Partiture $14.95

Originalno

Concerto in A minor. Antonio Vivaldi. Euphonium sheet music. Piano Accompaniment sheet music.

Prevod

Koncert v A-molu. Antonio Vivaldi. Evfonij note. Klavirsko spremljavo note.

Originalno

Concerto in A minor composed by Antonio Vivaldi. 1678-1741. Arranged by Gretchen Renshaw. For Euphonium and Piano. Chamber music. Published by Potenza Music. P2.80033. Antonio Vivaldi. 1687-1741. wrote his "Concerto in A minor, Op. 3, No. 6, RV 365" in 1711 as a part of "L'estro Armonico". Harmonic Inspiration. , a set of twelve concertos for various combinations of instruments. One of the best known of this set is the sixth, which was originally written for solo violin, second violin, viola, and continuo. In this edition, the soloist will find throughout the score "solo" and "tutti" markings, which indicate the places where, in the original version, the principal violin plays as a soloist or together with the second violin part. The euphonium soloist should play with a light, agile sound in "solo" sections and a fuller sound in "tutti" sections. While negotiating the significant technical challenges involved in playing a piece originally written for the violin, the performer may enjoy the intensity and excitement of Vivaldi's compositional style.

Prevod

Koncert v A-molu, ki ga sestavljajo Antonia Vivaldija. 1678-1741. Urejene po Gretchen Renshaw. Za evfonij in klavir. Komorna glasba. Izdala Potenza Glasba. P2.80033. Antonio Vivaldi. 1687-1741. wrote his "Concerto in A minor, Op. 3, No. 6, RV 365" in 1711 as a part of "L'estro Armonico". Harmonic Inspiration. , a set of twelve concertos for various combinations of instruments. One of the best known of this set is the sixth, which was originally written for solo violin, second violin, viola, and continuo. In this edition, the soloist will find throughout the score "solo" and "tutti" markings, which indicate the places where, in the original version, the principal violin plays as a soloist or together with the second violin part. The euphonium soloist should play with a light, agile sound in "solo" sections and a fuller sound in "tutti" sections. While negotiating the significant technical challenges involved in playing a piece originally written for the violin, the performer may enjoy the intensity and excitement of Vivaldi's compositional style.