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Vous avez sélectionné:
Modern classical
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Orchestre à Cordes
Partitions à imprimer
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Concerto No.2 for Violin and Orchestra
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Orchestre à Cordes
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AVANCÉ
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Contemporain
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Jazz
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David Chesky
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Concerto No.2 for Violin and O
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Pamaluc Music
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SheetMusicPlus
String Orchestra - Level 5 - SKU: A0.882391 Composed by David Chesky. Contemporary,Jazz. Score and parts. 329 pages. Pamaluc Music #18815. Published by ...
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String Orchestra - Level 5 - SKU: A0.882391 Composed by David Chesky. Contemporary,Jazz. Score and parts. 329 pages. Pamaluc Music #18815. Published by Pamaluc Music (A0.882391). From the composers Urban Series. This new concerto redefines the role of the modern string soloist. Fusing classical concerto form with the modern harmonic language of American rhythmic jazz, and volcanic rock-and-roll energy to this work as it transcends the typical concerto and race towards a potent visceral conclusion. Fiendishly difficult passagework and a new athleticism to the musical virtuosity as the soloist debates, collides, and duels with the orchestra. A poignant juxtaposition of primitive power of urban groove and the elegance of classical refinement. Duration 15.00 min 1perc./ strings.
$34.98
Elegie - for String Orchestra, Harp, and Piano
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Orchestre à Cordes
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AVANCÉ
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Ronan Bodisch
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Elegie - for String Orchestra,
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Ronan Bodisch
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SheetMusicPlus
String Orchestra - Level 5 - SKU: A0.1095833 Composed by Ronan Bodisch. Chamber,Classical,Contemporary,Romantic Period. Score and Parts. 5 pages. Ronan ...
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String Orchestra - Level 5 - SKU: A0.1095833 Composed by Ronan Bodisch. Chamber,Classical,Contemporary,Romantic Period. Score and Parts. 5 pages. Ronan Bodisch #699803. Published by Ronan Bodisch (A0.1095833). This intense and emotional piece draws inspiration from classical/romantic composers, such as Edward Elgar, while also mixing in modern elements. Performance Notes: Dissonance is very common in this piece. It will not help the orchestra if the players cower away from it, rather than play it confidently. Don't second-guess whether or not the right notes are being played. Be sensitive to whoever has the moving line, as it is passed around the orchestra. At measure 22, the Violas and Cellos should soar above the violins. At measures 26-30, everyone in the orchestra should be playing as loud as humanly possible (go crazy, go bananas), while still remaining sensitive to the moving melodies; this is the composer's signature theme. Be mindful of the key change at measure 35 (F Maj/D Min to B-Flat Maj/G Min). In the end, Violins, Violas, and Cellos should decrescendo to literally nothing on the tremolos. The basses should emphasize pizzicato, but play it lightly, rather than thunderous. The chords in the Harp and Piano should also be brought out.
$35.00
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