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Original tekst

Hans Abrahamsen. Double Concerto for Violin, Piano and String Orchestra. Sheet Music. Violin. Piano Chamber. String Orchestra. VLN. PFC. STR ORCH. Hans Abrahamsen.

Oversættelse

Hans Abrahamsen. Dobbelt Koncert for violin, klaver og String Orchestra. Noder. Violin. Kammermusik. String Orchestra. VLN. PFC. STR ORCH. Hans Abrahamsen.

Original tekst

Commissioned by The Royal Danish Orchestra and The Swedish Chamber Orchestra. Full Score. Ensemble. Violin Solo. Piano Solo. bring a Marimba mallet for playing inside the Piano. String Orchestra. 6-6-4-4-2. the number of string players may be doubled. 12-12-8-8-4. if doubling the strings then Desk 1 means Desk 12, Desk 2 means 34 etc. Performance Notes. General. The set-up on stage is important, with two Violin groups on each side on the platform. Vilin 1 lefts and Violin 2 right, as seen from the audience. 1st Movement. In bar 1 & 7 the entire string group should adjust their intonation to the Double Basses and their natural harmonics. In the rest of the movement normal intonation should be used. The slow and rhythmical vibrato pulse should follow the accents. 2nd Movement. The 10. 5 meter is divided into two beats, and the dotted lines show the position of the second beat in each bar. 3rd Movement. no comment. 4th Movement. The very high harmonics are intended as mostly a high 'airy' sound. The small gliss. portamenti that will invariably occur in the fast shofts of positions are intended.

Oversættelse

Commissioned by The Royal Danish Orchestra and The Swedish Chamber Orchestra. Full Score. Sammen. Violin Solo. Klaver solo. bring a Marimba mallet for playing inside the Piano. String Orchestra. 6-6-4-4-2. the number of string players may be doubled. 12-12-8-8-4. if doubling the strings then Desk 1 means Desk 12, Desk 2 means 34 etc. Ydeevne Noter. Generelt. The set-up on stage is important, with two Violin groups on each side on the platform. Vilin 1 lefts and Violin 2 right, as seen from the audience. 1st Movement. In bar 1 & 7 the entire string group should adjust their intonation to the Double Basses and their natural harmonics. In the rest of the movement normal intonation should be used. The slow and rhythmical vibrato pulse should follow the accents. 2nd Movement. The 10. 5 meter is divided into two beats, and the dotted lines show the position of the second beat in each bar. 3rd Movement. no comment. 4th Movement. The very high harmonics are intended as mostly a high 'airy' sound. The small gliss. portamenti that will invariably occur in the fast shofts of positions are intended.