violons, alto, violoncelle
Lauren Keiser Music Publishing
Full Score-Written for Cuarteto Latinoamericano this 4-movement work marks a st...
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Full Score-Written for Cuarteto Latinoamericano this 4-movement work marks a stylistic shift from Vali's first quartet which followed mid-20th Century atonal and serial techniques. In contrast String Quartet No. 2 is a fusion oftraditional Persian melodic modes with Western classical harmonic and formal sensibilities.
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More Time Pieces For Viola - Volume 1: Viola: Instrumental Album
9.50
More Time Pieces For Viola - Volume 1: Viola: Instrumental Album
Alto, Piano
[Partition]
ABRSM Publishing
Music through the Ages-Take a journey through time with More Time Pieces For Vio...
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Music through the Ages-Take a journey through time with More Time Pieces For Viola. These two volumes contain well-crafted arrangements presented in chronological order to take you from the seventeenth century right up to the present day. Pieces that regularly feature on the ABRSM Viola syllabus. Invaluable source of recital repertoire. Contrasting styles from Schubert to Stravinsky and from Wagner to Weill. Arrangements that practise the note ranges and keys of the grades. Maggy Lamb played the Viola with English National Opera and the Philharmonia Orchestra before taking up the post ofHead of Strings at St Peter’s School in York. She now divides her time between teaching performing and examining. Rachel Meredith is a Bristol University graduate. After a period performing both in the UK and abroad she now teaches upper strings in York. Rachel is also a syllabus selector and examiner for ABRSM.
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String Quartet No. 4 (LERDAHL FRED)
182.80
String Quartet No. 4 (LERDAHL FRED)
Quatuor à cordes: 2 violons, alto, violoncelle
[Conducteur et Parties séparées]
Schott
Chaconne. Par LERDAHL FRED. Chaconne (2016), for string quartet, was commissione...
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Chaconne. Par LERDAHL FRED. Chaconne (2016), for string quartet, was commissioned by the Daedalus Quartet to celebrate its 15th anniversary. The commission was supported by New Music USA, made possible by annual program support and/or endowment gifts from Pennsylvania Council on the Arts, Helen F. Whitaker Fund, and Aaron Copland Fund for Music. My music has a substantial history with Daedalus. I composed the Third String Quartet (2008) for them, and subsequently they performed my three string quartets on several occasions and recorded them brilliantly on Bridge Records (Bridge 9352: Music of Fred Lerdahl, vol. 3). Chaconne is in one movement lasting 19 minutes. It is effectively my fourth string quartet. Quartets 1-3 form a unified cycle lasting 70 minutes. When I finished the cycle, I thought I would never write again for the medium; yet I could not resist the opportunity of working again with Daedalus. The issue was how to compose another string quartet unrelated to the earlier cycle. The solution came from my solo cello piece There and Back Again (2010), which was based on a four-bar variation pattern from a 17th-century chaconne. Unlike the asymmetrical phrases and expanding variations of much of my music, the chaconne form requires symmetrical phrases and strictly periodic variations. I wished to work again with these symmetries but on a larger scale. Chaconne also differs in character and expression from the three-quartet cycle. The cycle is inward and intense, a kind of psychological excavation. Chaconne is, for the most part, transparent and playful. Many of its textures emerge from little canons, not completely unlike the rounds that children sing. Any composer who writes in chaconne form (one thinks above all of the last movement of Bach’s D minor violin partita and the finale of Brahms’s Fourth Symphony) is confronted with the challenge of how to create a larger form out of a constantly repeating pattern. My Chaconne grows from paired antecedent-consequent phrases, each variation lasting eight bars. The 50 variations group into three large rotations, forming three arcs of tension and relaxation, with subtle parallel connections across the rotations. Notwithstanding my attraction to chaconne form, I purposefully disguised its symmetries and periodicities in order to build an overall dramatic shape. Fred Lerdahl/ Répertoire / Quatuor à Cordes
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String Quartet F sharp minor op. 28 (SENFTER JOHANNA)
67.80
String Quartet F sharp minor op. 28 (SENFTER JOHANNA)
Quatuor à cordes: 2 violons, alto, violoncelle
[Conducteur et Parties séparées]
Schott
Par SENFTER JOHANNA. The composer Johanna Senfter (1879 1961) from Oppenheim con...
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Par SENFTER JOHANNA. The composer Johanna Senfter (1879 1961) from Oppenheim concerned herself with chamber music for strings all her life, even studied violin in Frankfurt herself. Max Reger then gave her lessons in Leipzig, first privately, then in his composition class at the conservatoire and valued her 'extraordinary compositional talent'. The strict teacher more and more became a committed promoter of the works by Johanna Senfter. For a period of 50 years, the composer concerned herself with the string quartet genre, from Quartet No. 1 in D minor Op. 4, composed shortly after the turn of the century, to the sixth and last Quartet in C minor Op. 115 which was performed for the first time in 1960, one year before her death. The Quartet in F sharp minor Op. 28 is her second quartet which was premiered in Darmstadt on 5 November 1922. In this work, as in later works, Senfter combined traditional form models – here Baroque movements like gavotte, saraband, gigue – with expressive, late Romantic musical language. The work, consisting of six short movements, may without doubt be regarded as a valuable addition to the quartet repertoire./ Répertoire / 2 Violons, Alto et Violoncelle
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A Festival Of Violin and Fiddle Styles For Viola
27.10
A Festival Of Violin and Fiddle Styles For Viola
Alto seul
[Partition + Accès audio]
Hal Leonard
Book with Audio and Video Access. Preface by Jay Ungar, composer of Ashokan Fare...
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Book with Audio and Video Access. Preface by Jay Ungar, composer of Ashokan Farewell. A Festival of Violin and Fiddle Styles presents 23 styles and is chock full of right- and left-hand techniques, exercises, and advice designed to help violinists, violists and cellists step into inclusive, 21st century skills as well as repertoire. This jam-packed book includes tips from an incredible array of multi-genre and roots-specific players including: Jay Ungar, Bruce Molsky, Darol Anger, Mark Wood, Aly Bain, Roby Lakatos, Don Roy, Calvin Vollrath, Paul Anastasio, and more. Styles include old-time, bluegrass, Cajun, Franco-American, western swing, blues, swing, pop/rock, Irish, Scottish, Shetland Islands, Cape Breton,Hungarian, Ukrainian, Klezmer, Roma, Calentano, Galician, Afro-Cuban, tango, Swedish, Bollywood, Quebecois, and Metis. Online audio includes playing examples of all the fiddle tunes in the book, followed by background music so you can continue to play on your own. Videos include expert instruction on fiddle techniques like bowing, slurs, slides, vibrato, and ornamentation. / Pédagogie / Recueil / Alto
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Wolfgang Amadeus Mozart: Best Loved String Quartets: String Quartet: Score
Quatuor à cordes: 2 violons, alto, violoncelle
Dover Publications
Three Divertimenti Plus The Spring Dissonance And Prussian No.- Quartets-Diver...
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Three Divertimenti Plus The Spring Dissonance And Prussian No.- Quartets-Divertimenti were a popular genre in the 18th century offering listeners a lighthearted 'diversion' at social functions. Mozart wrote these three pieces for string quartet in Salzburg in 1772. The three-movement Italian-style compositions require only wind parts to assume another form hence their common description as the 'Salzburg Symphonies.'This authoritative inexpensive edition of the ever-popular composer's works features three additional quartets: 'Spring ' 'Dissonance ' and 'Prussian No. 1' QuartetsDover Original.
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Poul Ruders: String Quartet No.3 'Motet': String Quartet: Instrumental Work
Quatuor à cordes: 2 violons, alto, violoncelle
Wilhelm Hansen
Programme Note This short one-movement quartet is a kind of modernization of the...
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Programme Note This short one-movement quartet is a kind of modernization of the 14th century French motets a cadeau to this weird and fantastic music whose abstract and almost deprecatory introvert expression appears unaccountably modern and incredibly ancient at the same time. MOTET is a sober cool treatise on rhythm and statics depicted in a Gothic crypt-like atmosphere. The almost completely non-vibrato movement is suggestive of boys’ choir monks’ processions and the piercing sound of musical glasses. An ancient world is reborn and becomes the world of today. Poul Ruders 1979
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Piano Trios on Stage (AUTEURS DIVERS / BROOKER DAVID (Arr)
26.40
Piano Trios on Stage (AUTEURS DIVERS / BROOKER DAVID (Arr)
Violon Ou Flûte, Violoncelle Et Piano
[Partition]
Universal Edition
Intermediate-level arrangements of well-known Classical and Romantic works. Par ...
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Intermediate-level arrangements of well-known Classical and Romantic works. Par AUTEURS DIVERS / BROOKER DAVID (Arr.). In his preface to 'Piano Trios on Stage”, the arranger, David Brooker, reminds us that, just as the string quartet, the piano trio has always been one of the pillars of chamber music. In the 19th and early 20th century, it was almost like the later invention of the gramophone record, allowing larger works, in arrangement, as well as lighter pieces to be presented to small audiences, often as background music. David comments that string players have plenty of easy material to introduce them to the pleasure of making music with other instrumentalists but when it comes to piano parts these are usually written or arranged with a teacher or more advanced student in mind. David sets out to rectify that imbalance and his arrangements aim to put all three players on an equal footing. Of easy to intermediate standard, they are ideal for violinists, cellists and pianists who are now ready to try their hand at proper chamber music. The music is fun and instantly recognizable, drawing on Grieg's 'Peer Gynt”, Tchaikovsky's 'Nutcracker” and Leopold Mozart's 'Musical Sleigh Ride”./ Recueil / Violon Ou Flûte, Violoncelle Et Piano
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Sonatas In F Minor And E-Flat Major For Viola And Piano Op. 120
32.71
Sonatas In F Minor And E-Flat Major For Viola And Piano Op. 120
Alto, Piano
Barenreiter
Brahms had already announced his ?retirement' from composition when in the sprin...
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Brahms had already announced his ?retirement' from composition when in the spring of 1894 he played chamber music with the cellist Robert Hausmann and the clarinettist Richard Mühlfeld. This encounter apparently renewed his enthusiasm for Mühlfeld's much admired playing and inspired him to write two clarinet sonatas in the summer of the same year. It remains unclear when exactly Brahms drafted viola parts to his two sonatas. In any case the viola and clarinet versions of the works were first published by Simrock at the same time in 1895. Today there is no doubt about Brahms' authorship of the viola parts. They include important differences from the clarinet original in order to do justice to this string instrument.An important part of this edition is the extensive preface. Firstly it informs about the sonatas' origins, their compositional process, pre-publication performances, their publication history as well as early reception. Truly remarkable is the unique Performance Practice Commentary. Here the editors start from the premise that already a few decades after Brahms' death, a widening gulf developed between the composer's expectations and the performance practices of the early 20th century. On the basis of manifold sources which include memoirs by pupils and chamber music partners, treatises and essays, early instructive editions and historical recordings, the editors deal with key issues in understanding Brahms' notation. By a section-by-section analysis of rhythm and timing, dynamics and accentuation, dots and strokes, slurring and non legato, piano pedalling and overholding, piano arpeggiation and dislocation, string instrument fingering, string instrument harmonics and vibrato, the editors provide an indispensable assistance for a historically informed interpretation of the works.At the same time, the edition offers an exciting and often surprising insight into musical interpretation of the German Romantic Era in general.- A pioneering Urtext edition- With an unmarked Urtext part- With a second part including fingering and bowing based on the practices of contemporaries of Brahms- With an extensive Performance Practice Commentary- For further information on Romantic performance practice we recommend the text booklet: 'Performance Practices in Johannes Brahms' Chamber Music?, BA 9600 / Alto Et Piano
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Poul Ruders: String Quartet No.3 'Motet': String Quartet: Study Score
8.99
Poul Ruders: String Quartet No.3 'Motet': String Quartet: Study Score
Quatuor à cordes: 2 violons, alto, violoncelle
[Conducteur d'étude / Miniature]
-
Avancé
Wilhelm Hansen
Programme Note This short one-movement quartet is a kind of modernization of the...
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Programme Note This short one-movement quartet is a kind of modernization of the 14th century French motets a cadeau to this weird and fantastic music whose abstract and almost deprecatory introvert expression appears unaccountably modern and incredibly ancient at the same time. MOTET is a sober cool treatise on rhythm and statics depicted in a Gothic crypt-like atmosphere. The almost completely non-vibrato movement is suggestive of boys’ choir monks’ processions and the piercing sound of musical glasses. An ancient world is reborn and becomes the world of today. Poul Ruders 1979
8.99 GBP - vendu par Musicroom GB
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Peter Spitzer: Scottish Melodies: Viola Duet: Mixed Songbook
11.99
Peter Spitzer: Scottish Melodies: Viola Duet: Mixed Songbook
2 Altos (duo)
[Partition]
-
Facile
Mel Bay
Scottish Melodies For Two Violas contains twenty-four pieces from 18th and 19th ...
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Scottish Melodies For Two Violas contains twenty-four pieces from 18th and 19th century Scotland.Included are airs and dance tunes originally for Voice or Fiddle. These duet arrangements are perfect forstudent and teacher as well as Viola colleagues. The music is presented in sets of two or three tunes ready for performance. The traditional music of Scotland has unique and beautiful qualities and is fun to play.
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Elégie Op. 30 For Viola And Piano
16.41
Elégie Op. 30 For Viola And Piano
Alto, Piano
G. Henle
The peripatetic life and career of the Belgian composer Henry Vieuxtemps anticip...
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The peripatetic life and career of the Belgian composer Henry Vieuxtemps anticipated the European concept almost prophetically in the 19th century. The best example is his Elégie of 1848: written in St. Petersburg, it celebrated its greatest triumphs in Paris, was printed in Offenbach am Main, and enthusiastically reviewed in London. Critics were quick to note the expressive contrasts as well as the bravura style of the coda, which was 'elegant and at the same time brilliant?. Following the publication of the Sonata op. 36 (HN 577), the Elégie op. 30 now takes its place among Vieuxtemps' viola works for the first time in an Urtext edition. Tabea Zimmermann was once again entrusted with the bowings- the preface was written by the Vieuxtemps specialist Marie Cornaz. / Alto Et Piano
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Quintett (WALTER BRUNO)
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Quintett (WALTER BRUNO)
Quintette avec Piano
Universal Edition
The score (UE 35757) also serves as the piano part.. Par WALTER BRUNO. Better kn...
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The score (UE 35757) also serves as the piano part.. Par WALTER BRUNO. Better known as one of the foremost conductors of the 20th century, Walter also found a place in contemporary composition in Vienna in the early part of the 1900s. Of particular importance is the Quintet, which was premiered by the Rosé Quartet, with the composer at the piano, and described as a resounding success. Universal Edition was an early publisher of Walter works, and they are pleased to publish this first edition of the Quintet, in cooperation with the Bruno Walter estate at the University of Music and Performing Arts of Vienna. For advanced performers./ Répertoire / Quintette avec Piano
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