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You've selected:
Double Concerto I Score Only
Sheetmusic to print
12 sheet music found
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1
Double Concerto I - Score Only
Double Concerto I - Score Only
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String Orchestra
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INTERMEDIATE/ADVANCED
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Timothy Sullivan
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Double Concerto I - Score Only
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SullivanWorks
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SheetMusicPlus
String Orchestra - Level 4 - Digital Download SKU: A0.1040472 Composed by Timothy Sullivan. 20th Century,Baroque,Classical,Contest,Festival,Multicultural...
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String Orchestra - Level 4 - Digital Download SKU: A0.1040472 Composed by Timothy Sullivan. 20th Century,Baroque,Classical,Contest,Festival,Multicultural,World. Score and parts. 29 pages. SullivanWorks #645263. Published by SullivanWorks (A0.1040472). Melodic, Rhythmic, Lyrical, Contemporary: Timothy Sullivan's 'Double Concerto' is an ecstatic work for solo violin, solo cello and string ensemble. This work is a feast for heart, soul and mind. Heard the world over as the score for multiple ballets, this is an attractive, playable and beautiful work for all audiences.
$30.00
Concerto G minor
Concerto G minor
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Classical
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Antonio Vivaldi
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Concerto G minor
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Ernst Eulenburg & Co. GmbH - Digital
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SheetMusicPlus
3 Violine I - 3 Violine II - 2 Viola - 3 Violoncello/Kontrabass - 1 Basso continuo 2 cellos, string orchestra and basso continuo - Digital Download SKU: S9.Q...
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3 Violine I - 3 Violine II - 2 Viola - 3 Violoncello/Kontrabass - 1 Basso continuo 2 cellos, string orchestra and basso continuo - Digital Download SKU: S9.Q21334 Composed by Antonio Vivaldi. This edition: study score. Ernst Eulenburg - Orchestra - Score. Eulenburg Miniature Scores. Downloadable, Study score. Ernst Eulenburg & Co. GmbH - Digital #Q21334. Published by Ernst Eulenburg & Co. GmbH - Digital (S9.Q21334). Key: G minor. German • English.The genre of the violoncello concerto was born in 17th-century Italy. Thanks to the Venetian composer Antonio Vivaldi (1678–1741), there exists today not only a wealth of magnificent violin concertos but also quite a number of cello concertos to whose development he contributed considerably. More than two dozens of his concertos are dedicated to the violoncello, including the probably most famous double concerto: the 'Concerto for Two Violoncellos, String Orchestra and Basso continuo in G minor (RV 531)' written after 1770. The sonorous work with its playful outer movements and expressive largo is published in this critical new edition on the basis of the sources.
$9.99
Concerto G minor
Concerto G minor
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Classical
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Antonio Vivaldi
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Concerto G minor
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Schott Music - Digital
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SheetMusicPlus
3 Violine I - 3 Violine II - 2 Viola - 3 Violoncello/Kontrabass - 1 Basso continuo 2 cellos, string orchestra and basso continuo - intermediate - Digital Downlo...
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3 Violine I - 3 Violine II - 2 Viola - 3 Violoncello/Kontrabass - 1 Basso continuo 2 cellos, string orchestra and basso continuo - intermediate - Digital Download SKU: S9.Q19180 Urtext. Composed by Antonio Vivaldi. This edition: score. Concertino. Downloadable, Score. Schott Music - Digital #Q19180. Published by Schott Music - Digital (S9.Q19180). Key: G minor.The genre of the violoncello concerto was born in 17th-century Italy. Thanks to the Venetian composer Antonio Vivaldi (1678–1741), there exists today not only a wealth of magnificent violin concertos but also quite a number of cello concertos to whose development he contributed considerably. More than two dozens of his concertos are dedicated to the violoncello, including the probably most famous double concerto: the 'Concerto for Two Violoncellos, String Orchestra and Basso continuo in G minor (RV 531)' written after 1770. The sonorous work with its playful outer movements and expressive largo is published in this critical new edition on the basis of the sources.
$16.99
A. Arensky - Double Concerto, Orchestrated by A. Leytush - Score Only
A. Arensky - Double Concerto, Orchestrated by A. Leytush - Score Only
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Orchestra
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INTERMEDIATE/ADVANCED
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A
#
A
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A. Arensky - Double Concerto,
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Arkady Leytush
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SheetMusicPlus
Full Orchestra - Level 4 - Digital Download SKU: A0.1378908 Composed by A. Arensky. Arranged by A. Leytush. 19th Century. 190 pages. Arkady Leytush #9636...
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Full Orchestra - Level 4 - Digital Download SKU: A0.1378908 Composed by A. Arensky. Arranged by A. Leytush. 19th Century. 190 pages. Arkady Leytush #963624. Published by Arkady Leytush (A0.1378908). A. Arensky Double Concerto for Violin, Cello and Orchestra, Based on Piano Trio D - minor, Op.32, Orchestrated by A. Leytush. A double concert for violin and cello is difficult to find in the list of works of Russian composers of the 19th century. There are simply no such well-known works. I decided to take a chance by trying to do an orchestral transcription of the brilliant Arensky Piano Trio D minor op. 32, where the parts of the solo violin and cello remained in their place, and the piano part was completely replaced by the orchestra. Particular attention is paid to the balance of sound between solo instruments and the orchestra.
$60.00
A Himalaya Concerto (all orchestral and solo parts, excluding full score)
A Himalaya Concerto (all orchestral and solo parts, excluding full score)
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Orchestra
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ADVANCED
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Stuart Brown
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1 solo cimbalom
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A Himalaya Concerto
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Stuart Brown Music
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SheetMusicPlus
Full Orchestra - Level 5 - Digital Download SKU: A0.835443 Composed by Stuart Brown. Concert,Contemporary,Film/TV. Score and parts. 856 pages. Stuart Bro...
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Full Orchestra - Level 5 - Digital Download SKU: A0.835443 Composed by Stuart Brown. Concert,Contemporary,Film/TV. Score and parts. 856 pages. Stuart Brown Music #1892609. Published by Stuart Brown Music (A0.835443). ** ADVISORY NOTE: This composition was written for a professional clarinettist, who has performed it twice (once in UK, once in Australia). As regards level of difficulty, it is on a par with Richard Strauss's oboe concerto, i.e. one of the most challenging solo works available for the instrument. Purchase only if you feel up to the challenge! ** Copyright © Stuart Brown, July 13th 2015, All rights reserved Performing rights apply (administered by PRS for Music in the UK and the USA) For a description of this work, please refer to A Himalaya Concerto (full score) (item number S0.103467, THIS MUST BE PURCHASED SEPARATELY. For a complete bundled product that gives you the maximum flexibility please refer to the composer's own website, search for Stuart Brown Music shop bundles.) This pack contains: 1 solo clarinet; 1 solo cimbalom; 1 piccolo; 3 flutes; 2 oboes; 1 cor anglais; 2 bassoons; 2 double bassoons; 4 horns; 2 trumpets; 2 tenor trombones; 2 bass trombones; 1 tuba; 1 timpani; 1 tubular bells; 16 first violins; 14 second violins; 12 violas; 10 cellos; 8 double basses.
$165.00
Vivaldi Concerto RV 93 1st movement
Vivaldi Concerto RV 93 1st movement
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String Orchestra
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INTERMEDIATE
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Antonio Vivaldi
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Martin Lass
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Vivaldi Concerto RV 93 1st mov
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MA Lass & I Lass
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SheetMusicPlus
String Orchestra - Level 3 - Digital Download SKU: A0.1417819 Composed by Antonio Vivaldi. Arranged by Martin Lass. Baroque,Chamber,Children,Classical,In...
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String Orchestra - Level 3 - Digital Download SKU: A0.1417819 Composed by Antonio Vivaldi. Arranged by Martin Lass. Baroque,Chamber,Children,Classical,Instructional. 19 pages. MA Lass & I Lass #999240. Published by MA Lass & I Lass (A0.1417819). Martin Lass is an Australian violinist, composer, arranger, and teacher. He is most well known for his performance career as a classical crossover and popular music artist with 11 CD recordings, numerous awards and accolades, and performances with the likes of Luciano Pavorotti, Julio Iglesias, and Joan Baez. Before this, he was a founding member of the Australian Chamber Orchestra, as well as playing with the Sydney Symphony Orchestra and the Australian Opera and Ballet Orchestra. When he is not spending time with his wife of 46 years, his three middle-aged children, and his two grandchildren, he spends his time and energy teaching, writing, arranging, and performing. Vivaldi's Concerto RV 93 was originally written for lute or guitar solo plus strings and basso continuo. Here, the 1st movement of the concerto has been arranged for an intermediate-level student string orchestra without continuo or piano accompaniment. To this end, the work has been simplified: the original key of D major has been changed to C major; some rhythms have been simplified, including doubling all note values and changing the time signature to 2/2; some registers have been changed in order to keep parts in 1st position; and extensive dynamics and articulations have been added to assist students with musical interpretation according to Baroque music conventions. That said, some crescendos have been added for effect. It is anticipated that the one repeat will be done, as is traditional. The upper strings are expected to be able to play low 2nd and 4th fingers, and the cellos have both backward and forward extensions but only leave 1st position in two short identical passages. The main challenge of the piece lies in the bowing style and the articulations, aforementioned.Level: 2.0 - 2.5Duration: 3mParts ListViolin IViolin IIViolin III (from Viola) (optional)ViolaVioloncelloDouble BassFull Score.
$39.00
TELEMANN – VIOLIN CONCERTO IN A MAJOR "THE FROGS", TWV 51:A4 (Score and parts in PDF)
TELEMANN – VIOLIN CONCERTO IN A MAJOR "THE FROGS", TWV 51:A4 (Score and parts in PDF)
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Chamber Orchestra
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ADVANCED
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Classical
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Georg Philipp Telemann
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Sneakwood Editions
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TELEMANN – VIOLIN CONCERTO I
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Sneakwood Editions
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SheetMusicPlus
Chamber Orchestra - Level 5 - Digital Download SKU: A0.890767 Composed by Georg Philipp Telemann. Arranged by Sneakwood Editions. Baroque,Classical. Scor...
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Chamber Orchestra - Level 5 - Digital Download SKU: A0.890767 Composed by Georg Philipp Telemann. Arranged by Sneakwood Editions. Baroque,Classical. Score and parts. 41 pages. Sneakwood Editions #4781035. Published by Sneakwood Editions (A0.890767). Edition based on Ms. D MÜu, ms. 775Score (20 pages) and Parts (friendly performance edition): Violino principale, Violin I, Violin II, Violin III, Viola, Violoncello and Harpsichord.The Violin Concerto in A major (TWV 51:A4), which has come to light only fairly recently, does not take as its musical model the song of the nightingale (as in ‘La Bizarre’ [TWV 55:G2]) or of the goldfinch (Vivaldi), but the croaking of the common frog, also called ‘Reling’ in certain regions of Germany, whence the concerto’s subtitle. Nothing better could be expected of a composer who found inspiration even in crows and in the out-of-tune playing of village musicians! Although this concerto, which the manuscript attributes to Telemann, bears traces of his personal style, other features, such as the exceptionally high solo part, leave room for doubt. At a structurally important point in the first movement the soloist produces no more than a succession of repeated notes, ‘a-a, a-a’, which infect the other parts as well. Of course, this is the vowel that the frog croaks, given a distinctive tone-colour by use of the open A string and stopped D string. But worse is to come. In the second ritornello the orchestral violins ‘forget’ the beginning of their theme, whilst the cello inappropriately pushes its way into the foreground. The setting of the second movement (Adagio), probably a moonlit stretch of shallow water, then audibly inspires a pair of courting frogs to make sweet music together. We are given the opportunity to rejoice in their croaking offspring in the concluding Menuet and its rapid Double. This movement entirely dispenses with concertante sounds of nature and thereby betrays its origins in the suite, where it always takes its accustomed place in Telemann’s music. If we knew that a satirist was at work in this ‘Relinge’ Concerto, someone who was deliberately exhibiting all these deviations from good taste, then we could infer with some certainty that the composer is indeed Telemann. Since his own concertos ‘smack of France’ (as he puts it in his autobiography of 1718), we may most likely credit him with permitting his not at all ‘sullen old heart’ a little joke at the expense of the relevant concertos of a certain Italian composer… – Peter Huth (trans. Charles Johnston)www.snakewoodeditions.com
$18.00
Concerto
Concerto
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Piano and Orchestra
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ADVANCED
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Contemporary
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Gyorgy Ligeti
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Concerto
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Schott Music - Digital
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SheetMusicPlus
Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. D...
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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
Concerto for 2 Violins in D minor BWV 1043 complete score.
Concerto for 2 Violins in D minor BWV 1043 complete score.
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String Orchestra
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ADVANCED
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Classical
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Johann Sebastian Bach
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Johann Sebastian Bach
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Concerto for 2 Violins in D mi
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Gabriel Vinicius
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SheetMusicPlus
String Orchestra - Level 5 - Digital Download SKU: A0.1101540 By Johann Sebastian Bach. By Johann Sebastian Bach. Arranged by Johann Sebastian Bach. Baro...
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String Orchestra - Level 5 - Digital Download SKU: A0.1101540 By Johann Sebastian Bach. By Johann Sebastian Bach. Arranged by Johann Sebastian Bach. Baroque,Classical,Instructional,Multicultural,World. Score and parts. 63 pages. Gabriel Vinicius #704919. Published by Gabriel Vinicius (A0.1101540). Johann Sebastian Bach composed his Concerto Concerto for Two Violins, Strings, and Continuo in D minor, BWV 1043, at some point between 1717 and 1723, while he was the Kapellmeister at the court of Anhalt-Köthen, Germany. The work is commonly referred to as 'Bach's double violin Concerto'. An earlier version of the concerto (known as Sinfonia, BWV 1046a) which does not use the violin piccolo was used for the opening of cantata BWV 208. This version lacks the third movement entirely, and the Polacca from the final movement, leaving Menuet - Trio I - Menuet - Trio II - Menuet. The first movement can also be found as the sinfonia of the cantata Falsche Welt, dir trau ich nicht, BWV 52. The third movement was used as the opening chorus of cantata BWV 207.
$14.00
Mozart - Flute Concerto in G major K 313 for Flute and Orchestra - Score and Parts
Mozart - Flute Concerto in G major K 313 for Flute and Orchestra - Score and Parts
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Flute, Orchestra
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Classical
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Wolfgang Amadeus Mozart
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Mozart - Flute Concerto in G m
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Santino Cara
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SheetMusicPlus
Composed by Wolfgang Amadeus Mozart (1756-1791). Arranged by Santino Cara. Classical Period. Set of Parts, Sheet Music Single. 153 pages. Published by...
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Composed by Wolfgang Amadeus Mozart (1756-1791). Arranged by Santino Cara. Classical Period. Set of Parts, Sheet Music Single. 153 pages. Published by Santino Cara
Complete score and parts of the "Flute Concerto in G major K. 313" for Flute and Orchestra. Composed in 1777 by Wolfgang Amadeus Mozart. Rewritten and processed by Santino Cara in Rome in 2019.
Movements: 1. Allegro Maestoso, 2. Adagio ma non troppo, 3. Rondo (Tempo di minuetto).
Instrumentation: Two Oboes (In the 1st and 3rd movements), Two Flutes (only in the 2nd movement), Two Horns in G (In the 1st and 3rd movements), Two Horns in D (only in the 2nd movement), Flute solo, Violins I, Violins II, Violas, Violoncello and Double basses.
$24.80
Concertino - for clarinet, mandolin and symphony orchestra
Concertino - for clarinet, mandolin and symphony orchestra
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Chamber Orchestra
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Klezmer
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Ofer Ben-Amots
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Concertino - for clarinet, man
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The Composer's Own Press
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SheetMusicPlus
Chamber Orchestra - Digital Download SKU: A0.944032 Composed by Ofer Ben-Amots. Contemporary,Jewish,World. Score and parts. 118 pages. The Composer's Own...
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Chamber Orchestra - Digital Download SKU: A0.944032 Composed by Ofer Ben-Amots. Contemporary,Jewish,World. Score and parts. 118 pages. The Composer's Own Press #4610029. Published by The Composer's Own Press (A0.944032). CONCERTINO, for Clarinet, Mandolin, and Orchestra CONCERTINO was officially commissioned in 2011 by the Geneva Chamber Orchestra. The composition explores the sound combination of two, seemingly opposing, instruments and sound characters: the clarinet and the mandolin. Thus, the three-movement work is a short double-concerto for clarinet and mandolin, accompanied by a chamber orchestra. The first movement, titled Psalm 148 and is a mixture of a coronation fanfare and a wild improvisatory-like dance. The music is based on the structure and ideas expressed in the 148th Psalm. For the transformation of this Psalmodic text into music I was concerned with two elements: first, the linguistic pulse of the ancient Biblical Hebrew gives the music its ever-changing meters and vibrant rhythms. The second element was the poetic concept presented in the text: Heaven vs. Earth, Universe vs. Planet, or Heights vs. Depths. The contrasting nature of these elements is described in the following verses: Hallelujah, Praise ye the LORD from the heavens; praise Him in the heights. (Psalm 148, verse 1) Praise the LORD from the earth, ye sea-monsters, and all deeps. (Psalm 148, verse 7) Finally, both Heaven and Earth join in praise together: Let them praise the name of the LORD, for His name alone is exalted; His glory is above the earth and heaven. (Psalm 148, verse 13) The musical expression of these contraries is reflected and the use of high-range and soprano instruments (flutes, clarinet, trumpets, violins) versus low-range instruments (trombone, bassoons, cellos and basses.) The second movement, Romacero Viejo (and old love song) is a slow, lyrical dirge-like melody in a Sephardic Judeo-spanish style. In this movement the mandolin plays in the manner of an Oud – a traditional pear-shaped Arabic lute. The harmony sits mostly on a single pedal note while the clarinet imitates the chant with rhythmically free ornatmental patterns. The third and final movement, Allegro con brio, is a festive klezmer dance with a traditional Bulgar (or Freylech) rhythm, where the regular 8/8 meter is constantly divided into the irregular count of: 3+3+2. In the middle of this movement the two soloists play a cadenza, which allows them to present their contrasting yet complementary instrumental characters. The movement is titled The Geneva Bulgar in honor of the City of Geneva and the wonderful memories I have been carrying with me ever since my time there as a young student at the Conservatoire de Musique. Total duration: ca. 23 min.Performance material by rental only! For demo recording, questions, or any additional information please e-mail Ofer Ben-Amots at: thecomposerspress@gmail.com
$54.00
Mozart: Romanze from K. 525 for Piano Quintet
Mozart: Romanze from K. 525 for Piano Quintet
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Classical
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Wolfgang Amadeus Mozart
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James M
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Mozart: Romanze from K. 525 fo
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jmsgu3
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SheetMusicPlus
Small Ensemble,Strings Piano - Level 3 - Digital Download SKU: A0.549783 Composed by Wolfgang Amadeus Mozart. Arranged by James M. Guthrie, ASCAP. Classi...
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Small Ensemble,Strings Piano - Level 3 - Digital Download SKU: A0.549783 Composed by Wolfgang Amadeus Mozart. Arranged by James M. Guthrie, ASCAP. Classical,Concert,Sacred,Standards,World. Score and parts. 27 pages. Jmsgu3 #3535793. Published by jmsgu3 (A0.549783). Mozart's Romanze from Eine Kleine Nachtmusik, K. 525 for String Quartet and Piano (Piano Quintet). Duration: ca. 7:00. Score: 11 pages. Violin I: 4 pages, Violin II: 3 pages, Viola: 3 pages, Cello: 2 pages, piano: 4 pages. This is one of the most beloved works in all of Mozart's catalog making it a strong choice for a recital, meditation, nightclub, church or wedding reception. Eine kleine Nachtmusik Eine kleine Nachtmusik is also at the same time known as Serenade No. 13. Indeed, we find it listed in the Köchel Catalog as K. 525. With this in mind, Mozart composed the piece by all means in 1787 probably as a commission. To clarify, the title translates as a little night-music. Mozart originally scored the work in particular for an ensemble of two violins, viola, and cello with double bass (optional). In modern times the work is certainly usually performed by string orchestras, though it is often in fact performed by a string quartet – with or without double bass. Publication A point often overlooked is that the name of the work derives from the entry Mozart made in his private journal. He wrote: Eine kleine Nacht-Musik. This explains that Mozart was probably not naming the piece, but only entering a record that he had completed it. Nevertheless, the work was published by and large in 1827. It had been sold to the publisher for the most part in 1799 by Mozart's widow Constanze. Nowadays, it is on balance extensively performed and recorded. Some critics ultimately claim that it is the most popular of all Mozart's works. Early Years Wolfgang Amadeus Mozart (1756 – 1791), was a productive and significant Austrian classical composer. Mozart displayed unusual musical capability from his earliest childhood. It seems like he was already capable on keyboard and violin at the age of two. He started composing at age five and performed before European royalty. Middle Period At 17, Mozart was working as a musician at the Salzburg Royal court but grew agitated from boredom and traveled to search for a more interesting job. While visiting Vienna in 1781, he was summarily dismissed from his Salzburg job. Nevertheless, he decided to stay in the capital (Vienna), where he achieved much fame but little economic haven. Throughout his concluding years in the Capital, he composed many of his most famous works: symphonies, operas, and concertos. Final Period The conditions surrounding his death have been much the subject of much conjecture and mythology. He composed more than 600 works, many recognized as highpoints of symphonic, chamber, concertante, choral and operatic. He is among the most everlastingly popular of classical composers, and his impact is substantial on succeeding Western art music. Register for free lifetime updates and revisions of this product at www.jamesguthrie.com
$19.95
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Double Concerto I Score Only
