All site ▾
All site▾
Free sheet music
Sheet music books
Digital sheet music
Musical equipment
My account
(log-in)
€
€
EUR €
USD $
GBP £
CAD $
CNY ¥
Français
Free Sheet Music ▾
▽ INSTRUMENTS
ACCORDION
BALALAIKA
BANJO
BASS
BASSOON
BLANK SHEET M…
BOOKS
BOUZOUKI
CELLO - VIOLO…
CHARANGO
CHOIR - VOCAL
CLARINET
CORNET
DOBRO - GUIT.…
DOUBLE BASS
DRUM
DULCIMER
ENGLISH HORN
EUPHONIUM
FLUGELHORN
FLUTE
GUITAR
HANDBELLS
HARMONICA
HARP
HARPSICHORD
HORN
LUTE, THEORB
MANDOLIN
MARCHING BAND
MARIMBA
OBOE
ORCHESTRA - B…
ORGAN - ORGAO
OTHER INSTRUM…
PANPIPES
PERCUSSION
PIANO
RECORDER
SAXOPHONE
TROMBONE
TRUMPET
TUBA
UKULELE
VIBRAPHONE
VIOLA
VIOLA DA GAMB…
VIOLIN - FIDD…
XYLOPHONE
ZITHER
NEW ADDITIONS
|
GENRES
|
20th century
Afro-americans
Ballad
Baroque
Bluegrass
Blues
Brazilian/Choro
Celtic
Celebrations
Classical
Classical modern
Contemporary
National Anthems
Jazz
New age
Opera
Ragtime
Renaissance
Romantic
Sonata
Tango
Traditional
Waltz
Occitan song
Song
Chinese traditional
Ethnic
Klezmer
Flamenco
Folk
Japanese traditional
March
Medieval
Musette
Orientale
Pasodoble
French popular
Popular Dance
Reggae
Swing
Latin/World
INSTRUCTIONAL
:
Blank sheet music
Children
Dictionaries
Instructional methods
Music theory
Musicology
Rhythmic Solfege
Solfeges
Studies
SACRED
:
African Hymns
Chassidic
Christian
Christmas
Gospel
Gregorian
Israeli
Sacred Hymns
Wedding
DIFFICULTY
|
Beginner
Easy
Intermediate
Intermediate/advanced
Advanced
TOP DOWNLOADS
|
TOP DOWNLOADS
TOP 100 SOCIAL RANKING
COMPOSERS
|
Member composers
Historical composers
All composers
INSTRUMENTATIONS
|
SOLO
DUET
TRIO
QUARTET
QUINTET
ENSEMBLE
ALL
ADVANCED SEARCH
|
Digital Sheet Music
HOME
|
NEW ADDITIONS
|
PIANO
|
Piano sheet music
Piano solo
Piano, Voice, Guitar
Piano duet
Easy Piano
Piano Method
Methods
Studies
Organ sheet music
Organ solo
Organ duet
INSTRUMENTAL
|
Strings
Violin
Viola
Cello
Doublebass
Harp
Woodwinds
Flute
Clarinet
Oboe
Saxophone
Bassoon
Brass
Trumpet
Horn
Trombone
Tuba
Guitar
Guitar Tabs
Piano, Voice, Guitar
Bass
Folk
Accordion
Banjo
Dulcimer
Ukulele
Mandolin
Chamber music
String quartet
Wind quintet
Brass quintet
Handbells
ORCHESTRA
|
Concert Band
Jazz Ensemble
Jazz combo
Brass band
Marching band
Methods
Orchestra
String orchestra
CHOIR / VOICE
|
Choir
SATB
TTBB
SSAA
3-parts
2-parts
Voice
Piano, Voice, Guitar
Piano, Voice
Voice solo
Voice duet
GENRES
|
20th century
Asian
Bluegrass
Blues
Broadway / Musicals
Celtic
Christmas
Classical
Children
Country
Fingerpicking
Flamenco
Folk Rock
French songs
Funk
Gospel
Halloween
Instructional
Instructional - Studies
Jazz
Klezmer
Latin / World
Latin Pop
Medieval / Renaissance
Metal / Hard
Movie / TV
Movie Walt Disney
New Age
Patriotic
Pop
Reggae
Rock
Rock Alt.
Sacred / Church
Soul / Rap
Tango
Traditional
Video Game
Wedding / Love
CHRISTMAS
|
All Christmas
Christmas Piano
Christmas Guitar
Christmas Voice/Choir
Halloween
DIFFICULTY
|
Beginner
Easy
Intermediate
Intermediate/advanced
Advanced
Music Sheet Library ▾
HOME
|
NEW ADDITIONS
|
PIANO
|
Piano (all)
Beginner Piano
Easy Piano
Piano Solo
PVG
Best Sellers
New additions
GUITAR
|
Guitar (all)
Beginner Guitar
Easy Guitar
Guitar TAB
Guitar (without TAB)
Best Sellers
New additions
VOICE/CHORAL
|
Choral & Voice (all)
Solo voice
Choral 2-Part
Choral 3-Part
Choral SATB
Choral TTBB
Choral SSAA
Choral UNISON
Best Sellers
New additions
INSTRUMENTATIONS
|
BEST SELLERS
|
CHRISTMAS
|
GENRES
|
20th century
African
Asian
Bluegrass
Blues
Broadway / Musical
Celtic
Christmas
Classical
Country
Children
Eastern Europe
Exams
Fingerpicking
Flamenco
Folk Rock
French songs
Funk
Gypsy jazz
Gospel
Halloween
Instructional
Instructional - Studies
Instructional - Chords/Scales
Jazz
Klezmer
Latin / World
Latin Pop
Medieval / Renaissance
Metal
Movie / TV
Movie Walt Disney
New Age
Patriotic
Pop
Reggae
Rock
Rock Alternative
Sacred / Church
Soul / Rap
Tango
Traditional
Video Games
Wedding / Love
SECTIONS
|
ARTISTS
PUBLISHERS
CLASSROOM
GIFT IDEAS
BOOKS ABOUT MUSIC
PLAY-ALONG
ADV.SEARCH
Musical Equipment ▾
GUITAR
|
KEYBOARD
|
PERCU.
|
STUDIO
|
SOFT
|
PA
|
LIGHT
|
DJ
|
MIC
|
EFFECTS
|
WINDS
|
TRAD.
|
FLIGHT
|
CABLES
|
ACC.
|
GIFT
|
BRANDS
--INSTRUMENTS--
ACCORDION
AUTOHARP
BAGPIPE
BANJO
BASS
BASSOON
BOOKS
BOUZOUKI
BUGLE
CHORAL - VOCAL…
CLARINET
CORNET
DIDGERIDOO
DJ GEAR
DRUM
DULCIMER
EUPHONIUM
FLUTE
FRENCH HORN
GUITAR
HANDBELLS
HARMONICA
HARP
HARPSICHORD
LAP STEEL GUIT…
LUTE
MANDOLIN
MARCHING BAND
MARIMBA
MUSIC COURSE
OBOE
OCARINA
ORCHESTRA - BA…
ORGAN
PANPIPES
PERCUSSION
PIANO
RECORDER
SAXOPHONE
SYNTHESIZER K…
TROMBONE
TRUMPET
TUBA
UKULELE
VIBRAPHONE
VIOLA
VIOLIN - FIDDL…
VIOLONCELLO - …
XYLOPHONE
ZITHER
Concerto for two violas
Not classified
4
Piano & keyboards
Piano solo
1
Guitars
Voice
Woodwind
Flute, Orchestra
1
Saxophone ensemble
1
Woodbrass
Strings
2 Violas (duet)
6
Cello, Piano
2
String Trio: 3 violas
1
Violin and Piano
1
Cello, Orchestra
1
Viola, Piano
1
+ 1 instrumentations
-
Retract
Percussion & orchestra
Chamber Orchestra
6
String Orchestra
5
Orchestra
1
Piano and Orchestra
1
Others
Home
Best Sellers
New releases
Methods
Studies
Sellers
Sellers
Americans
At Musicnotes
At Sheetmusicplus
At Virtualsheetmusic
Europeans
At Tomplay
At Prof-Editions
At Note4piano
At Noviscore
At Quickpartitions
International artists list
French artists list
Top artists
Top artists
POP
Adele
Daft Punk
Avicii
Pharrel Williams
Bruno Mars
Lily Allen
Birdy
John Legend
Passenger
Emeli Sand�
Beatles
NEW AGE / CLASSICAL
Yiruma
Ludovico Einaudi
John Williams
Piazzolla
John Rutter
Dmitri Shostakovich
Benjamin Britten
Ennio Morricone
Paul Mealor
John Rutter
Eric Whitacre
John Tavener
Christmas
Halloween
Easter
Wedding
Sacred
FREE SHEET MUSIC
185,000+ free sheet music
SHEET MUSIC LIBRARY
1,500,000+ buy and delivery
DIGITAL SHEET MUSIC
2,000,000+ buy and print
MUSICAL INSTRUMENTS
200,000+ buy and delivery
Sheet Music Membership ($37.75/year)
Digital sheet music, access after purchasing
Post mailing
Digital sheet music
Sorting and filtering :
--INSTRUMENTS--
ACCORDION
AUTOHARP
BAGPIPE
BANJO
BASS
BASSOON
BOOKS
BOUZOUKI
BUGLE
CHORAL - VOCAL…
CLARINET
CORNET
DIDGERIDOO
DJ GEAR
DRUM
DULCIMER
EUPHONIUM
FLUTE
FRENCH HORN
GUITAR
HANDBELLS
HARMONICA
HARP
HARPSICHORD
LAP STEEL GUIT…
LUTE
MANDOLIN
MARCHING BAND
MARIMBA
MUSIC COURSE
OBOE
OCARINA
ORCHESTRA - BA…
ORGAN
PANPIPES
PERCUSSION
PIANO
RECORDER
SAXOPHONE
SYNTHESIZER K…
TROMBONE
TRUMPET
TUBA
UKULELE
VIBRAPHONE
VIOLA
VIOLIN - FIDDL…
VIOLONCELLO - …
XYLOPHONE
ZITHER
style (all)
AFRICAN
AMERICANA
ASIAN
BLUEGRASS
BLUES
CELTIC - IRISH - SCO…
CHILDREN - KIDS : MU…
CHRISTIAN (contempor…
CHRISTMAS - CAROLS -…
CLASSICAL - BAROQUE …
CONTEMPORARY - 20-21…
CONTEMPORARY - NEW A…
COUNTRY
FINGERSTYLE - FINGER…
FLAMENCO
FOLK ROCK
FOLK SONGS - TRADITI…
FRENCH SONGS
FUNK
GOSPEL - SPIRITUAL -…
HALLOWEEN
INSTRUCTIONAL : CHOR…
INSTRUCTIONAL : METH…
INSTRUCTIONAL : STUD…
JAZZ
JAZZ GYPSY - SWING
JEWISH - KLEZMER
LATIN - BOSSA - WORL…
LATIN POP ROCK
MEDIEVAL - RENAISSAN…
METAL - HARD
MOVIE (WALT DISNEY)
MOVIE - TV
MUSICALS - BROADWAYS…
OLD TIME - EARLY ROC…
OPERA
PATRIOTIC MUSIC
POLKA
POP ROCK - CLASSIC R…
POP ROCK - MODERN - …
POP ROCK - POP MUSIC
PUNK
RAGTIME
REGGAE
SOUL - R&B - HIP HOP…
TANGO
THANKSGIVING
VIDEO GAMES
WEDDING - LOVE - BAL…
WORSHIP - PRAISE
Relevance
Best sellers
Prices - to +
Prices + to -
New releases
A-Z
skill (all)
beginner
easy
intermediate
avanced
expert
Sellers (all)
Musicnotes
Note4Piano
Noviscore
Profs-edition
Quickpartitions
SheetMusicPlus
Tomplay
Virtualsheetmusic
with audio
with video
with play-along
You've selected:
Concerto for two violas
Sheetmusic to print
32 sheet music found
<
1
26
Concerto
Concerto
#
Piano and Orchestra
#
ADVANCED
#
Contemporary
#
Gyorgy Ligeti
#
Concerto
#
Schott Music - Digital
#
SheetMusicPlus
Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. D...
(+)
Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minutes. Schott Music - Digital #Q53630. Published by Schott Music - Digital
I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. .
The markings of the movements are the following: .
1. Vivace molto ritmico e preciso .
2. Lento e deserto .
3. Vivace cantabile .
4. Allegro risoluto .
5. Presto luminoso.
The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. .
The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. .
In the Piano Concerto I realized new concepts of harmony and rhythm. .
The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. .
In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. .
The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. .
In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. .
Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). .
The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). .
Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. .
These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. .
The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). .
The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. .
Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. .
Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. .
This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. .
The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. .
I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. .
(Gyorgy Ligeti)
$23.99 ≈
22.45€
Concerto for Two Violas in A Minor FULL SCORE
Concerto for Two Violas in A Minor FULL SCORE
#
Chamber Orchestra
#
INTERMEDIATE
#
Classical
#
Johann Sebastian Bach
#
Brett L Allen
#
Concerto for Two Violas in A M
#
brettallenmusic.com
#
SheetMusicPlus
Chamber Orchestra - Level 3 - Digital Download SKU: A0.977966 Composed by Johann Sebastian Bach. Arranged by Brett L Allen. Baroque,Concert,Standards. Sc...
(+)
Chamber Orchestra - Level 3 - Digital Download SKU: A0.977966 Composed by Johann Sebastian Bach. Arranged by Brett L Allen. Baroque,Concert,Standards. Score and parts. 37 pages. Brettallenmusic.com #6216983. Published by brettallenmusic.com (A0.977966). An arrangement for Violas of J S Bach's Concerto for Two Violins in D Minor, BWV 1043, the famed Bach Double. Scored for low strings commonly used to perform Bach's Brandenburg Concerto No. 6. (Viola 1, Viola 2, Cello, Bass, Cembalo). Includes Full Score only.
$14.00 ≈
13.10€
Concerto for Two Violas in A Minor COMPLETE SET
Concerto for Two Violas in A Minor COMPLETE SET
#
Classical
#
Johann Sebastian Bach
#
Brett L Allen
#
Concerto for Two Violas in A M
#
brettallenmusic.com
#
SheetMusicPlus
Small Ensemble Cello,Double Bass,Harpsichord,Piano Accompaniment,Viola - Level 3 - Digital Download SKU: A0.977964 Composed by Johann Sebastian Bach. Arr...
(+)
Small Ensemble Cello,Double Bass,Harpsichord,Piano Accompaniment,Viola - Level 3 - Digital Download SKU: A0.977964 Composed by Johann Sebastian Bach. Arranged by Brett L Allen. Baroque,Concert,Standards. Score and parts. 152 pages. Brettallenmusic.com #6216955. Published by brettallenmusic.com (A0.977964). An arrangement for Violas of J S Bach's Concerto for Two Violins in D Minor, BWV 1043, the famed Bach Double. Scored for low strings commonly used to perform Bach's Brandenburg Concerto No. 6. Includes all parts: Full Score, Solo Viola 1, Solo Viola 2, Piano Reduction and all Ensemble Parts (Viola 1, Viola 2, Cello, Bass and Cembalo). The Cembalo Part is fully realized.
$90.00 ≈
84.22€
Concerto for Two Violas and Piano in A Minor SOLO INSTRUMENTS & PIANO
Concerto for Two Violas and Piano in A Minor SOLO INSTRUMENTS & PIANO
#
Viola, Piano
#
INTERMEDIATE
#
Classical
#
Johann Sebastian Bach
#
Brett L Allen
#
2 and Piano Part only
#
Concerto for Two Violas and Pi
#
brettallenmusic.com
#
SheetMusicPlus
Piano,Viola - Level 3 - Digital Download SKU: A0.977967 Composed by Johann Sebastian Bach. Arranged by Brett L Allen. Concert,Standards. Score and part. ...
(+)
Piano,Viola - Level 3 - Digital Download SKU: A0.977967 Composed by Johann Sebastian Bach. Arranged by Brett L Allen. Concert,Standards. Score and part. 55 pages. Brettallenmusic.com #6216987. Published by brettallenmusic.com (A0.977967). An arrangement for Violas of J S Bach's Concerto for Two Violins in D Minor, BWV 1043, the famed Bach Double. Suitable for recitals, masterclasses, auditions and competitions. Piano version uniquely adapted to the tambre of the Viola. Includes Solo Violas Parts 1 & 2 and Piano Part only.
$18.00 ≈
16.84€
Concerto for Two Violas in A Minor ENSEMBLE PARTS
Concerto for Two Violas in A Minor ENSEMBLE PARTS
#
Chamber Orchestra
#
INTERMEDIATE
#
Classical
#
Johann Sebastian Bach
#
Brett L Allen
#
Concerto for Two Violas in A M
#
brettallenmusic.com
#
SheetMusicPlus
Chamber Orchestra - Level 3 - Digital Download SKU: A0.977965 Composed by Johann Sebastian Bach. Arranged by Brett L Allen. Baroque,Concert,Standards. Sc...
(+)
Chamber Orchestra - Level 3 - Digital Download SKU: A0.977965 Composed by Johann Sebastian Bach. Arranged by Brett L Allen. Baroque,Concert,Standards. Score and parts. 62 pages. Brettallenmusic.com #6216967. Published by brettallenmusic.com (A0.977965). An arrangement for Violas of J S Bach's Concerto for Two Violins in D Minor, BWV 1043, the famed Bach Double. Includes Viola 1, Viola 2, Cello, Bass and Cembalo. The Cembalo Part is fully realized.
$75.00 ≈
70.19€
Concerto for Two Violas and Chamber Orchestra by Scott Slapin (SCORE ONLY) - Score Only
Concerto for Two Violas and Chamber Orchestra by Scott Slapin (SCORE ONLY) - Score Only
#
Chamber Orchestra
#
INTERMEDIATE
#
Scott Slapin
#
Concerto for Two Violas and Ch
#
Violacentric Publications
#
SheetMusicPlus
Chamber Orchestra - Level 3 - Digital Download SKU: A0.749667 Composed by Scott Slapin. 20th Century,Contemporary,Romantic Period. 86 pages. Violacentric...
(+)
Chamber Orchestra - Level 3 - Digital Download SKU: A0.749667 Composed by Scott Slapin. 20th Century,Contemporary,Romantic Period. 86 pages. Violacentric Publications #5891027. Published by Violacentric Publications (A0.749667). A concerto for two violas and chamber orchestra (strings and optional flute/clarinet) based on some of Slapin's chamber works (Prelude, Nocturne, and Suspension). Three movements. SCORE ONLY (paper size 11x14). Parts sold separately. Orchestra parts can be played by string quartet.More information: http://www.scottslapin.com.
$40.00 ≈
37.43€
Concerto for two violas
Concerto for two violas
#
String Orchestra
#
INTERMEDIATE
#
Classical
#
Georg Philipp Telemann
#
Pam Moutoussi
#
Concerto for two violas
#
Pamela Moutoussi
#
SheetMusicPlus
String Orchestra - Level 3 - Digital Download SKU: A0.1113967 Composed by Georg Philipp Telemann. Arranged by Pam Moutoussi. Baroque,Classical. Score and...
(+)
String Orchestra - Level 3 - Digital Download SKU: A0.1113967 Composed by Georg Philipp Telemann. Arranged by Pam Moutoussi. Baroque,Classical. Score and parts. 41 pages. Pamela Moutoussi #715865. Published by Pamela Moutoussi (A0.1113967). This lovely piece is great to show of the beautful sound of the viola. The edition is carefully annotated for use for young players, but it's equally good for experinced players. A keyboard/harpsichord part is added.
$20.00 ≈
18.72€
Vivaldi, A. - Sonata No. 6 Mvt. 2 for Two Violas
Vivaldi, A. - Sonata No. 6 Mvt. 2 for Two Violas
#
2 Violas (duet)
#
INTERMEDIATE/ADVANCED
#
Classical
#
Antonio Vivaldi
#
Linda M
#
Vivaldi, A. - Sonata No. 6 Mvt
#
Linda M Scott
#
SheetMusicPlus
Viola Duet Viola - Level 4 - Digital Download SKU: A0.540558 Composed by Antonio Vivaldi. Arranged by Linda M. Scott. Baroque. Score. 7 pages. Linda M Sc...
(+)
Viola Duet Viola - Level 4 - Digital Download SKU: A0.540558 Composed by Antonio Vivaldi. Arranged by Linda M. Scott. Baroque. Score. 7 pages. Linda M Scott #4296557. Published by Linda M Scott (A0.540558). Antonio Vivaldi (1675-1741) was an Italian priest, violinist and composer, well-known in his day for the both his violin virtuosity and the many concertos, trio sonatas and other works that he composed. This piece is a movement of one of a group of six sonatas written for treble instrument and cembalo. This lively movement is equally interesting for all parts, and easily accessible for advanced intermediate students, amateurs and professionals. A few chromatic passages, and some syncopation make this fun for all.
$5.99 ≈
5.61€
Vivaldi, A. - Sonata No. 6 Mvt. 1 for Two Violas
Vivaldi, A. - Sonata No. 6 Mvt. 1 for Two Violas
#
2 Violas (duet)
#
EASY
#
Classical
#
Antonio Vivaldi
#
Linda M
#
Vivaldi, A. - Sonata No. 6 Mvt
#
Linda M Scott
#
SheetMusicPlus
Viola Duet Viola - Level 2 - Digital Download SKU: A0.540554 Composed by Antonio Vivaldi. Arranged by Linda M. Scott. Baroque. Score. 4 pages. Linda M Sc...
(+)
Viola Duet Viola - Level 2 - Digital Download SKU: A0.540554 Composed by Antonio Vivaldi. Arranged by Linda M. Scott. Baroque. Score. 4 pages. Linda M Scott #4296545. Published by Linda M Scott (A0.540554). Antonio Vivaldi (1675-1741) was an Italian priest, violinist and composer, well-known in his day for the both his violin virtuosity and the many concertos, trio sonatas and other works that he composed. This piece is a movement of one of a group of six sonatas written for treble instrument and cembalo. This graceful arrangement has harmonic and thematic interest and challenge for both parts. Easily accessible for advanced intermediate students, amateurs and professionals.
$5.99 ≈
5.61€
Concertino for 2 violas by Adolf Huber Op.11
Concertino for 2 violas by Adolf Huber Op.11
#
2 Violas (duet)
#
EASY
#
Adolf Huber
#
Violin Friends
#
Concertino for 2 violas by Ado
#
Suomi Music
#
SheetMusicPlus
Viola Duet Viola - Level 2 - Digital Download SKU: A0.1200439 Composed by Adolf Huber. Arranged by Violin Friends. 19th Century,Chamber,Classical,Instruc...
(+)
Viola Duet Viola - Level 2 - Digital Download SKU: A0.1200439 Composed by Adolf Huber. Arranged by Violin Friends. 19th Century,Chamber,Classical,Instructional,Romantic Period. Score. 17 pages. Suomi Music #799265. Published by Suomi Music (A0.1200439). Student Concerto Op. 11 by Adolf Huber arranged for two violas and piano. The Schüler-Concertino for 2 Violins, Op. 11 by Adolf Huber arranged for 2 violas. The Concertino in g-minor has been transposed to c-minor for the violas. The original piano part has been simplified in order to make it easier for parents and students of the same age to practice and perform togehter. This Concertino is excellent to use in the classroom, at concerts, and at examinations. Duration: 4.40 min Difficulty level: 3-4 Total pages to print: 17.
$9.99 ≈
9.35€
Haydn: Concerto No. 2 in G major (Classical Wind Ensemble)
Haydn: Concerto No. 2 in G major (Classical Wind Ensemble)
#
Classical
#
Franz Joseph Haydn
#
Roar Kvam
#
Haydn: Concerto No. 2 in G maj
#
KVAMusic Edition
#
SheetMusicPlus
Woodwind Ensemble - Level 4 - Digital Download SKU: A0.768500 Composed by Franz Joseph Haydn. Arranged by Roar Kvam. Classical,Concert. 114 pages. KVAMus...
(+)
Woodwind Ensemble - Level 4 - Digital Download SKU: A0.768500 Composed by Franz Joseph Haydn. Arranged by Roar Kvam. Classical,Concert. 114 pages. KVAMusic Edition #3454071. Published by KVAMusic Edition (A0.768500). About 1785, Haydn received a commission to write a series of concertos for Ferdinand IV, King of Naples and the Twin Sicilies. It was a very curious commission; for these concertos were to be written for a pair of strange instruments, the so-called Lira organizzata. The lira was a favourite instrument of the lazzaroni, the common people of Neaples: the Bourbon King, though often a rough and uncouth monarch, had a deep affection for his people. and for all their peculiar customs, and it is characteristic that his favourite musical instrument should have been that so beloved by his people. In a letter from the King of Neaples there are two points which explain much of the peculiar character of Haydn’s concertos for the King: the first is the restricted tonal range of all the works, C, F and G major are the only principal keys allowed. The second is the range of the lira itself which is about that of an oboe. Bearing these limitations in mind, Haydn did not attempt to write complicated double concertos, but rather ensemble music for two lire, two violins, two violas, cello and two horns, in other words, 9 solo instruments. (This edition: Flute, oboe, two clarinets, two basset horns, bassoon, contrabass and two horns). Moreover, he neatly combined the concerto form with that of the divertimento: there is often no strict division into solo and tutti, but constant intermingling of both. Wonderful music by Haydn, originally written for a mixed ensemble of 2 liras, 2 Horns and strings, but this is a transcription for a classical wind ensemble, a great companion for a concert together with i.e. Mozart’s Gran Partita, since it has almost the same instrumentation.
$33.00 ≈
30.88€
Johann Sebastian Bach: Concerto in D minor BWV 1043 (Double Concerto) for two violas & piano
#
2 Violas (duet)
#
INTERMEDIATE/ADVANCED
#
Classical
#
Johann Sebastian Bach
#
Virtualsheetmusic
This is an exclusive transcription for two violas & piano of MEDIUM/HIGH skill level from the original composition by Johann Sebastian Bach. This title is available as instant sheet music download. Contents: double concerto, bwv1043 / classical,concert...
(+)
This is an exclusive transcription for two violas & piano of MEDIUM/HIGH skill level from the original composition by Johann Sebastian Bach. This title is available as instant sheet music download. Contents: double concerto, bwv1043 / classical,concert
$8.99 ≈
8.41€
Bach - Brandenburg Concerto No.6 in B flat major BWV 1051 - Piano Version
Bach - Brandenburg Concerto No.6 in B flat major BWV 1051 - Piano Version
#
Piano solo
#
ADVANCED
#
Classical
#
Santino Cara
#
Johann Sebastian Bach in 1721
#
Santino Cara
#
Bach - Brandenburg Concerto No
#
Santino Cara
#
SheetMusicPlus
Piano Solo - Level 5 - Digital Download SKU: A0.1323836 By Santino Cara. By Johann Sebastian Bach. Arranged by Santino Cara. Baroque. Score. 31 pages. Sa...
(+)
Piano Solo - Level 5 - Digital Download SKU: A0.1323836 By Santino Cara. By Johann Sebastian Bach. Arranged by Santino Cara. Baroque. Score. 31 pages. Santino Cara #912024. Published by Santino Cara (A0.1323836). Complete score of the Brandenburg Concerto No.6 in B flat major BWV 1051 for Piano solo. Composed by Johann Sebastian Bach in 1721 for two viole da braccio, two viole da gamba, cello, violone and cembalo. Transcribed for Piano in Rome in 2023 by Santino Cara.3 Movements: 1. Alla breve (ma poco allegro), 2. Adagio ma non tanto (E flat major), 3. Allegro (B flat major).Sources and annotations:The six Brandenburg concerts were presented by Bach in 1721 in a collection for Christian Ludwig, Margrave of Brandenburg-Schwedt and dedicated to him. It is therefore assumed that they were composed before that date. The title in the autograph score shows the instrumentation for 2 violas to braccio (normal violas), 2 violas da gamba, cello, violone and harpsichord, the absence of violins is unusual. We also add that the second movement in E flat major ends with an imperfect cadence in G minor.Other piano works by Bach and baroque and classical composers
$18.40 ≈
17.22€
Cello Concerto
Cello Concerto
#
Cello, Orchestra
#
Gavin Bryars
#
Cello Concerto
#
Schott Music - Digital
#
SheetMusicPlus
2 (2:picc.) · 1 · c.a. · 2 (2: b.cl.) · 2 (2: cbsn.) - 2 · 0 · 0 · 0 - perc. (timp., b.d., tam-tam, sus. cym., vibra., glock., tub. bells, ...
(+)
2 (2:picc.) · 1 · c.a. · 2 (2: b.cl.) · 2 (2: cbsn.) - 2 · 0 · 0 · 0 - perc. (timp., b.d., tam-tam, sus. cym., vibra., glock., tub. bells, marimba) (2 players) - hp - str. (6 · 6 · 4 · 4 · 2 minimum) cello and orchestra - Digital Download SKU: S9.Q3688 Farewell to philosophy. Composed by Gavin Bryars. This edition: study score. Music Of Our Time. Downloadable, Study score. Duration 35 minutes. Schott Music - Digital #Q3688. Published by Schott Music - Digital (S9.Q3688). I have a great fondness for the lower string instruments: I am a bass player, my mother is a cellist, as are both my daughters; my own ensemble includes two violas, a cello and a bass, and for the instrumentation of my opera Medea I omit the entire violin section from the orchestra. As I have written a number of works for solo instrument or voice with orchestra I welcomed the opportunity to write a concerto for cello and orchestra and especially one which focuses particularly on the instrument’s lyrical qualities. Although the piece is in one continuous movement, and the soloist is playing almost without a break, it nevertheless falls into distinct sections which are recognisable by a shift of tempo as well as by a change in the music’s character. One of the early ideas Julian Lloyd Webber and I discussed was that it might form a companion piece to one of the Haydn concertos. Given my friendship with some members of the English Chamber Orchestra and my awareness of their repertoire, this suggested a number of particular musical references. The subtitle to the work, for example, combines the subtitles of two idiosyncratic Haydn symphonies and I allude to them in different ways but chiefly through orchestration: for The Philosopher by including a section in the concerto where the orchestration resembles that of the symphony’s first movement (pairs of English and French horns, muted violins and unmuted lower strings); for The Farewell, by the progressive reduction in the orchestration towards the end. Indeed, apart from the orchestral tutti in the last few bars, the last pages of the score are virtually for string quartet. The subtitle also refers to my own background as a philosophy graduate... The piece was commissioned by Philips Classics for Julian Lloyd Webber and is dedicated to him. The first performance was given by Julian Lloyd Webber and the English Chamber Orchestra conducted by James Judd, 21 November 1995, Barbican Hall, London. Gavin Bryars.
$30.99 ≈
29.00€
Piano Concerto No.27
Piano Concerto No.27
#
String Trio: 3 violas
#
BEGINNER
#
Classical
#
Wolfgang Amadeus Mozart
#
André Nusa
#
Piano Concerto No.27
#
Andre_Nusa
#
SheetMusicPlus
String Trio Viola - Level 1 - Digital Download SKU: A0.1293890 Composed by Wolfgang Amadeus Mozart. Arranged by André Nusa. Chamber,Classical. 6 pages...
(+)
String Trio Viola - Level 1 - Digital Download SKU: A0.1293890 Composed by Wolfgang Amadeus Mozart. Arranged by André Nusa. Chamber,Classical. 6 pages. Andre_Nusa #884361. Published by Andre_Nusa (A0.1293890). This easy viola trio arrangement of the second movement of Mozart's Piano Concerto No. 27 is a beautiful and enchanting piece that highlights the delicate and romantic side of Mozart's music. The melody is played by the first viola, with the two violas providing a beautiful harmonic accompaniment The melody is simple yet beautiful, with a graceful and flowing quality that is characteristic of Mozart's music. The piece is suitable for begginer players.
$5.99 ≈
5.61€
Bach: Brandenburg Concerto No. 3 for Saxophone Choir
Bach: Brandenburg Concerto No. 3 for Saxophone Choir
#
Saxophone ensemble
#
INTERMEDIATE/ADVANCED
#
Classical
#
Johann Sebastian Bach
#
James M
#
Bach: Brandenburg Concerto No.
#
jmsgu3
#
SheetMusicPlus
Saxophone Ensemble,Woodwind Ensemble Alto Saxophone,Baritone Saxophone,Bass Saxophone,Soprano Saxophone - Level 4 - Digital Download SKU: A0.1402348 Comp...
(+)
Saxophone Ensemble,Woodwind Ensemble Alto Saxophone,Baritone Saxophone,Bass Saxophone,Soprano Saxophone - Level 4 - Digital Download SKU: A0.1402348 Composed by Johann Sebastian Bach. Arranged by James M. Guthrie. Baroque,Contest,Festival,Historic,Standards,Traditional. 149 pages. Jmsgu3 #985560. Published by jmsgu3 (A0.1402348). Bach's Brandenburg Concerto No. 3 is significant for its composition and structure. It features nine solo strings divided into three groups of violins, violas, and cellos, showcasing a colorful instrumentation and demanding performance requirements. The concerto opens majestically with distinct groupings of soloists by instrument, maintaining these divisions throughout the movement with moments of independence for each soloist. The closing movement, a vigorous allegro, follows a similar pattern with the nine players divided by instrument. Additionally, the concerto includes a two-note adagio cadence where musicians were intended to improvise a link between the outer movements. This concerto is a prime example of the Baroque concerto style. It demonstrates Bach's mastery in creating intricate and harmonious compositions that challenge performers while showcasing the beauty of different instruments working together harmoniously.The historical context of Bach's Brandenburg Concertos is rooted in the Baroque era and Bach's circumstances. Composed around 1711-1720 and dedicated in 1721 to Christian Ludwig, the Margrave of Brandenburg, these concertos were a collection of six concerti grossi that showcased a balance between various groups of soloists and a small orchestra. Bach's decision to compile these concertos was influenced by his need for employment and his encounter with Christian Ludwig, who commissioned several works after being impressed by his performance in Berlin around 1719. Despite Bach's hopes for a position at the Brandenburg court, the Margrave did not pay for the work, possibly because the pieces were revisions of earlier compositions rather than new creations specifically for him. Moreover, the Brandenburg Concertos exemplify the concerto grosso genre popular during the Baroque era, featuring a more significant number of soloists than usual and expansive music that showcases a variety of instruments in different combinations. Bach's innovative use of instruments like trumpets, recorders, French horns, oboes, flutes, violino piccolo, violas da gamba, and harpsichord in these concertos highlights his creativity and mastery in composing intricate and diverse musical pieces. The historical significance lies in Bach's ability to blend different musical styles and forms while creating a set of concertos that music lovers cherish today.
$74.95 ≈
70.14€
Bach: Brandenburg Concerto No. 3 for Saxophone Choir - Score Only
Bach: Brandenburg Concerto No. 3 for Saxophone Choir - Score Only
#
Classical
#
Johann Sebastian Bach
#
James M
#
Bach: Brandenburg Concerto No.
#
jmsgu3
#
SheetMusicPlus
Woodwind Ensemble - Level 4 - Digital Download SKU: A0.1401651 Composed by Johann Sebastian Bach. Arranged by James M. Guthrie. Baroque,Contest,Festival,...
(+)
Woodwind Ensemble - Level 4 - Digital Download SKU: A0.1401651 Composed by Johann Sebastian Bach. Arranged by James M. Guthrie. Baroque,Contest,Festival,Historic,Standards,Traditional. 70 pages. Jmsgu3 #984834. Published by jmsgu3 (A0.1401651). Bach's Brandenburg Concerto No. 3 is significant for its composition and structure. It features nine solo strings divided into three groups of violins, violas, and cellos, showcasing a colorful instrumentation and demanding performance requirements. The concerto opens majestically with distinct groupings of soloists by instrument, maintaining these divisions throughout the movement with moments of independence for each soloist. The closing movement, a vigorous allegro, follows a similar pattern with the nine players divided by instrument. Additionally, the concerto includes a two-note adagio cadence where musicians were intended to improvise a link between the outer movements. This concerto is a prime example of the Baroque concerto style. It demonstrates Bach's mastery in creating intricate and harmonious compositions that challenge performers while showcasing the beauty of different instruments working together harmoniously.The historical context of Bach's Brandenburg Concertos is rooted in the Baroque era and Bach's circumstances. Composed around 1711-1720 and dedicated in 1721 to Christian Ludwig, the Margrave of Brandenburg, these concertos were a collection of six concerti grossi that showcased a balance between various groups of soloists and a small orchestra. Bach's decision to compile these concertos was influenced by his need for employment and his encounter with Christian Ludwig, who commissioned several works after being impressed by his performance in Berlin around 1719. Despite Bach's hopes for a position at the Brandenburg court, the Margrave did not pay for the work, possibly because the pieces were revisions of earlier compositions rather than new creations specifically for him. Moreover, the Brandenburg Concertos exemplify the concerto grosso genre popular during the Baroque era, featuring a more significant number of soloists than usual and expansive music that showcases a variety of instruments in different combinations. Bach's innovative use of instruments like trumpets, recorders, French horns, oboes, flutes, violino piccolo, violas da gamba, and harpsichord in these concertos highlights his creativity and mastery in composing intricate and diverse musical pieces. The historical significance lies in Bach's ability to blend different musical styles and forms while creating a set of concertos that music lovers cherish today.
$49.95 ≈
46.74€
Concerto for Two Violas in G Major, transcription for cellos
Concerto for Two Violas in G Major, transcription for cellos
#
2 Violas (duet)
#
INTERMEDIATE/ADVANCED
#
Classical
#
Georg Philipp Telemann
#
Miriam Troxler
#
Concerto for Two Violas in G M
#
Miriam Troxler
#
SheetMusicPlus
By Georg Philipp Telemann (1681-1767). Arranged by Miriam Troxler. For Cello. Baroque Period. Advanced Intermediate. Set of Parts, Score. Published by Miriam Tr...
(+)
By Georg Philipp Telemann (1681-1767). Arranged by Miriam Troxler. For Cello. Baroque Period. Advanced Intermediate. Set of Parts, Score. Published by Miriam Troxler
$6.25 ≈
5.85€
Vivaldi - Concerto in F major RV 569 for Two Oboes, Bassoon, Two Horns, Violin, Cello, Strings and C
Vivaldi - Concerto in F major RV 569 for Two Oboes, Bassoon, Two Horns, Violin, Cello, Strings and C
#
Chamber Orchestra
#
INTERMEDIATE/ADVANCED
#
Classical
#
Santino Cara
#
Santino Cara
#
Vivaldi - Concerto in F major
#
Santino Cara
#
SheetMusicPlus
Chamber Orchestra - Level 4 - Digital Download SKU: A0.1083697 By Santino Cara. By Antonio Vivaldi. Arranged by Santino Cara. Baroque. Score and parts. 1...
(+)
Chamber Orchestra - Level 4 - Digital Download SKU: A0.1083697 By Santino Cara. By Antonio Vivaldi. Arranged by Santino Cara. Baroque. Score and parts. 169 pages. Santino Cara #687906. Published by Santino Cara (A0.1083697). Complete score and Parts of the Concerto in F major RV 569 for Oboes, Bassoon, Horns, Violin and Cello concertanti, Strings and Cembalo. Composed in Venice in 1718? by Antonio Vivaldi. Reconstructed and elaborated in Rome in 2019 by Santino Cara. 3 Movements: 1. Allegro, 2. Grave, 3. Allegro. Instrumentation: Oboe 1 and 2, Bassoon, Horn 1 and 2 in F, Violin concertante, Cello concertante, Violins 1 and 2 ripieni, Violas, Violoncellos, Double Basses, Cembalo. Sources: On the manuscript it says: Concerto with several instruments probably refers to the Concerto Grosso No.3. In the section of the Horns it says: Hunting horns. Documents found at the Pio Ospedale della Pietà in Venice dating back to 1710/1730 speak of Vivaldi's composition of a Concerto Grosso with oboes and hunting horns.
$24.40 ≈
22.83€
Vivaldi - Double Violin Concerto in C major RV 505 for Two Violins, Strings and Cembalo
Vivaldi - Double Violin Concerto in C major RV 505 for Two Violins, Strings and Cembalo
#
Chamber Orchestra
#
INTERMEDIATE/ADVANCED
#
Classical
#
Santino Cara
#
Santino Cara
#
Vivaldi - Double Violin Concer
#
Santino Cara
#
SheetMusicPlus
Chamber Orchestra - Level 4 - Digital Download SKU: A0.1040612 By Santino Cara. By Antonio Vivaldi. Arranged by Santino Cara. Baroque. Score and parts. 1...
(+)
Chamber Orchestra - Level 4 - Digital Download SKU: A0.1040612 By Santino Cara. By Antonio Vivaldi. Arranged by Santino Cara. Baroque. Score and parts. 103 pages. Santino Cara #645408. Published by Santino Cara (A0.1040612). Complete score and parts of the Double Concerto in C major RV 505 for Two Violins, Strings and Cembalo. Composed in Venice in 1722 by Antonio Vivaldi. Reconstructed and elaborated in Rome in 2019 by Santino Cara. 3 Movements: 1. Allegro, 2. Andante, 3. Allegro non molto e cantabile. In the pdf file with the complete score of the concert there are also the separate parts of the: Two concertanti violins, ripieni Violins 1 and 2, Violas, Cellos and solo cello, Double basses and Harpsichord with the two concertanti violins.
$22.40 ≈
20.96€
<
1
26
Concerto for two violas
