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Aleksey Igudesman
Violin and Viola and More
$23.95
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10 Duets for Violin and Viola. Composed by Aleksey Igudesman. Performance score. 36 pages. Universal Edition #UE37118. Published by Universal Edition
Composer/Artist :
Aleksey Igudesman
Instrumentation :
Violin, Viola (duet)
Publisher :
Universal Edition
Sheet music extract
Violin and Viola and More
$ 23.95
Igudesman, the highly accomplished violinist that he is, starts us off with a joke: What can violinists do better than viola players? Play viola! Okay, but seriously, he goes on to encourage violinists and violists to at least explore playing the other instrument, as was common practice in the 19th century. His 10 duets offer just such an opportunity, or, failing that, evocative duets for string players, each with a bit of humor. He is, after all, quite a showman. The duets are not easy, but will be accessible to string players of advancing skills.
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Aleksey Igudesman
sheet music
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Sheetmusicplus
Place :
USA
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except EU countries!
, As of July 1, 2021 Sheet Music Plus does not ship physical goods to EU countries)
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Music for Three, Volume 5 - String Trio (Violin, Viola, Cello - Set of 3 Parts)
String Trio: violin, viola, cello
[Set of Parts]
Last Resort Music Publishing
(Late 19th and Early 20th Century Favorites). By Various. Arranged by Daniel Kel...
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(Late 19th and Early 20th Century Favorites). By Various. Arranged by Daniel Kelley. String trio, mixed trio. For Trio - Violin, Viola, Cello, Flute, Oboe or Bassoon. Trios. Music for Three series. Late 19th/Early 20th Century Favorites. Intermediate/Advanced. Set of 3 parts. Published by Last Resort Music Publishing
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Music for Three, Christmas - String Trio (Violin, Viola, Cello - Set of 3 Parts)
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(Traditional Christmas Favorites). By Various. Arranged by Daniel Kelley. String trio, mixed trio. For Trio - Violin, Viola, Cello, Flute, Oboe or Bassoon. Trios. Music for Three series. Classical / Baroque/Christmas. Intermediate/Advanced. Set of 3 parts. Published by Last Resort Music Publishing
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Oboe Quartet in F Major, K. 370 (368b)
Oboe, Violin, Viola and Violoncello (Quartet)
[Sheet music]
G. Henle
For Oboe, Violin, Viola and Violoncello - with Comments in English. By Wolfgang ...
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For Oboe, Violin, Viola and Violoncello - with Comments in English. By Wolfgang Amadeus Mozart. Edited by E. Herttrich. Chamber Music with Winds. Pages: Ob Part = III and 7 * Vl Part = 6 * Va Part = 6 * Vc Part = 4. Urtext edition (Paper-bound). Published by G. Henle.
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More Folk Strings for String Quartet or String Orchestra (2nd Violin Part)
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Alfred Publishing
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Arranged by and ed. Joanne Martin. For 2nd Violin Part. String Ensemble - Mixed. 20 pages. Published by Alfred Publishing.
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More Folk Strings for String Quartet or String Orchestra (1st Violin Part )
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Alfred Publishing
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Arranged by and ed. Joanne Martin. For 1st Violin Part. String Ensemble - Mixed. 20 pages. Published by Alfred Publishing.
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Music for Three, Volume 1 - Piano Quartet (Violin, Viola, Cello, Keyboard - Set of 4 Parts)
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Last Resort Music Publishing
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(Baroque, Classical and Romantic Favorites, Wedding Music). Composed by Various. Arranged by Daniel Kelley. Piano quartet. For Violin, Flute, Oboe, Cello, Bassoon, Piano. Music for Three series. Classical / Baroque. Intermediate/Advanced. Set of 4 parts. Published by Last Resort Music Publishing
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Joseph Haydn: String quartets book I, early String quartets
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G. Henle
For 2 Violins, Viola and Violoncello. By Franz Joseph Haydn. Edited by G. Feder,...
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For 2 Violins, Viola and Violoncello. By Franz Joseph Haydn. Edited by G. Feder, G. Greiner. String Quartets. Pages: Vl I Part = 52 * Vl II Part = 51 * Va Part = 50 * Vc Part = 44. Urtext edition without fingering-paper bound. Published by G. Henle.
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Quintet No. 2 in C Major for Two Violins, Viola, Cello and Guitar
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Kalmus
For Two Violins, Viola, Cello, and Guitar. Composed by Luigi Boccherini (1743-18...
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For Two Violins, Viola, Cello, and Guitar. Composed by Luigi Boccherini (1743-1805). 5 or More; Classical Guitar Ensemble; Masterworks; Solo Small Ensembles. Kalmus Edition. Baroque; Classical; Masterwork. Book. 60 pages. Kalmus Classic Edition #00-K09449. Published by Kalmus Classic Edition
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Joseph Haydn: String quartets op. 9, book II
String Quartet: 2 violins, viola, cello
[Sheet music]
G. Henle
For 2 Violins, Viola and Basso (Violoncello). By Franz Joseph Haydn. Edited by G...
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For 2 Violins, Viola and Basso (Violoncello). By Franz Joseph Haydn. Edited by G. Feder. String Quartets. Pages: Vl I Part = 35 * Vl II Part = 27 * Va Part = 27 * Basso Part = 27. Urtext edition without fingering-paper bound. Published by G. Henle.
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Big Book of Violin & Viola Duets: Violin and Accomp.: Mixed Songbook
Violin, Viola (duet)
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Intermediate/advanced
Hal Leonard
The Big Book Of Violin & Viola Duets includes sheet music for 35 favourite pop s...
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The Big Book Of Violin & Viola Duets includes sheet music for 35 favourite pop songs movie hits and classical pieces including Across the Universe Baby It's Cold Outside California Dreamin' Crazy Little Thing Called Love Don't Stop Believin' Hey Soul Sister Hound Dog Moon River Moves like Jagger You and I and more.
28.99 GBP - Sold by Musicroom UK
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Wolfgang Amadeus Mozart: Sinfonia concertante in E-flat major K.364: Violin &
Violin, Viola and Orchestra
Barenreiter
There is no reference to the origin occasion or a performance of the Sinfonia c...
(+)
There is no reference to the origin occasion or a performance of the Sinfonia concertante in E-flat for Violin Viola and Orchestra K. 364 (320d) because in all probability it was composed in Salzburg (presumably in summer or early autumn 1779): Mozart seems to have had no reason to write about it. It was apparently in Paris that he first had the occasion of giving the genre of the ?Symphonie concertante? his special attention. On April 5 1778 he wrote to his father: ?Now I shall write a sinfonie concertante for flute wendling oboe Ramm Punto horn and Ritter bassoon?.Even more discouraging must have been the fact that he had similardifficulties in Paris in having the works performed as he had in Mannheim. After the organizier of the Concerts spirituels Le Gros contrary to his promise did not include the mentioned ?sinfonie concertante? in his program.Mozart had no reason to compose any more for this genre in Paris. After Mozart?s return to Salzburg he might have been eager to introduce the new genre there especially since adequate instrumentalists were available. Also the choice of the solo instruments (violin and viola) in the work presented here was probably influenced by the popularity of this instrumental combination in Salzburg at that time.- Urtext of the New Mozart Edition- Full score
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Wolfgang Amadeus Mozart: Sinfonia concertante in E-flat major K.364: Violin &
Violin, Viola and Orchestra
[Score]
Barenreiter
E flat major-There is no reference to the origin occasion or a performance of t...
(+)
E flat major-There is no reference to the origin occasion or a performance of the Sinfonia concertante in E-flat for Violin Viola and Orchestra K. 364 (320d) because in all probability it was composed in Salzburg (presumably in summer or early autumn 1779): Mozart seems to have had no reason to write about it. It was apparently in Paris that he first had the occasion of giving the genre of the ?Symphonie concertante? his special attention. On April 5 1778 he wrote to his father: ?Now I shall write a sinfonie concertante for flute wendling oboe Ramm Punto horn and Ritter bassoon?.Even more discouraging must have been the fact that he had similardifficulties in Paris in having the works performed as he had in Mannheim. After the organizier of the Concerts spirituels Le Gros contrary to his promise did not include the mentioned ?sinfonie concertante? in his program.Mozart had no reason to compose any more for this genre in Paris. After Mozart?s return to Salzburg he might have been eager to introduce the new genre there especially since adequate instrumentalists were available. Also the choice of the solo instruments (violin and viola) in the work presented here was probably influenced by the popularity of this instrumental combination in Salzburg at that time.- Urtext of the New Mozart Edition- Full score
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William McConnell: When The Boat Comes In: Violin Duet: Instrumental Album
String Quartet: 2 violins, viola, cello
Spartan Press
Grade 3 Upwards-A flexible compendium of folk tunes from the North of England a...
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Grade 3 Upwards-A flexible compendium of folk tunes from the North of England arranged for two violins or violin & viola plus optional cello. Includes On Ilkley Moor Bahtat Scarborough Fair Dance Ti Thy Daddy Blaydon Races and many more.
17.95 GBP - Sold by Musicroom UK
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Lennox Berkeley: Oboe Quartet Op.70 (Miniature Score): Oboe: Score
Oboe, Violin, Viola and Violoncello (Quartet)
[Sheet music]
Chester
Work for Oboe Violin Viola and Cello. Parts available: CH56341.This quartet wa...
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Work for Oboe Violin Viola and Cello. Parts available: CH56341.This quartet was commissioned by the Institute of Contemporary Arts and written in the autumn of 1967. It is dedicated to Lady Norton and is the second of LennoxBerkeley’s three works written with the oboist the late Janet Craxton in mind the other two being his Sonatina OP 61 and Sinfonia Concertante OP 84.The work begins with a fairly extended introduction leading without a breakinto an Allegro. The whole composition is based on the internal of a third (sometime major sometimes minor) which is heard in the opening phrase of the introduction and again in the main theme of the Allegro though here in atotally different context. The allegro is in more or less traditional sonata form. The middle movement is a kind of Scherzo growing out of a rhythmical figure for the strings and a rapid arpeggio (major and minor chords) forthe oboe. This is a Presto; a more relaxed middle section corresponding to the Trio in a classical work is followed by a much shortened version of the Scherzo. The last movement is brief but very slow all four instrumentstaking up in turn a gently rocking figure that moves to and fro between two notes always a major or minor third apart. The music becomes more animated but returns to the opening figure and dies away each instrument droppingout one after the other leaving the cello alone in the last bar.
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Bent Sørensen: Gondola L'Amore: String Trio: Score
String Trio: violin, viola, cello
[Sheet music]
Wilhelm Hansen
Bent Sørensen's Gondola L'Amore for Violin Viola and Cello.
15.50 GBP - Sold by Musicroom UK
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Helen Grime: Into The Faded Air (Parts): String Quartet: Parts
String Quartet: 2 violins, viola, cello
[Sheet music]
Chester
Into the faded air was commissioned by Britten Sinfonia for first performance at...
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Into the faded air was commissioned by Britten Sinfonia for first performance at Filharmonic Hall Krakow Poland on Sunday 13th January 2008 with Jacqueline Shave (Violin) Miranda Dale (Violin) Clare Finnimore(Viola) Catherine Musker (Viola) Caroline Dearnley (Cello) and Banjamin Chappell (Cello).Scoring: String Sextet (2 Violins 2 Violas and 2 Cellos)Duration: 10 minutes Composer'sNotes 'Into The Faded Air is cast in four movements although the last three movements are played without a break.In the first movement the sextet is divided into twogroups. The first group consisting of violin viola and cello plays a sustained melody while the second group (also violin viola and cello) contributes more jagged and intricate material. The second movement is an extended duetfor two violas accompanied by the other instruments. As the movement progresses the accompanying instruments become more prominent. The third movement is the only fast movement in the piece with rapid semiquavers and much useof pizzicato throughout. This leads into a serene chorale where the three upper instruments (two violins and first viola) are set against the second viola and two cellos.'Â - HelenGrime
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Helen Grime: To See The Summer Sky (Violin/Viola): Violin & Viola: Score and
Violin, Viola (duet)
Chester
To see the summer sky for Violin and Viola falls into four movements. The first ...
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To see the summer sky for Violin and Viola falls into four movements. The first movement opens with the two instruments sounding almost as one playing very high glassy harmonics. Gradually an expressive viola solo emerges withboth instruments descending to their lower ranges. A livelier quasi scherzando solo for violin accompanied by viola pedal notes leads to a chorale like passage the violin at the top of its range whilst the viola is at itslowest. The movement ends with the two instruments coming together once again on a unison Bb and fades away almost as it has begun but this time in the husky lower registers.The second movement is much faster and openswith a downward flurry for both instruments. A continuous pizzicato line for viola is interrupted by more violent passages in the violin. The two instruments come together in a dance-like passage before the roles are reversed.Finally an ecstatic melody surfaces in the viola and is later continued in the violin before the movement closes with the spiky figures of its opening the two instruments ending in unison.The third movement encompasses isthe most delicate and still music of the piece. After a very tranquil opening an expressive violin melody is accompanied by a gentle rocking figure in the viola. Tentative at first intensity and speed gather until the violinreaches stratospheric heights. Both of the instruments play at the extremes of their registers before moving to common ground for a more lively textural passage. This is followed by a passionate reminder of the movement’s opening gradually fading away to nothing.The piece ends with a Moto Perpetuo. The instruments begin by dovetailing a single line which develops into two strands before a more violent section appears punctuated by strident doublestops. Both instruments have slightly manic solo episodes before the movement quickly dies away in the single line of its opening
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Wolfgang Amadeus Mozart: Sinfonia concertante in E-flat major K.364: Violin &
Violin and Piano
Barenreiter
for Violin Viola and Orchestra-There is no reference to the origin occasion or...
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for Violin Viola and Orchestra-There is no reference to the origin occasion or a performance of the Sinfonia concertante in E-flat for Violin Viola and Orchestra K. 364 (320d) because in all probability it was composed in Salzburg (presumably in summer or early autumn 1779): Mozart seems to have had no reason to write about it. It was apparently in Paris that he first had the occasion of giving the genre of the ?Symphonie concertante? his special attention. On April 5 1778 he wrote to his father: ?Now I shall write a sinfonie concertante for flute wendling oboe Ramm Punto horn and Ritter bassoon?.Even more discouraging must have been the fact that he had similardifficulties in Paris in having the works performed as he had in Mannheim. After the organizier of the Concerts spirituels Le Gros contrary to his promise did not include the mentioned ?sinfonie concertante? in his program.Mozart had no reason to compose any more for this genre in Paris. After Mozart?s return to Salzburg he might have been eager to introduce the new genre there especially since adequate instrumentalists were available. Also the choice of the solo instruments (violin and viola) in the work presented here was probably influenced by the popularity of this instrumental combination in Salzburg at that time.- Urtext of the New Mozart Edition- Full score
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Laurie Gabriel: Improvisation for Viola Made Easy: Viola Solo: Instrumental
Viola
[Sheet music + Audio access]
Hal Leonard
Three vamp parts are layered on each other in this innovative improvisation coll...
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Three vamp parts are layered on each other in this innovative improvisation collection allowing soloists to join in as they please.Some vamps are simple others more challenging. Improvising becomes accessible with soloing guidelines and tips. 35 different styles are covered including jazz classical hip-hop rock country-western Asian African Celtic Latin Gregorian and more.Each page has sugested notes for soloing so your solo will always fit with the other players. These volumes are available for four instruments ? Violin Viola and Cello/String Bass ? so string players can improvise together.
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Sassmannshaus H. / Close J. Peter - Early Start On The Double Bass Vol.3
String Trio: violin, viola, cello
Barenreiter
The long awaited Sassmannshaus method “Early Start on the Double Bass” is now ...
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The long awaited Sassmannshaus method “Early Start on the Double Bass” is now here. At last students of the largest instrument in the string family can make use of this tried and tested method for beginners, developed by Egon Sassmannshaus for the other string instruments and applied here to the double bass by Holger Sassmannshaus and J. Peter Close. This method will meet the needs of the growing number of young bass students. “Early Start on the Double Bass” encompasses everything that one would expect from a Sassmannshaus method: an easy start, progression at a suitable rate, many cross-references to the other string instruments, songs and scales in different positions from early on, as well as many duets. Lively and colourful illustrations by Charlotte Panowsky complete the edition. For more than three decades “The Sassmannshaus Tradition” has been the household name for excellence in beginner string methods in German-speaking countries. The English editions for violin, viola and violoncello, which were introduced to the international market in 2008, have proven to be very successful, particularly in the United States. Kids to the Bass! While children learning other string instruments can start as early as the age of four, the appropriate age to begin the double bass is approximately eight (possibly even six); this allows for a faster progression than on the other string instruments, and the method consists of only three volumes. The first volume will be published separately in an English and a German edition; the following two volumes will have German and English text in each book. Original compositions by Boguslaw Furtok enrich the volumes. - Based on the tried-and-tested Sassmannshaus methods for violin, viola and cello - Volume 1: Separate editions in German and English - Volumes 2 and 3: Bilingual, German/English editions - Moderate increase in difficulty - Position playing, duets - Includes new original compositions to B. Furtok - Volume 3 with piano accompaniments to 7 pieces The authors Holger Sassmannshaus is a double bass player with the Niederrheinische Sinfoniker in Mönchengladbach/Krefeld. He also teaches the double bass and performs with several other ensembles. J. Peter Close is a teacher for violoncello and double bass in Munich.
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Hans Abrahamsen: Schnee - Ten Canons For Nine Instruments: Ensemble: Score
VLN/VLA/VLC/PFA/PERC/PFA/FLT/CORA/BASS CLT/CLT::Violin/Viola/Cello/Piano Accompaniment/Percussion/Piano Accompaniment/Flute/Cor Anglais/Bass Clarinet/Clarinet
[Sheet music]
Wilhelm Hansen
Schnee - Ten Canons For Nine Instruments was composed by Hans Abrahamsen in 2006...
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Schnee - Ten Canons For Nine Instruments was composed by Hans Abrahamsen in 2006-08. Commissioned by Westdeutscher Rundfunk for 'Wittener Tage für Neue Kammermusik 2008' with support from Ernst von Siemens Musikstiftung and The Danish Arts Council. Dedicated to Harry Vogt and Ensemble Recherche. Programme Note: In the beginning of the 90s I arranged some of J.S. Bach’s canons for ensemble – in total seven single standing works from his entire life span. I became totally absorbed into this music and arranged them with the intention of the music being repeated many many times as a kind of minimal music. Obviously I didn’t know which durations Bach had in mind but by listening to his canons in this way a profound new moving world of circular time was opened to me.Depending on the perspective on these canons the music and its time can stand still or move either backwards or forwards.In my own work an ongoing idea has persisted of at some point writing a work consisting of a number of canonical movements that would explore this universe of time. And when I was offered the commission for Ensemble Recherche and Wittener Tage it felt as the right time to do this.In Schnee a few simple and fundamental musical questions are explored. What is a Vorsatz? And what is a Nachsatz? Can a phrase be answering? Or questioning?The guideline or rule for the canons is very simple: We start out with an answering Vorsatz followed by a questioning Nachsatz. Throughout the time of the piece these two are intertwined more and more as more and more dicht geführt canons until at the end they are interchanged. Now the question and then the answer. The two canons are identical like a painting in two versions but with different colors. And where the first one does not include the space the second one does as well as containing more
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