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1.
Wolfgang Amadeus Mozart: Concerto for Bassoon in B-flat (K.191) (K.186e) (Urtext).~ Part (Piano)
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Concerto for Bassoon in B-flat (K.191) (K.186e) (Urtext).

2.
Wolfgang Amadeus Mozart: Concerto for Horn No.2 in E-flat (K.417) (Urtext).~ Part (Piano)
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Concerto for Horn No.2 in E-flat (K.417) (Urtext).
0, 2, 0, 0 - 2, 0, 0, 0, str, solo hn
Piano...

3.
Wolfgang Amadeus Mozart: Concerto for Violin No.4 in D (K.218) (Urtext).~ Part (Piano)
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Concerto for Violin No.4 in D (K.218) (Urtext).
vn, pf
Piano reduction
(New edition with Ca...

4.
Wolfgang Amadeus Mozart: Concerto for Piano No.23 in A (K.488) (Urtext).~ Part (Orchestra)
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Concerto for Piano No.23 in A (K.488) (Urtext).
1, 0, 2, 2 - 2, 0, 0, 0, str, solo pf
Piano (2...

5.
Wolfgang Amadeus Mozart: Single Movements for Violin and Orchestra (Urtext). (Adagio in E K.261; Rondo in B flat K.269; Rondo in C K.373).~ Part (Piano)
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Single Movements for Violin and Orchestra (Urtext). (Adagio in E K.261; Rondo in B flat K.269; Rondo...

6.
C Monteverdi: Vespers 1610 - Vespro Della Beata Vergine (Viola II)~ Part (Choral)

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Claudio Monteverdi’s Vespro Della Beata Vergine is without doubt one of the most popular sacred works of the 17th century. Apart from the many available recordings, it is frequently performed in its entirety or in parts.

7.
Claudio Monteverdi: Vespers 1610 - Vespro Della Beata Vergine (Viola I)~ Part (Choral)

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Claudio Monteverdi’s Vespro Della Beata Vergine is without doubt one of the most popular sacred works of the 17th century. Apart from the many available recordings, it is frequently performed in its entirety or in parts.

8.
Claudio Monteverdi: Vespers 1610 - Vespro Della Beata Vergine (Violin III)~ Part (Choral)

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Claudio Monteverdi’s Vespro Della Beata Vergine is without doubt one of the most popular sacred works of the 17th century. Apart from the many available recordings, it is frequently performed in its entirety or in parts.

9.
C Monteverdi: Vespers 1610 - Vespro Della Beata Vergine (Viola III)~ Part (Choral)

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Claudio Monteverdi’s Vespro Della Beata Vergine is without doubt one of the most popular sacred works of the 17th century. Apart from the many available recordings, it is frequently performed in its entirety or in parts.

10.
C Monteverdi: Vespers 1610 - Vespro Della Beata Vergine (Cello/Bass)~ Part (Choral)

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Claudio Monteverdi’s Vespro Della Beata Vergine is without doubt one of the most popular sacred works of the 17th century. Apart from the many available recordings, it is frequently performed in its entirety or in parts.

11.
A. Dvorak: Requiem Op.89 B.165 Chamber Version - Cello~ Part (Choral)

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Dvořák’s Requiem, for soloists, choir and orchestra, is one of the highlights within the international choral repertoire. Now Bärenreiter is presenting this work in an arrangement by Joachim Linckelmann with chamber Orchestra based on the full score from the Complete Edition of the Works by Antonín Dvořák.

12.
A. Dvorak: Requiem Op.89 B.165 Chamber Version - Viola~ Part (Choral)

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Dvořák’s Requiem, for soloists, choir and orchestra, is one of the highlights within the international choral repertoire. Now Bärenreiter is presenting this work in an arrangement by Joachim Linckelmann with chamber Orchestra based on the full score from the Complete Edition of the Works by Antonín Dvořák.

13.
A. Dvorak: Requiem Op.89 B.165 Chamber Version - Double Bass~ Part (Choral)

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Dvořák’s Requiem, for soloists, choir and orchestra, is one of the highlights within the international choral repertoire. Now Bärenreiter is presenting this work in an arrangement by Joachim Linckelmann with chamber Orchestra based on the full score from the Complete Edition of the Works by Antonín Dvořák.

14.
A. Dvorak: Requiem Op.89 B.165 Chamber Version - Wind Set~ Part (Choral)
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Dvořák’s Requiem, for soloists, choir and orchestra, is one of the highlights within the international choral repertoire. Now Bärenreiter is presenting this work in an arrangement by Joachim Linckelmann with chamber Orchestra based on the full score from the Complete Edition of the Works by Antonín Dvořák.

15.
A. Dvorak: Requiem Op.89 B.165 Chamber Version - Violin II~ Part (Choral)

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Dvořák’s Requiem, for soloists, choir and orchestra, is one of the highlights within the international choral repertoire. Now Bärenreiter is presenting this work in an arrangement by Joachim Linckelmann with chamber Orchestra based on the full score from the Complete Edition of the Works by Antonín Dvořák.

16.
A. Dvorak: Requiem Op.89 B.165 Chamber Version - Violin I~ Part (Choral)

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Dvořák’s Requiem, for soloists, choir and orchestra, is one of the highlights within the international choral repertoire. Now Bärenreiter is presenting this work in an arrangement by Joachim Linckelmann with chamber Orchestra based on the full score from the Complete Edition of the Works by Antonín Dvořák.

17.
J. Haydn: Symphony No.26 In D minor - Lamentazione: (Hob.I:26) - Cello/Bass~ Part (Orchestra)

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Haydn’s Symphony No.26 received its nickname Lamentazione during his lifetime, though it is unclear whether this stems directly from the composer. This work probably originated no later than 1770. Its first and second movements quote excerpts from Gregorian chants used in Holy Week.

18.
J. Haydn: Symphony No.26 In D minor - Lamentazione: (Hob.I:26) - Violin I~ Part (Orchestra)

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Haydn’s Symphony No.26 received its nickname Lamentazione during his lifetime, though it is unclear whether this stems directly from the composer. This work probably originated no later than 1770. Its first and second movements quote excerpts from Gregorian chants used in Holy Week.

19.
J. Haydn: Symphony No.26 In D minor - Lamentazione: (Hob.I:26) - Wind set~ Part (Orchestra)

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Haydn’s Symphony No.26 received its nickname Lamentazione during his lifetime, though it is unclear whether this stems directly from the composer. This work probably originated no later than 1770. Its first and second movements quote excerpts from Gregorian chants used in Holy Week.

20.
J. Haydn: Symphony No.26 In D minor - Lamentazione: (Hob.I:26) - Viola~ Part (Orchestra)

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Haydn’s Symphony No.26 received its nickname Lamentazione during his lifetime, though it is unclear whether this stems directly from the composer. This work probably originated no later than 1770. Its first and second movements quote excerpts from Gregorian chants used in Holy Week.


1 2 3 4 5 6 7 8 9 10  Last 
Showing Results 1-20 of 620
Page 1 of 31