String Duo Sheet Music

This edition contains the sheet music for 'Schwanenlied' by Fanny Hensel, arranged and performed by The Twiolins. An edition for violin and viola in D minor with an intermediate level of difficulty.

Bassstimme in Konzert- und Solostimmung vorhanden. Eva Batts Komposition Wind strich eine Schattenmelodie ist eine Vertonung des Gedichtes Vorausgegangen der Autorin Christiane Schwarze. Mit dieser bi...

The source are the autograph parts, dated 'Baden, d. 25. IX. 1918'.

A ravishing virtuoso duo, often reaching the fullness of tone of a quartet, by a master who grew up in Spohr's school. Podium-effective.

Few masters from the Lombard violin school wrote as brilliantly for the viola as Alessandro Rolla, whose op.18 is the last of his 78 duos for violin and viola required reading.

Rolla's 78 duets remain an indispensable legacy of tonal exhaustion and melodic exhaustion for their instrument, especially for violists.

Massenneau's chamber music is experiencing a renaissance. The 'amiably and well musically set parts' with their compositional perfectionism more than do justice to the high classical models.

Blake was a violist. His duos sparkle with melodic-thematic refinement, with which he was able to cultivate the specific playing technique of the viola.

The duos are worth studying for their brilliant technical playing, as they need not fear comparison with the duos of the same instrumentation by a Carl Stamitz, Franz Danzi and Wenzel Pichl.

In this Duetto, the double bass is so high that it can be performed comfortably on a violoncello or viola da gamba. Unlike in three of Sperger's other sonatas, the viola here is completely equal.

The Variazioni captivate with virtuoso capers in the alternation between triad and chromaticism in the 'expanded' tonal framework. The technically demanding 'superstructure' never becomes an end in it...

Edited from the First Edition.

According to Stamitz, Hofmann was the 'only one who in the movement has endeavored to give the flute traverso the lightness and the song', 'this with seriousness and complaisance'.

An Allegro molto in free form is followed by a three-part Andante. The lively Scherzo (Molto vivace) is followed by a Presto finale, which is also interrupted by a Tempo di marcia funebre in polyphoni...

Edited from the First Edition.

Edited from the first edition.

Edited from the First Edition

The piece, still entirely rococo, became a favorite of many violists who managed to secure a double bassist as a 'contrapuntal' accompanist.