3 Violine I - 3 Violine II - 2 Viola - 3 Basso - 1 Cembalo 2 cellos, string orchestra and basso continuo - intermediate - Digital Download SKU: S9.Q19181 Urtext. Composed by Antonio Vivaldi. This edition: set of parts. Concertino. Parmi les concertos de Vivaldi, plus de deux douzaines sont dédiés au violoncelle, dont le plus célèbre de tous, le double concerto en sol mineur (RV 531). Nouvelle édition critique de l’œuvre, basée sur les sources. Downloadable, Set of parts. Schott Music - Digital #Q19181. Published by Schott Music - Digital (S9.Q19181). Key: G minor.The genre of the violoncello concerto was born in 17th-century Italy. Thanks to the Venetian composer Antonio Vivaldi (1678–1741), there exists today not only a wealth of magnificent violin concertos but also quite a number of cello concertos to whose development he contributed considerably. More than two dozens of his concertos are dedicated to the violoncello, including the probably most famous double concerto: the Concerto for two violoncellos, string orchestra and basso continuo in G minor (RV 531) written after 1770. The sonorous work with its playful outer movements and expressive largo is published in this critical new edition on the basis of the sources.

2 Violine I - 2 Violine II - 1 Viola - 2 Basso 2 cellos, string orchestra and basso continuo - intermediate - Digital Download SKU: S9.Q19182 Urtext. Composed by Antonio Vivaldi. This edition: additional parts. Concertino. Parmi les concertos de Vivaldi, plus de deux douzaines sont dédiés au violoncelle, dont le plus célèbre de tous, le double concerto en sol mineur (RV 531). Nouvelle édition critique de l’œuvre, basée sur les sources. Downloadable, Additional parts. Schott Music - Digital #Q19182. Published by Schott Music - Digital (S9.Q19182). Key: G minor.The genre of the violoncello concerto was born in 17th-century Italy. Thanks to the Venetian composer Antonio Vivaldi (1678–1741), there exists today not only a wealth of magnificent violin concertos but also quite a number of cello concertos to whose development he contributed considerably. More than two dozens of his concertos are dedicated to the violoncello, including the probably most famous double concerto: the Concerto for two violoncellos, string orchestra and basso continuo in G minor (RV 531) written after 1770. The sonorous work with its playful outer movements and expressive largo is published in this critical new edition on the basis of the sources.

Flute and harpsichord obligatory or flute, violin and basso continuo - easy to intermediate - Digital Download SKU: S9.Q4754 Composed by Johann Joachim Quantz. This edition: Sheet music. Il Flauto traverso. Downloadable. Schott Music - Digital #Q4754. Published by Schott Music - Digital (S9.Q4754). Key: E minor.Am Beginn der Sonate steht in der Partitur: Sonata a 3 di Quantz / Flauto / Travers: / Cembalo / o / Violino / Basso. Besondere Beachtung verdient dabei der Vermerk „Cembalo o Violine, der besagt, dass das Werk in verschiedenen Besetzungen musiziert werden kann: als Sonate für Flöte und obligates Cembalo (eine überaus reizvolle, bei Quantz nur selten anzutreffende Besetzung), oder als Trio für Flöte, Violine und Basso continuo.

2 Trompeten, Pauken, Streicher und Basso continuo 2 mixed choirs (SATB/SATB), soloists (SSATTB) and orchestra - intermediate - Digital Download SKU: S9.Q3274 Motet. Composed by Jean-Baptiste Lully. This edition: vocal/piano score. Downloadable, Piano reduction. Duration 40 minutes. Schott Music - Digital #Q3274. Published by Schott Music - Digital (S9.Q3274). Latin.This edition of a Te Deum by J.-B. Lully (1632-1687), composed in 1677, has been compiled from part-books belonging to the Euing Library in the University of Glasgow, and we wish to record our gratitude to that University, and to its librarian, Mr. R.O. MacKenna, for placing them at our disposal. The original score consists of a Petit Choeur for semi-chorus and soli, a Grand Choeur for full chorus, and an orchestra consisting of two trumpets, strings and basso continuo. Although there is no timpani part in the Glasgow part-books, it seems evident that there is need for timpani in performance. The editor has therefore ventured to include a part for them. The soloists required are SSAATTB. Some of their parts could well be sung by members of the Petit Choeur. This edition presents the text of the original sources except for the piano part which is partly a realization of the figured bass (marked continuo) and partly an adaption of the instrumental score (marked piano score).