Commissioned by Chamber Music Northwest with the generous support of Susan Sokol Blosser. Movements: 1. Hawk, 2. Gaia, 3. Harvest.
Instrumentation: Solo Vn: 4Vn.2Va.2Vc.DB.
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Optional piano accompaniment for 40 Variations Op.3.
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Four classic songs from Jewish tradition are included in this outstanding suite for string groups. Hatikva (the Israeli national anthem), Artsa Alinu (We Have Come to Our Land), K'ruim Anu (Song of the Early Pioneer) and Shalom Chaverim (Farewell, Comrades) are important pieces of world music that students should experience, and are available once again in this new printing for school string orchestras.
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2 violins and basso continuo; cello ad lib.
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Casa Ricordi Milano in partnership with Fondazione Giorgio Cini, Venezia (Istituto Antonio Vivaldi). Critical edition by Alessandro Borin. The six Concerts op. VI for violin, strings and continuo by Antonio Vivaldi were published in Amsterdam by Roger in 1719. Although the contribution of Vivaldi was probably modest – even to assume that the collection was published without the composer's assistance and perhaps even his agreement – these six compositions mark a decisive step towards the definition of the classic Vivaldi Concerto, a change evident both from the systematic adoption of the three-movement plan and from the absence of any supplementary solo parts beyond the principal violin. This critical edition is based on the first edition of Opus VI and its reprints, but takes also into consideration all the sources of single concertos printed into anthologies or transmitted in manuscript form (Wiesentheid and Dresden). The information gathered through the comparative analysis of the manuscript and the printed traditions of Vivaldi's Opus 6 has permitted us to reconstruct the links among the sources, to clarify some problematic editorial decisions and formulate new hypotheses on the genesis and the intrinsic nature of the collection as a whole.
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Casa Ricordi Milano in partnership with Fondazione Giorgio Cini, Venezia (Istituto Antonio Vivaldi). Critical edition by Alessandro Borin. The six Concerts op. VI for violin, strings and continuo by Antonio Vivaldi were published in Amsterdam by Roger in 1719. Although the contribution of Vivaldi was probably modest – even to assume that the collection was published without the composer's assistance and perhaps even his agreement – these six compositions mark a decisive step towards the definition of the classic Vivaldi Concerto, a change evident both from the systematic adoption of the three-movement plan and from the absence of any supplementary solo parts beyond the principal violin. This critical edition is based on the first edition of Opus VI and its reprints, but takes also into consideration all the sources of single concertos printed into anthologies or transmitted in manuscript form (Wiesentheid and Dresden). The information gathered through the comparative analysis of the manuscript and the printed traditions of Vivaldi's Opus 6 has permitted us to reconstruct the links among the sources, to clarify some problematic editorial decisions and formulate new hypotheses on the genesis and the intrinsic nature of the collection as a whole.
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This concert in five parts for violin and strings has a curious and rather controversial history. Excluded from the Vivaldi's catalogue on account of doubts raised by its musical language and by its preservation in two different manuscripts that carried conflicting attributions to Torelli and Vivaldi, it's with this edition that it finally attributed to Vivaldi.
Parts (Score: 50601998)
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Joseph Haydn left five organ concerti to posterity. Their genesis can only be approximately determined, but is probably datable to the 1750s, when Haydn was still active, inter alia, as organist to Count Haugwitz. The C major Concerto Hob. XVIII: 10, transmitted only in one single manuscript, was not rediscovered until the 1960s and first published by the Henle Urtext edition in 1969. In the sole surviving manuscript, the solo instrument is identified as a harpsichord, but various criteria unequivocally suggest that it was intended for the organ. It belongs to the type of brief, easily playable solo concerto with string accompaniment.
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Like his father, Carl Philipp Emanuel Bach wrote three sonatas for viola da gamba. They were written during his time at the Berlin court of Frederick the Great and gave the excellent viola da gamba player in the court orchestra an opportunity to show his virtuosic ability. While the two Sonatas Wq 136 and 137 have a basso continuo, Bach followed his father's example as far as the Sonata in g minor Wq 88 was concerned: the right and left hands of the harpsichord compete with the solo instrument in three equal parts. These sonatas can also be played very effectively on the cello; the fingerings in the marked copies provide helpful suggestions.
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For cello choir.
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2 violins and basso continuo; cello (viola da gamba) ad lib.
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2 violins, 2 violas and 2 violoncellos.
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String Method for Class or Individual Instruction.
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Transcribed for Violin and Piano by Harry Glickman.
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2 violins, violoncello obl., strings and basso continuo.
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2 violins and basso continuo; cello (viola da gamba) ad lib.
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Chamber Music for Strings
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Flute, oboe, clarinet, bassoon and strings.
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Written in celebration of the 60th birthday of the Prince of Wales, Birthday Card has three sections, played without a break, quick-slow-quick, in the Scottish-Orkney tradition. Intermediate Level. 5 minutes. For two violins, viola, cello, and double bass.
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