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PIANO & CLAVIERS
Piano, Voix
1090
Piano seul
309
Orgue
41
Piano Facile
38
Piano, Voix et Guitare
21
Instruments en Do
12
1 Piano, 4 mains
9
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8
2 Pianos, 4 mains
6
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4
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1
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GUITARES
Guitare
69
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25
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4
2 Guitares (duo)
2
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2
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1
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1
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1
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1
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VOIX
Chorale SATB
149
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28
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13
Chorale TTBB
12
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10
Voix Soprano, Piano
9
Chorale Unison
6
Chorale SSATTB
3
Voix Soprano
3
Voix seule
2
Voix haute
2
Soli, choeur mixte et accompagnement
2
Voix duo
2
Chorale SSAATTBB
2
Voix Alto, Piano
1
Voix Baryton
1
Voix moyenne, Piano
1
Voix duo, Piano
1
Chorale SSATB
1
Voix Tenor
1
Chorale
1
Voix basse, Piano
1
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VENTS
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
60
Flûte traversière et Piano
51
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41
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39
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36
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32
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28
2 Saxophones (duo)
25
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25
Clarinette
22
Flûte traversière
21
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18
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17
2 Clarinettes (duo)
17
3 Saxophones (trio)
16
Quintette de Saxophone: 5 saxophones
15
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13
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12
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12
Saxophone Tenor et Piano
12
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9
Quintette de Clarinettes: 5 clarinettes
8
3 Clarinettes (trio)
8
Cor anglais, Piano
8
Clarinette Basse, Piano
8
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7
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7
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6
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6
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6
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5
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5
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5
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5
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5
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4
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4
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4
Clarinette (partie séparée)
3
Clarinette, Trompette (duo)
3
2 Hautbois (duo)
3
Trio de Flûtes: 3 flûtes
3
Hautbois (partie séparée)
3
Flûte à Bec
3
Ensemble de saxophones
3
Clarinette et Alto
2
Cor anglais, Guitare (duo)
2
3 Flûtes à bec (trio)
2
Flûte, Violon
2
Flûte, Saxophone (duo)
2
5 Flûtes à bec
2
Flûte, Hautbois, Clarinette (trio)
2
Hautbois, Flûte
2
Flûte à bec Tenor
1
Ensemble de Hautbois
1
Flûte, Trompette (duo)
1
Clarinette, Violoncelle, Piano (trio)
1
Flûte à bec Alto
1
Clarinette Basse
1
Saxophone et Guitare
1
Hautbois, Clarinette (duo)
1
2 Saxophones, Piano
1
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1
Flute, alto, violoncelle et guitare
1
Flûte irlandaise
1
Flûte, Alto (duo)
1
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1
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1
Flûte, Violoncelle, Piano (trio)
1
Flûte traversière, Basse continue
1
Piccolo, Piano
1
Flûte à bec Soprano
1
Cornemuse
1
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1
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CUIVRES
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
37
Quatuor de Cuivres : 2 trompettes, trombone, tuba
25
Trombone et Piano
21
Cor et Piano
20
Trompette
17
Euphonium, Piano (duo)
15
Ensemble de Trombones
14
Tuba et Piano
14
Trompette, Piano
13
Quatuor de cuivres: 4 trombones
11
Cor (partie séparée)
9
Cor anglais, Piano
8
Trompette, Trombone (duo)
7
Quatuor de Cuivres: 2 trompettes, Cor, trombone
7
Trompette (partie séparée)
5
Quatuor de Cuivres
5
Trombone
5
Trombone (partie séparée)
5
3 Trombones (trio)
4
Trompette, Saxophone (duo)
4
2 Trombones (duo)
4
Ensemble de Trompettes
4
2 Euphoniums et 2 Tubas
3
4 Tubas
3
Tuba (partie séparée)
3
2 Trompettes (duo)
3
Ensemble de Cors
3
Cor
3
Quatuor de cuivres: 4 trompettes
2
Quatuor de cuivres: 4 cors
2
Cor anglais, Guitare (duo)
2
2 Tubas (duo)
2
2 Cors (duo)
2
Trompette, Cor (duo)
2
Tuba et Orgue
1
Tuba
1
Euphonium
1
3 Cors (trio)
1
3 Euphoniums
1
3 Tubas (trio)
1
Trombone basse
1
Trombone basse et Piano
1
Cor, Violoncelle (duo)
1
Trio de Cuivres
1
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CORDES
Quatuor à cordes: 2 violons, alto, violoncelle
82
Violon et Piano
65
Violoncelle, Piano
44
Violon
36
Alto, Piano
35
Harpe
19
Violon, Violoncelle (duo)
17
Violoncelle (partie séparée)
14
2 Violons (duo)
11
2 Violoncelles (duo)
10
Violoncelle
10
Violon, Alto (duo)
9
Alto seul
8
2 Altos (duo)
8
Violon (partie séparée)
6
Trio à Cordes: violon, alto, violoncelle
5
Contrebasse, Piano (duo)
4
Violon, Guitare (duo)
4
Alto, Violoncelle (duo)
4
Trio à cordes: 3 violins
3
4 Violoncelles
3
Alto, Guitare (duo)
3
Trio à Cordes: 3 violoncelles
3
Trio à cordes: 3 altos
3
Quatuor à cordes : 4 altos
3
Alto (partie séparée)
3
Contrebasse (partie séparée)
3
Quatuor à cordes: 4 violons
3
Violoncelle , Guitare (duo)
2
Harpe, Flûte (duo)
2
Contre Basse
2
2 Harpes (duo)
2
Violoncelle, Orchestre
1
4 Contrebasses
1
Harpe, Voix
1
Violon, Clarinette, Piano (trio)
1
Quintette à cordes: 2 violons, alto, violoncelle, basse
1
Trio à Cordes: 2 violons, violoncelle
1
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PERCUSSIONS & ORCHESTRES
Orchestre d'harmonie
363
Orchestre
95
Orchestre à Cordes
58
Orchestre de chambre
29
Ensemble de cuivres
27
Ensemble Jazz
9
Percussion (partie séparée)
5
Ensemble de Percussions
5
Cloches
3
Marimba
3
Orchestre, Violon
3
Vibraphone
1
Batterie
1
Piano et Orchestre
1
Jazz combo
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Serenade for Winds Movement 1 - for Clarinet Choir
Ensemble de Clarinettes
Woodwind Ensemble Clarinet - Level 5 - Digital Download SKU: A0.899609 Composed by …
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Woodwind Ensemble Clarinet - Level 5 - Digital Download SKU: A0.899609 Composed by Antonin Dvorak. Arranged by C Blankenship. Romantic Period. 41 pages. C Blankenship #6210483. Published by C Blankenship (A0.899609). Serenade for wind instruments, cello and double bass in D minor (Czech: Serenáda pro dechové nástroje d moll), Op. 44, B. 77, is a chamber composition by the Czech composer AntonÃn Dvořák. The work is dedicated to the music critic and composer Louis Ehlert who praised the Slavonic Dances highly in the German press.It was created in 1878, shortly after the première of the opera The Cunning Peasant, one of fifteen compositions he submitted for the Austrian State Stipendium award. The work was first heard on 17 November 1878 at a concert exclusively dedicated to Dvořák's works, with the orchestra of the Prague Provisional Theatre (Czech: ProzatÃmnÃ). The composition was performed under the composer's baton.
$20.00
18.37 €
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Ensemble de Clarinettes
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Antonin Dvorak
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C Blankenship
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Serenade for Winds Movement 1 - for Clarinet Choir
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C Blankenship
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SheetMusicPlus
Gabrieli: Canzon Septimi Toni Ch 172 for Clarinet Choir
Ensemble de Clarinettes
Woodwind Ensemble Clarinet - Level 3 - Digital Download SKU: A0.549204 Composed by …
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Woodwind Ensemble Clarinet - Level 3 - Digital Download SKU: A0.549204 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. 56 pages. Jmsgu3 #3461855. Published by jmsgu3 (A0.549204). Instrumentation: 2 Eb clarinets, 4 Bb clarinets, 2 bass clarinets. Arranged as a double quartet. Includes Full Score: 28 pg. Study Score: 14 pg. and instrumental parts: 2 pg. Duration: ca. 3:00. Innovations First of all, Gabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics – or was rather the first to indicate them such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He therefore developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style. Polychoral Works Gabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well. Spatial Music Above all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation in rather more than two groups. The instruments, because they could be appropriately situated, could consequently be heard with perfect clearness at distant locations. As a result, arrangements which seem bizarre on paper, can in contrast sound perfectly in-balance. First Works Finally, Gabrieli published his first motets along with his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieli’s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material, but developing it by sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here the instruments are certainly an essential part of the presentation. Also, only parts marked: Capella are supposed to be sung. Homophony Hence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – which calls Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo.
$47.95
44.03 €
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Ensemble de Clarinettes
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Gabrieli
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James M
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Gabrieli: Canzon Septimi Toni Ch 172 for Clarinet Choir
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jmsgu3
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SheetMusicPlus
Gabrieli: Sonata Pian e Forte Ch. 175 for Clarinet Choir
Ensemble de Clarinettes
Woodwind Ensemble Clarinet - Level 3 - Digital Download SKU: A0.549213 Composed by …
(+)
Woodwind Ensemble Clarinet - Level 3 - Digital Download SKU: A0.549213 Composed by Gabrieli. Arranged by James M. Guthrie, ASCAP. Renaissance,Standards. 45 pages. Jmsgu3 #3464933. Published by jmsgu3 (A0.549213). A musical monument: the first composition to employ dynamics. Minimum Instrumentation:  8 Bb clarinets, 1 alto clarinet, 1 contralto clarinet, 1 contrabass clarinet. Duration: 3:45 at half-note = 86. Innovations First of all, Gabrieli preferred sacred vocal and certainly instrumental music. Hence, he concentrated on music that consequently took advantage of resonance and likewise reverberation for maximum effect. Seems like Gabrieli may have invented dynamics – or was rather the first to indicate them such as in his Sonata Pian’ e Forte. Consequently, he was also a pioneer in spatial techniques. He therefore developed and used very specific notation to indicate instrumentation. Gabrieli experimented with assembling massive instrumental forces into isolated groups separated by space. In this way, he consequently contributed heavily to the Baroque Concertato style. Polychoral Works Gabrieli probably used the layout of the San Marco church for his experiments. This is because he worked there as a musician and composer. Furthermore, the church had two choir lofts facing each other. He certainly used these to create striking spatial effects between instrumental forces. Certainly, many of his works are composed such that a choir or instrumental group could first be heard on one side, then consequently followed by a response from the group on the other side. Sometimes there was probably a third group positioned near the main altar as well. Spatial Music Above all, Gabrieli studied carefully detailed groups of instruments and singers. Furthermore, it seems like he created precise directions for instrumentation in rather than two groups. The instruments, because they could be appropriately situated, could consequently be heard with perfect clearness at distant locations. As a result, arrangements that seem bizarre on paper, can in contrast sound perfectly in balance. First Works Finally, Gabrieli published his first motets along with his uncle Andrea's compositions in Concerti (1587). These compositions furthermore indicate considerable usage of dialogue and echo effects. Consequently, here we see low and high choirs with the variance between their ranges indicated by instrumental accompaniment. Seems like Gabrieli’s later motets Sacrae Symphoniae (1597) move away from close antiphony. In contrast, he moves towards not simply echoing the material, but developing it through sequential choral entrances. Even more, he takes this procedure to the extreme in the Motet Omnes Gentes. Unlike earlier works, here the instruments are certainly an essential part of the presentation. Also, only parts marked: Capella are supposed to be sung. Homophony Hence, after 1605, Gabrieli moves to a much more homophonic style. He writes sections purely for instruments – which calls Sinfonia – and smaller sections for vocal soloists, accompanied by a basso continuo. Â
$47.95
44.03 €
#
Ensemble de Clarinettes
#
Gabrieli
#
James M
#
Gabrieli: Sonata Pian e Forte Ch. 175 for Clarinet Choir
#
jmsgu3
#
SheetMusicPlus
A Watery Life
Ensemble de Clarinettes
Clarinet Choir,Woodwind Ensemble Bass Clarinet - Level 3 - Digital Download SKU: A0.129…
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Clarinet Choir,Woodwind Ensemble Bass Clarinet - Level 3 - Digital Download SKU: A0.1294025 By Janna Willard. By Traditional Folk Tune. Arranged by Janna Willard. Children,Folk,Traditional. 14 pages. Janna Hoskin #884508. Published by Janna Hoskin (A0.1294025). “A Watery Life†was written in early 2023 for the “Klarinet Kerfuffleâ€, a day of workshops and recitals for clarinetists of all ages in Saskatchewan. It is a short piece that uses two familiar tunes to illustrate some musical concepts and techniques.First comes “Row Your Boatâ€, played with harmonies and then in a round (canon). Then we move into “Lightly Row†following a short transition. This is harmonized and the bass clarinet plays an Alberti bass. After playing through this once, there is a passage that combines the two songs, using passing tones and rhythmic variation to add interest.Lyrics of “Row Your Boatâ€:Row, row, row your boat gently down the stream!Merrily, merrily, merrily, merrily, life is but a dream!Lyrics of “Lightly Rowâ€, as I learned them:Lightly row, lightly row, o’er the glassy waves we go!Smoothly glide, smoothly glide, on the silent tide!Let the winds and waters be mingled with our melody.Sing and float, sing and float, in our little boat!Please let me know if you perform this piece, and don’t forget to review it!
$4.99
4.58 €
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Ensemble de Clarinettes
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Janna Willard
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Janna Willard
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A Watery Life
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Janna Hoskin
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SheetMusicPlus
Do-Re-Mi
Ensemble de Clarinettes
Clarinet Choir,Woodwind Ensemble Bass Clarinet,Contra Alto Clarinet,E-Flat Clarinet - Leve…
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Clarinet Choir,Woodwind Ensemble Bass Clarinet,Contra Alto Clarinet,E-Flat Clarinet - Level 4 - Digital Download SKU: A0.720552 Composed by Richard Rodgers. Arranged by Ralph Raymond Hays. Broadway,Film/TV,Musical/Show. 25 pages. Ralph Raymond Hays #3591135. Published by Ralph Raymond Hays (A0.720552). This clever and unique arrangement of the well known Do-Re-Mi distinguishes itself from others in numerous ways, and is certain to captivate performers and audience members alike. Not merely a transcription from the score, the arranger strove to make the work idiomatic to the clarinet choir, and included the do-mi-mi -- mi-sol-sol... strain absent from most other instrumental arrangements. Each voice is featured, and the accompaniment varies from the mundane barrage of downbeats and afterbeats so often mechanically transcribed in other arrangements. The arranger has above all striven to encapsulate the joy and elation he felt many years ago when he was responsible for la while portraying Friedrich Von Trapp in a theatrical production. This arrangement can be combined with Professor Hays' other arrangements to create a SOUND OF MUSIC suite:https://www.sheetmusicplus.com/publishers/ralph-raymond-hays-sheet-music/3002340?narrow_by=the+sound...
$12.99
11.93 €
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Ensemble de Clarinettes
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Richard Rodgers
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Ralph Raymond Hays
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Do-Re-Mi
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Ralph Raymond Hays
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SheetMusicPlus
Ave Maria for Clarinet Octet
Ensemble de Clarinettes
Clarinet Choir,Woodwind Ensemble Clarinet - Level 3 - Digital Download SKU: A0.1434536
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Clarinet Choir,Woodwind Ensemble Clarinet - Level 3 - Digital Download SKU: A0.1434536 Composed by Gustav Holst. Arranged by James Gaynor. Romantic Period. 24 pages. James Haynor #1014674. Published by James Haynor (A0.1434536). One of the few early works of Holst to survive his scrupulous self-criticism is an unassuming setting of the Ave Maria for eight-part female chorus. Completed in 1900, shortly after he abruptly left the Royal College of Music, the composition is dedicated to the memory of his mother, Clara Lediard Holst, who died when he was a child.Scored here for Clarinet Octet, “ Ave Maria “ is a lovely setting for a haunting rendition of a familiar theme. It adapts very well to this ensemble of instruments.Duration - 4:50.
$10.00
9.18 €
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Ensemble de Clarinettes
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Gustav Holst
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James Gaynor
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Ave Maria for Clarinet Octet
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James Haynor
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SheetMusicPlus
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