Instrumental Duet,Piano Cello,Instrumental Duet,Piano,Violin - Level 2 - Digital Download SKU: A0.1012484 Composed by Wolfgang Amadeus Mozart. Arranged by George N. Gianopoulos. Classical. Score and parts. 7 pages. GNG Music #4320223. Published by GNG Music (A0.1012484). Mozart's evocative theme from his Symphony No. 40 arranged from Violin, 'Cello and Piano for children.This is a perfect introduction to chamber music on a beloved theme for young, intermediate musicians.

Instrumental Duet,Piano Cello,Instrumental Duet,Piano,Violin - Level 2 - Digital Download SKU: A0.1256633 Composed by Antonin Dvorak. Arranged by B. C. Dockery. 19th Century,Classical,Folk,Romantic Period,Spiritual. 7 pages. Ben Dockery #850035. Published by Ben Dockery (A0.1256633). First known as the African American spiritual Goin' Home, this is Largo from Antonin Dvorak's New World Symphony No. 9 in E Minor, Op. 95, Mvmt. II. Arranged for violin and cello duet with optional piano accompaniment. Great for lessons, recitals, and performances of all kinds. Easy intermediate level. Includes score and parts.

Instrumental Duet,Piano Cello,Instrumental Duet,Piano,Violin - Level 1 - Digital Download SKU: A0.1488386 Composed by L. v. Beethoven. Arranged by Cadenza Editions. Children,Classical,Romantic Period,Wedding. 4 pages. Cadenza Editions #1065275. Published by Cadenza Editions (A0.1488386).

Piano trio (Violin, Cello, Piano) - Primer Level - Digital Download SKU: P5.CL-ROM-2019 Short version. Composed by A.Dvorak. Romantic Period. Score and Parts. 9 pages. SheetmusicLAB #CL-ROM-2019. Published by SheetmusicLAB (P5.CL-ROM-2019). 8.3 x 11.7 inches.

Piano Trio,String Ensemble Cello,Piano,Violin - Level 4 - Digital Download SKU: A0.1108984 By Clean Bandit feat. Zara Larsson. By Ammar Malik, Ina Wroldsen, Jack Patterson, and Steve Mac. Arranged by Uwe Roessler Rössler Rassler. 20th Century,Film/TV,Pop,Rock,Wedding. Score and parts. 15 pages. Uwe Roessler #711528. Published by Uwe Roessler (A0.1108984). Neo - classical arrangement for piano trio (violin, cello, piano) as shown in the video. Comes with full score, and individual parts.

Piano Trio - Level 3 - Digital Download SKU: A0.549883 Composed by Felix Bartholdy Mendelssohn. Arranged by James M. Guthrie, ASCAP. Romantic Period,Wedding. 33 pages. Jmsgu3 #3601997. Published by jmsgu3 (A0.549883). Score: 18 pages, piano part: 6 pages, cello part: 4 pages, violin part: 4 pages. duration: ca. 5'. Register for free lifetime updates and revisions of this product at www.jamesguthrie.com This is the famous wedding march from Op. 61 composed in 1842 and commonly performed as a recessional march at the end of a wedding. The piece was originally composed for orchestra, then arranged for organ and performed by Mendelssohn himself. Mendelssohn: Wedding March Mendelssohn’s Wedding March is so popular that it’s difficult to imagine a wedding without it. It seems like it’s been around for eternity. In any case, it was only 150 years or so ago that the Wedding March came about. It was performed in Potsdam for the first time in 1842, as a piece of Mendelssohn’s music for the Shakespeare play A Midsummer Night’s Dream. It was first used for a wedding in 1858 Mendelssohn Background Felix Mendelssohn (1809 –1847) was, by all means, a German mastermind composer, musician and orchestra conductor of the Romantic period. Consequently, Mendelssohn composed in the usual forms of the time - symphonies, concertos, oratorios, piano music, and chamber music. To summarize, his most famous works include his music for A Midsummer Night's Dream, the Italian Symphony, the Scottish Symphony, The Hebrides Overture, his later Concerto for Violin & Orchestra, and his Octet for Strings. His most well-known piano pieces, by and large, are the Songs Without Words.  Artistic Standing  Musical tastes change from time to time. Moreover, just such a change occurred in the late 19th and early 20th centuries. This plus rampant antisemitism brought a corresponding amount of undue criticism. Fortunately, however, his artistic inventiveness has indeed been critically re-evaluated. As a result, Mendelssohn is once again among the most prevalent composers of the Romantic era. Early Family Life Mendelssohn was, in fact, born into a prominent Jewish family. His grandfather was, notably, the philosopher Moses Mendelssohn. Felix was, in fact, raised without religion. At the age of seven, he was all of a sudden baptized as a Reformed Christian. He was, moreover, a child musical prodigy. Nevertheless, his parents did not attempt to exploit his talent. Early Adulthood Mendelssohn was, in general, successful in Germany. He conducted, in particular, a revival of the music of Johann Sebastian Bach, specifically with his presentation of the St Matthew Passion in 1829. Felix was truly in demand throughout Europe as a composer, conductor, and soloist. For example, he visited Britain ten times. There, he premiered, namely, many of his major works. His taste in music was. To be sure, inventive and well-crafted yet markedly conservative. This conservatism separated him by all means from more audacious musical colleagues like Liszt, Wagner, and Berlioz. Mendelssohn founded the Leipzig Conservatoire which, to clarify, became a defender of this conservative viewpoint. Mature Adulthood Schumann notably wrote that Mendelssohn was the Mozart of the nineteenth century, the most brilliant musician, the one who most clearly sees through the contradictions of the age and for the first time reconciles them. This observation points to a couple of features in particular that illustrate Mendelssohn's works and his artistic procedure. Musical Features In the first place, his musical style was fixed in his methodical mastery of the style of preceding masters. This being said, he certainly recognized and even developed early romanticism from the music of Beethoven and Weber. Secondly, it indicates that Mendelssohn sought to strengthen his inherited musical legacy rather than to exchange it with new forms and styles or replace it with exotic o.

Piano Trio,String Ensemble Cello,Piano,Violin - Level 5 - Digital Download SKU: A0.533329 Composed by Zvonimir Nagy. Concert,Contemporary,Standards. Score and parts. 54 pages. Musik Fabrik Music Publishing #2344333. Published by Musik Fabrik Music Publishing (A0.533329). A native of Croatia, the American composer Zvonimir Nagy has been the recipient of music honors and awards, most notably the Seattle Symphony Orchestra Composition Prize and Swan Prize in Music Composition. Nagy received a doctor of music composition degree from Northwestern University (USA); he also studied music at Texas Christian University, the école Normale de Musique (France), and the Academy of Music-University of Zagreb (Croatia). Nagy's compositions are inspired by the intersection of music aesthetics and perception. He explores various contexts and critical perspectives that illuminate ideas on music and its impact on the mind. His music is frequently commissioned and performed throughout the United States and Europe. Nagy has taught on the faculties of Northwestern and St. Xavier University in Chicago (USA) and has presented at music conferences, workshops, and colloquia. Currently, he serves as Assistant Professor of Music at Duquesne University in Pittsburgh, Pennsylvania. He is also the Cathedral Organist at St. Joseph Cathedral in Wheeling, West Virginia. Nagy continues to perform as a solo and collaborative organist and pianist.

Piano Trio Cello,Piano,Violin - Level 3 - Digital Download SKU: A0.1488222 Composed by Ferdinand Ries. Arranged by Dianne James. Classical. 77 pages. Artaria Editions #1065108. Published by Artaria Editions (A0.1488222). The Piano Trio in E flat, Op.2 was published by Simrock in 1807 with a dedication to Monsieur le Comte de Browne, Brigadeur au Service de S.M.J. de toutes les Russies. It is a generously proportioned work in the usual three movements. The lengthy sonata-from first movement is prefaced by a slow introduction which begins on dominant seventh harmony (a nod perhaps to Beethoven's first symphony), slowly finding its way to the tonic by the start of the Allegro section. The brief development section modulates widely, including references to keys as distant as E minor and C major, while the substantially rewritten and varied recapitulation touches on both B and G majors. The slow movement, Andante un poco Allegretto , is cast in the key of C minor and features many solos and duets for the string instruments as well as further harmonic interest, especially in the central modulating episode from bar 46. The finale is a sonata-rondo design complete with all the usual tricks, including even a remote transposition of the refrain late in the movement to B major, a technique surely learned from Beethoven. The present edition reproduces as faithfully as possible the text of the trio as transmitted in Simrock's edition of the work, a copy of which is preserved in the Staatsbibliothek in Berlin. The piano part is most successfully realised on an instrument extending as far as c4, although since such instruments were by no means standard in the first decade of the 19th century, Ries has notated the part carefully to cater for instruments without an extended treble compass. Any alternative readings have been incorporated into the current edition exactly as they appear in the Simrock print. In an instance such as bars 298-309 of the finale for example, instruments with the extended compass should follow the small print in bars 298 and 309, and in between read the notes an octave higher according to the composer's 8ve marking. Instruments with a limited compass should play the notes as written, without the octave transposition of bars 299-309. The cello part contains several passages written in the treble clef. Evidence that these should sound an octave lower than written is provided by bars 74-80 of the first movement and 85-89 of the finale. In the first instance, awkward octave displacements would result if this passage were played literally; in the second instance, some unacceptable part crossing between violin and cello would result from a literal rendition of these two bars. Accordingly then, all passages written in the treble clef should be transposed down an octave. The style and notation of articulation and dynamic markings have been standardised throughout, and, where missing from the print, markings have been reconstructed from parallel passages. These are indicated by the use of dotted slurs or brackets where appropriate. Obvious wrong notes have been corrected without comment, and editorial emendations with no authority from the print are placed within brackets. Dianne James.

Piano Trio Cello,Piano,Violin - Level 4 - Digital Download SKU: A0.1184692 By Larry Wesley. By Ludwig van Beethoven. Arranged by Larry Wesley. 19th Century,Classical,Romantic Period,Traditional. 89 pages. Larry Wesley #784368. Published by Larry Wesley (A0.1184692). Theme also used in last movement of symphony III  (Eroica).

Piano Trio,String Ensemble Cello,Piano,Violin - Level 2 - Digital Download SKU: A0.532641 Composed by Franz Joseph Haydn. Arranged by Klas Krantz. Classical. Score and parts. 11 pages. Amadeus Music #6659387. Published by Amadeus Music (A0.532641). Joseph Haydn (1732 – 1809), was an Austrian composer, one of the most prolific and prominent of the Classical period. He is often called the Father of the Symphony and Father of the String Quartet because of his important contributions to these forms. He was also instrumental in the development of the piano trio and in the evolution of sonata form.

Piano Trio,String Ensemble Cello,Piano,Violin - Level 5 - Digital Download SKU: A0.938413 Composed by Colin Bayliss. 20th Century,Contemporary. Score and parts. 59 pages. Colin Bayliss #9995. Published by Colin Bayliss (A0.938413). Piano Trio (B44) was written in the spring of 1991 for David Johnson and the trio which he was forming in Cologne. The work is in three movements:-1. Structures The three instruments build differing structural patterns based on a 12-note row. The violin and 'cello often complement each other, but the piano rarely joins them and tries to pull the music towards a diatonic tonal language, eventually succeeding to end in G major. The movement is in arch form, the second half being based on the retrogrades of the note row. 2. Textures Most forms of sound textures are used, including col legno and sul ponticello for the strings, while the piano occasionally employs soft-headed timpani sticks both on the keyboard and the interior of the instrument. Again the movement is in arch form, with a central section incorporating a miniature scherzo, with a trio section parodying the palm court trio style with a tune of sickly sentimentality. [ This movement may be played separately under the title Einer Kleiner Alptraum - A Little Night... mare] 3. Metamorphoses The notes which will eventually become a Scottish folk tune are hidden either in the repeated notes or in the left hand of the piano, either singly or in harmony. After a neo- classical exposition, using a serial melody, progress is quickly halted by the use of some of the notes of the folk tune being arranged into the theme of Weber's Turandot which was used by Hindemith in his Symphonic Metamorphoses . This pulls the music into a slightly more tonal frame work which becomes more pronounced after a reference to the theme of the slow movement of the Eroica symphony used in Richard Strauss' Metamorphosen. From then onwards, tonality, or rather modality, is established and the folk tune style is maintained with simplicity to the end, except for a miniscule coda reminiscent of the opening of the movement. The sound sample is a performance of the second movement Textures.

Piano Trio,String Ensemble Cello,Piano,Violin - Level 3 - Digital Download SKU: A0.694120 Composed by Ludwig van Beethoven. Arranged by B. C. Dockery. Christian,Christmas,Classical,Easter,Sacred. Score and parts. 5 pages. Ben Dockery #6286443. Published by Ben Dockery (A0.694120). Arranged for violin and cello duet with optional piano accompaniment. This classic melody from Beethoven's ninth symphony is also known by the titles Joyful, Joyful, We Adore Thee and Alleluia! Alleluia! The latter is often sung in Easter services, while the former is sung at Christmas and throughout the year. Great for preludes, offertories, postludes, recitals, and lessons.Includes score and parts.