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Grande Sestetto Concertante For String Sextet : for String Sextett

Grande Sestetto Concertante For String Sextet : for String Sextett

For String Sextet (2 Violins, 2 Violas, 2 Cellos, Bass) set of parts.Mozart’s Sinfonia Concertante for Violin and Viola, K. 364 (320d), is his only complete surviving work in this genre. Hewrote it in 1779 after returning from Paris and Mannheim.For two decades it was known only in a few copyists’ manuscripts. The first edition did not appear until 1802. The work achieved great popularity that same year,particularly the arrangements for Piano four-hands and Piano trio.This arrangement for String Sextet, dating from 1808, is interesting not only for its unusual scoring but also for the way the two concertanteinstrumentsinteract with the other strings.This edition revives this arrangement after almost two centuries, drawing primarily on the sole surviving source: the first edition in parts, published by the Vienna StamperiaChimica in 1808.The editor, Christopher Hogwood, recounts the history of the work and the particulars of the arrangement in a trilingual preface (Eng ./ Ger./ Cz .) and a critical report. Barenreiter's new edition takesinto account both the original print and the text from the “New Mozart Edition”.New edition of a historical transcription for String Sextet (1808)Available in print again after almost twocenturiesAlso suitable for Chamber OrchestraDetailed preface and critical report (Eng./Ger./ Cz .)Includes facsimiles

SEK 404.00
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Nocturne In B Op.40 For String Quintet

Nocturne In B Op.40 For String Quintet

Nocturne B Major Op.40 for Violin (2), Viola, Violoncello, Double Bass.This piece was originally one of two slow movements from String Quintet in G major Op.18 dating from 1874. Dvorak laterremoved it from the quintet and, after various revisions, offered it to the Berlin publisher Bote & Bock as an independent work entitled Nocturne.Apart from this version for String Orchestra, there also exist versions forViolin and Piano and for four-hand Piano. This title is part of the first Complete Critical Edition of Works by Antonin Dvorak.

SEK 177.00
1

Meditation on the Old Czech Hymn St. Wenceslas : for String Quartet op. 35a

Meditation on the Old Czech Hymn St. Wenceslas : for String Quartet op. 35a

Josef Suk played second violin in the Bohemian String Quartet. Since 1914 the ensemble was obliged to perform the Austrian national anthem at the opening of every concert. Suk decided to supplement this obligatory piece with a work inspired by the ancient sacred Bohemian “St. Wenceslas” hymn. The hymn’s message – a plea for the well-being of the Czech people, directed at their patron saint – was immediately understood by the audience. The Bohemian String Quartet performed this single-movement Meditation for the first time on 27 September 1914; the premiere of the version for string orchestra followed on 22 November 1914, played by the Czech Philharmonic. That same year thepiece was published by Fr. A. Urbánek together with arrangements for piano and organ. This first Urtext edition, prepared by the Suk scholar Zdenek Nouza, is published in two scorings, one for string quartet (BA 9583; study score TP 583) and another for string orchestra (BA 9584). The orchestral version differs in some details and has an added part for double bass.

SEK 72.00
1

Meditation on the Old Czech Hymn St. Wenceslas : for String Quartet op. 35a

Meditation on the Old Czech Hymn St. Wenceslas : for String Quartet op. 35a

Josef Suk played second violin in the Bohemian String Quartet. Since 1914 the ensemble was obliged to perform the Austrian national anthem at the opening of every concert. Suk decided to supplement this obligatory piece with a work inspired by the ancient sacred Bohemian “St. Wenceslas” hymn. The hymn’s message – a plea for the well-being of the Czech people, directed at their patron saint – was immediately understood by the audience. The Bohemian String Quartet performed this single-movement Meditation for the first time on 27 September 1914; the premiere of the version for string orchestra followed on 22 November 1914, played by the Czech Philharmonic. That same year thepiece was published by Fr. A. Urbánek together with arrangements for piano and organ. This first Urtext edition, prepared by the Suk scholar Zdenek Nouza, is published in two scorings, one for string quartet (BA 9583; study score TP 583) and another for string orchestra (BA 9584). The orchestral version differs in some details and has an added part for double bass.

SEK 72.00
1

Meditation on the Old Czech Hymn St. Wenceslas : for String Quartet op. 35a

Meditation on the Old Czech Hymn St. Wenceslas : for String Quartet op. 35a

Josef Suk played second violin in the Bohemian String Quartet. Since 1914 the ensemble was obliged to perform the Austrian national anthem at the opening of every concert. Suk decided to supplement this obligatory piece with a work inspired by the ancient sacred Bohemian “St. Wenceslas” hymn. The hymn’s message – a plea for the well-being of the Czech people, directed at their patron saint – was immediately understood by the audience. The Bohemian String Quartet performed this single-movement Meditation for the first time on 27 September 1914; the premiere of the version for string orchestra followed on 22 November 1914, played by the Czech Philharmonic. That same year thepiece was published by Fr. A. Urbánek together with arrangements for piano and organ. This first Urtext edition, prepared by the Suk scholar Zdenek Nouza, is published in two scorings, one for string quartet (BA 9583; study score TP 583) and another for string orchestra (BA 9584). The orchestral version differs in some details and has an added part for double bass.

SEK 72.00
1

Meditation on the Old Czech Hymn St. Wenceslas : for String Quartet op. 35a

Meditation on the Old Czech Hymn St. Wenceslas : for String Quartet op. 35a

Josef Suk played second violin in the Bohemian String Quartet. Since 1914 the ensemble was obliged to perform the Austrian national anthem at the opening of every concert. Suk decided to supplement this obligatory piece with a work inspired by the ancient sacred Bohemian “St. Wenceslas” hymn. The hymn’s message – a plea for the well-being of the Czech people, directed at their patron saint – was immediately understood by the audience. The Bohemian String Quartet performed this single-movement Meditation for the first time on 27 September 1914; the premiere of the version for string orchestra followed on 22 November 1914, played by the Czech Philharmonic. That same year thepiece was published by Fr. A. Urbánek together with arrangements for piano and organ. This first Urtext edition, prepared by the Suk scholar Zdenek Nouza, is published in two scorings, one for string quartet (BA 9583; study score TP 583) and another for string orchestra (BA 9584). The orchestral version differs in some details and has an added part for double bass.

SEK 72.00
1

Meditation on the Old Czech Hymn St. Wenceslas : for String Quartet op. 35a

Meditation on the Old Czech Hymn St. Wenceslas : for String Quartet op. 35a

Josef Suk played second violin in the Bohemian String Quartet. Since 1914 the ensemble was obliged to perform the Austrian national anthem at the opening of every concert. Suk decided to supplement this obligatory piece with a work inspired by the ancient sacred Bohemian “St. Wenceslas” hymn. The hymn’s message – a plea for the well-being of the Czech people, directed at their patron saint – was immediately understood by the audience. The Bohemian String Quartet performed this single-movement Meditation for the first time on 27 September 1914; the premiere of the version for string orchestra followed on 22 November 1914, played by the Czech Philharmonic. That same year thepiece was published by Fr. A. Urbánek together with arrangements for piano and organ. This first Urtext edition, prepared by the Suk scholar Zdenek Nouza, is published in two scorings, one for string quartet (BA 9583; study score TP 583) and another for string orchestra (BA 9584). The orchestral version differs in some details and has an added part for double bass.

SEK 72.00
1

String Quartet no. 1 E minor op. 112 : Studyscore - BATP779

String Quartet no. 1 E minor op. 112 : Studyscore - BATP779

Ludwig van Beethoven’s overpowering legacy caused many subsequent composers to avoid writing string quartets at all. Saint-Saëns was no exception in this respect and waited until 1899 and 1918 to produce his two contributions to the genre. Couched in classicism, they relate in form and style to early 19th-century French quartets and to a titan of the genre: Joseph Haydn. Saint-Saëns’ string quartets appear here for the first time in a scholarly-critical edition. It is also the first edition to contain the original version of the Finale to String Quartet No. 2 in score and parts. An informative Introduction is included in the study score to complete this volume of important Frenchchamber music, based on the Urtext from “Camille Saint-Saëns – Complete Edition of the Instrumental Works”.

SEK 419.00
1

String Quartet no. 2 G major op. 153 : Studyscore - BATP779

String Quartet no. 2 G major op. 153 : Studyscore - BATP779

Ludwig van Beethoven’s overpowering legacy caused many subsequent composers to avoid writing string quartets at all. Saint-Saëns was no exception in this respect and waited until 1899 and 1918 to produce his two contributions to the genre. Couched in classicism, they relate in form and style to early 19th-century French quartets and to a titan of the genre: Joseph Haydn. Saint-Saëns’ string quartets appear here for the first time in a scholarly-critical edition. It is also the first edition to contain the original version of the Finale to String Quartet No. 2 in score and parts. An informative Introduction is included in the study score to complete this volume of important Frenchchamber music, based on the Urtext from “Camille Saint-Saëns – Complete Edition of the Instrumental Works”.

SEK 446.00
1

String Quartet no. 2 op. 7 : From the Monkey Mountains

String Quartet no. 2 op. 7 : From the Monkey Mountains

Pavel Haas was one of Leoš Janácek’s most gifted students. His String Quartet No. 2 “From the Monkey Mountains” is considered to be one of the first high points of his oeuvre. In this work, Haas combined elements of Janácek’s compositional technique with jazz, particularly in the fourth movement’s instrumentation for string quartet and percussion ad libitum. This version was premiered in Brno in 1926: later, the work was revised for string quartet only. For this edition Ondrej Pivoda has reconstructed the original version, bringing to light passages that were never published until now. This is the first critical edition of the work. It is based on all relevant sources,taking sketches of the final version of the score and contemporary performance material into account. It includes an extensive Foreword (Cz/Eng/Ger) as well as a Critical Commentary (Eng).

SEK 334.00
1

String Quartet no. 2 op. 7 : From the Monkey Mountains

String Quartet no. 2 op. 7 : From the Monkey Mountains

Pavel Haas was one of Leoš Janácek’s most gifted students. His String Quartet No. 2 “From the Monkey Mountains” is considered to be one of the first high points of his oeuvre. In this work, Haas combined elements of Janácek’s compositional technique with jazz, particularly in the fourth movement’s instrumentation for string quartet and percussion ad libitum. This version was premiered in Brno in 1926: later, the work was revised for string quartet only. For this edition Ondrej Pivoda has reconstructed the original version, bringing to light passages that were never published until now. This is the first critical edition of the work. It is based on all relevant sources,taking sketches of the final version of the score and contemporary performance material into account. It includes an extensive Foreword (Cz/Eng/Ger) as well as a Critical Commentary (Eng).

SEK 356.00
1

Early String Ensemble Playing : 1. Violin, 2. Violin (Viola) Violoncello

Early String Ensemble Playing : 1. Violin, 2. Violin (Viola) Violoncello

The Sassmannshaus “Early Start” string methods cultivate playing together as early as possible, initially in duets. However playing in larger mixed ensembles is also encouraged and this tried-and-trusted edition for strings provides the perfect start for this. The first songs can all be performed in canon: each piece is notated in violin, viola and bass clef so that all three string instruments can play together in any number and combination. The collection then continues with through-composed pieces by such composers as Johann Valentin Rathgeber and Johann Joseph Fuchs. Here the middle part may optionally be performed by a viola or second violin.

SEK 196.00
1

Christmas For Beginner String Ensembles

Christmas For Beginner String Ensembles

Christmas is a time for making music especially in ensembles. This edition with its very easy arrangements for two violins, viola and cello is ideal for beginner string players to get into the Christmas spirit. The 27 piecesare based either on works of Baroque composers such as Lully or Handel, or on traditional, mostly German, Christmas carols. One of the pieces requires an additional violin, another a viola.With their uncomplicatedstructure and accompanying parts which tie in closely with the melody, these pieces encourage ensemble playing from an early age.

SEK 228.00
1

Missa Popularis : SSA [TB ad lib.] and String Quartet [Double Bass ad lib.]

Missa Popularis : SSA [TB ad lib.] and String Quartet [Double Bass ad lib.]

As the name suggests, the “Missa Popularis” has its musical roots in folk music. This becomes clear in the very first bars of the Kyrie, where the violin plays amelody in the style of a Swedish folk tune above a bass ostinato. The musical charm of the Mass derives from the combination of choir [SSA(TB)] and string quartet. The choral parts enable performances by female choir or mixed choir. In the latter case the string quartet is reinforced by a double bass. The version for female choir was premièred in Poznan on 25 April 2015, with Alicja Szeluga conducting the Skowroniki Girls Choir. (Level of difficulty: moderate)

SEK 239.00
1

27 Miniatures For String Trio

27 Miniatures For String Trio

Here is fresh material for young string ensembles presented by George Speckert who is a master arranger for amateur orchestras. Each of these 27 relatively short character pieces evokes a unique mood in its very title: Brisk,Sad, Sunset and many more. When heard in succession, the scenes sometimes unfold in the listeners’ minds like in a movie. The collection is perfect for creating short suites with an ad libitum number of movements, andthus is ideal for school recitals, family celebrations or street busking. These miniatures can also be used to musically accompany literary readings or as soundtracks for video sequences. The second violin part may also beplayedby a viola. score with 4 parts (violin I,II, viola, cello) Separate viola part included as a substitute for the second violin 27 short pieces to be combined ad libitum Ideal forrecitals

SEK 250.00
1

String Quartet No. 10 in E Flat Major (Parts)

String Quartet No. 10 in E Flat Major (Parts)

When Antonín Dvorák started composing his String Quartet No.10 in late 1878, none of his quartets had yet been performed. However this new work, deliberately cast in the “Slavonic” style, quickly achieved international renown and has remained among one of the most popular string quartets by Dvorák. The authoritative Dvorák scholar Hartmut Schick has consulted all accessible sources, most notably the printed score published by Simrock and the autograph. Now, after many decades, a definitive Urtext edition of this major work can be presented. In comparison to the old Supraphon edition of 1955, the new publication includes a detailed Critical Commentary (Eng) as well as edited early versions of the middle movements in the appendix. A detailed Foreword (Ger/Cz/Eng) by the editor is also contained. - After many decades the first critical edition of this significant work - Audible alteration in the 4th movement, in the viola part - Early versions (the endings of the 2nd movement, “Dumka” and the 3rd movement, “Romance”) included in the appendix - Parts (BA11523) and Study Score format 22.5 x 16.5cm (TP523) available for sale

SEK 356.00
1

String Quartet No. 12 In F Major : Op. 96 American Quartet

String Quartet No. 12 In F Major : Op. 96 American Quartet

Dvorak String Quartet No.12 in F major Op.96 (American) (Parts) Dvorák composed his twelfth string quartet in F major Op.96, known as the “American” Quartet, in just twelve days during his summer vacation in Spillville, Iowa in June 1893.  This immensely uplifting quartet has become one of the composer’s most popular works because of its immediate musical appeal. The work was issued by the publisher Simrock in Berlin in 1894; Johannes Brahms read the corrections, but the correction copy has unfortunately not survived.  The editor therefore used the autograph as well as the score and parts of the first print. In accordance with current practice, the violoncello part of this edition refrains from using the false treble clef which raises the music an octave higher.  Instead, the tenor clef is used. - New Urtext Edition of the “American” Quartet - Standard notation used in the violoncello part - Detailed Foreword (Ger/Cz/Eng) and Critical Commentary (Eng) by the editor - Study score (TP538) and parts (BA11538) available for sale

SEK 218.00
1

String Trio No.1 H.136

String Trio No.1 H.136

The fate of Bohuslav Martinu's String Trio no.1, which dates from the turn of 1923 and 1924 and was lost until 2005, is somewhat remarkable. The trio is the first work which Martinu created in Paris after becomingthe private pupil of Albert Roussel and was probably performed twice in Paris during 1924. It had its Czech premiere in February 1925 and Martinu requested his friend S. Novak to make sure that they didn't lose the scores of thethings they played, because he did not have any sketches or copies.Precisely that which Martinu feared then occurred - the sole existing version of the trio was lost; it was not until the autumn of 2005 that theautographof the trio (the score and parts for the viola and cello - the violin part is still missing) was found at the Danish Royal Library in Copenhagen thanks to the searches of the Bohuslav Martinu Institute and it is afterthis autograph that this edition has arisen.

SEK 303.00
1