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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
XYLOPHONE
Concerto for Oboe
Non classifié
378
Piano & claviers
Piano seul
51
Orgue
5
2 Pianos, 4 mains
4
Piano Facile
2
Piano Trio: piano, violon, violoncelle
1
Guitares
2 Guitares (duo)
2
Guitare
1
Voix
Chorale SATB
1
Vents
Hautbois, Piano (duo)
115
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
80
Flûte, Hautbois, Clarinette, Basson
47
Hautbois
32
Hautbois (partie séparée)
32
2 Hautbois (duo)
15
Clarinette
14
Flûte traversière
9
Quatuor de Saxophones: 4 saxophones
9
5 Flûtes à bec
7
Flûte à Bec
6
Flûte traversière et Piano
6
Flûte, Hautbois, Clarinette (trio)
6
Cor Anglais
6
Ensemble De Flûte à bec
5
2 Flûtes traversières (duo)
5
Quatuor de Flûtes à bec
5
2 Cors Anglais Et Pianoforte
5
Clarinette et Piano
5
Saxophone Alto
4
Quatuor de Clarinettes: 4 clarinettes
4
Saxophone
3
Saxophone Soprano et Piano
3
Saxophone Tenor
3
Saxophone Soprano
3
Saxophone Alto et Piano
3
Ensemble de Hautbois
2
3 Clarinettes (trio)
2
Quatuor de Flûtes : 4 flûtes
2
2 Saxophones (duo)
2
Hautbois et Orchestre
2
Flûte, Hautbois, Basson
2
Clarinette (partie séparée)
2
Hautbois, Violon, Piano
2
Saxophone Tenor et Piano
2
Quintette de Saxophone: 5 saxophones
2
Flûte, Violon
1
Quintette de Flûte : 5 flûtes
1
Flûte traversière, Orchestre
1
Ensemble de saxophones
1
Hautbois, Clarinette (duo)
1
Hautbois, Harpe
1
2 Flûtes traversières, Piano
1
4 Hautbois
1
Cor anglais, Piano
1
Saxophone Baryton, Piano
1
Clarinette, Violon (duo)
1
Quintette de Clarinettes: 5 clarinettes
1
Clarinette, Violoncelle, Piano (trio)
1
Trio de Flûtes: 3 flûtes
1
Hautbois, Guitare (duo)
1
Flûte à bec Soprano
1
2 Clarinettes (duo)
1
Hautbois, Clarinette, Basson (trio d'anches)
1
3 Hautbois
1
Saxophone (partie séparée)
1
Hautbois, Violin, Alto et Violoncelle (Quatuor)
1
3 Saxophones (trio)
1
Hautbois, Basson (duo)
1
+ 54 instrumentations
Retracter
Cuivres
Cor
14
Trompette
13
Trompette (partie séparée)
10
Trombone
9
Cor Anglais
6
2 Cors Anglais Et Pianoforte
5
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
4
Trombone et Piano
3
Cor (partie séparée)
2
Cor et Piano
2
Cor anglais, Piano
1
Trompette, Piano
1
Euphonium
1
Quatuor de Cuivres : 2 trompettes, trombone, tuba
1
Tuba
1
Euphonium, Piano (duo)
1
+ 11 instrumentations
Retracter
Cordes
Violon
20
Quatuor à cordes: 2 violons, alto, violoncelle
12
Trio à Cordes: violon, alto, violoncelle
11
Violon et Piano
10
Violoncelle, Piano
7
Violoncelle
5
Contre Basse
3
Alto, Piano
2
Harpe, Violon, Violoncelle
2
Contrebasse, Piano (duo)
1
Alto seul
1
Violoncelle , Guitare (duo)
1
Harpe
1
2 Violons (duo)
1
Violoncelle, Orgue
1
+ 10 instrumentations
Retracter
Orchestre & Percussions
Orchestre de chambre
96
Orchestre
49
Orchestre d'harmonie
42
Orchestre à Cordes
35
Piano et Orchestre
4
Ensemble de cuivres
4
Batterie
1
+ 2 instrumentations
Retracter
Autres
Instruments
ACCORDEON
ALTO
AUTRES INST…
BALALAIKA
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
BUGLE
CHANT - CHO…
CHARANGO
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
CONTREBASSE
COR
COR ANGLAIS
CORNEMUSE
CORNET
DOBRO - GUI…
DULCIMER
EUPHONIUM
FANFARE - B…
FLUTE
FLUTE A BEC
FLUTE A DIX…
FLUTE DE PA…
FORMATION M…
GUITARE
GUITARE PED…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH, THEOR…
MANDOLINE
MARIMBA
ORCHESTRE
ORGUE
OUD
PARTITIONS …
PAS DE PART…
PERCU. ORCH…
PERCUSSION
PIANO
SAXOPHONE
SYNTHE
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIELLE A RO…
VIOLE DE GA…
VIOLON
VIOLONCELLE
XYLOPHONE
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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
XYLOPHONE
style (tous)
AFRICAIN
AMERICANA
ASIE
BLUEGRASS
BLUES
CELTIQUE - IRISH - S…
CHANSON FRANÇAISE
CHRISTIAN (contempor…
CLASSIQUE - BAROQUE …
COMEDIES MUSICALES -…
CONTEMPORAIN - 20-21…
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COUNTRY
EGLISE - SACRE
ENFANTS : EVEIL - IN…
FILM - TV
FILM WALT DISNEY
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FLAMENCO
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FUNK
GOSPEL - SPIRITUEL -…
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JAZZ MANOUCHE - SWIN…
JEUX VIDEOS
KLEZMER - JUIVE
LATIN - BOSSA - WORL…
LATIN POP ROCK
MARIAGE - AMOUR - BA…
MEDIEVAL - RENAISSAN…
METAL - HARD
METHODE : ACCORDS ET…
METHODE : ETUDES
METHODE : TECHNIQUES
NOËL
OLD TIME - EARLY ROC…
OPERA
PATRIOTIQUE
POLKA
POP ROCK - POP MUSIC
POP ROCK - ROCK CLAS…
POP ROCK - ROCK MODE…
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Concerto for Oboe
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Concerto for Orchestra, opus 111 (2005, rev. 2010)
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Orchestre
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INTERMÉDIAIRE/AVANCÉ
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Thomas Oboe Lee
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Concerto for Orchestra, opus 1
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Thomas Oboe Lee
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SheetMusicPlus
Full Orchestra - Level 4 - SKU: A0.869351 Composed by Thomas Oboe Lee. 20th Century,Baroque,Classical,Contemporary,Romantic Period. Score and parts. 81 ...
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Full Orchestra - Level 4 - SKU: A0.869351 Composed by Thomas Oboe Lee. 20th Century,Baroque,Classical,Contemporary,Romantic Period. Score and parts. 81 pages. Thomas Oboe Lee #15869. Published by Thomas Oboe Lee (A0.869351). Instrumentation: 3232-4331-timp-2perc-strings. When I received the invitation from Jonathan Cohler to write a Concerto for Orchestra for the Brockton Symphony, I immediately thought of all the composers who wrote works inspired by Bartok’s seminal work of the same title: Roger Sessions, Elliott Carter, Michael Tippett, Witold Lutoslawski, Joan Tower and, most recently, Jennifer Higdon. My Concerto for Orchestra, opus 111, is in five movements. It will be heard without pause between movements. I. Largo … Misterioso! II. Allegro con moto … Evidence!!! III. Adagio … Epistrophy! IV. Andante … In Walked Bud! V. Presto … Rhythm-a-ning!!! My initial idea for the Concerto was contrast - contrast between the timbres and colors that the various sections in an orchestra provide. For example, the woodwinds would provide a sharp contrast against the brass; the percussion section against the strings, etc. I also was interested in writing a work where each movement would flow into the next without pause – thus providing another form of contrast, that of tempi and mood change. A third form of contrast would be the different styles and forms of music that I would come up with. And I had a lot of fun conjuring up the many possible scenarios and orchestral tableaux. I actually started with the second movement: the Allegro con moto. I wanted something that had a nice surging quality that the whole orchestra could jump into. When I finished that, I thought perhaps it would be too intense for the opening of the work. I thought, maybe I should begin with something slower, more brooding in nature before the explosive stuff. I noticed that Carter’s Concerto began with a slow Introduction. It had a title: Misterioso. Being an avid fan of Thelonious Monk, aka Thelonious Sphere Monk, Misterioso brought to mind a Monk composition of the same title. That epiphany gave me the idea of naming each of the five movements after a Monk tune. Monk’s Misterioso is a blues with an insistent theme of 8th note patterns of rising 6ths; which has nothing to do with my first movement. My Misterioso features a solo for the bass clarinet in the midst of a shimmering atmosphere that is punctuated by accents in the bass. They are both mysterious, but divergently opposed in mood and substance. Monk’s Evidence is a tune with jabs and punches, irregularly placed within the measure – not unlike what I did in the second movement. This movement is perhaps the most Monk-ish of all. Monk’s Epistrophy is a tune constructed with a four-note pattern that is angular and twisted. I wrote a solemn brass choir movement that is an epistle in nature, a sermon of sorts. The title of Monk’s In Walked Bud refers, of course, to the amazing pianist Bud Powell. I took the word walk and translated it into an andante. What resulted was a silly, but jolly movement featuring the woodwinds. I wanted to end the work with a fast and furious finale. Inspired by the word rhythm in Monk’s Rhythm-a-ning, I began the last movement with a solo for the percussion section – timpani, tom-toms, bass drum!!! The orchestra eventually joins in the mayhem, breaking into a scherzo-like frenzy. It ends with a big bang!!! Enjoy!!!Audio link: https://thomasoboelee.bandcamp.com/album/concerto-for-orchestra-opus-111-2005
$9.99
Thierry Pélicant: Concerto for contrabass and orchestra, score only
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Orchestre
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AVANCÉ
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Thierry Pélicant
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Thierry Pélicant: Conce
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Musik Fabrik Music Publishing
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.534554 Composed by Thierry Pélicant. 20th Century,Contemporary,Standards. Score and parts. 136 pages. Musik Fabrik...
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Full Orchestra - Level 5 - SKU: A0.534554 Composed by Thierry Pélicant. 20th Century,Contemporary,Standards. Score and parts. 136 pages. Musik Fabrik Music Publishing #4283537. Published by Musik Fabrik Music Publishing (A0.534554). In 2004, the Orchestre Philharmonique de l’Oise commissioned its musical director, t Thierry Pélicant, this concerto for the late Claude Caens, the principal contrabass of this orchestra. This great artist, who was friends with everyone in this ensemble, wanted everyone to have a part in the festivities, not only the strings, but also the winds, the horns, the trumpets and the percussion, and also that they all should be heard ! Thierry Pélicant wrote therefore a concerto which is at once very symphonic – and for this reason, it is strongly advised that the contrabass be amplified – but also a piece which would express the friendship between the orchestra and the soloist. This concerto strives to be both warm and lyrical : it is not a virtuoso showpiece, inspite of the real technical that it offers to the soloist and which he would do well to try to hid them from the audience. It is also not a battle between the orchestra and this gentle giant : they stroll together, sometimes joyously, sometimes with nostalgia and go through the strong storms which do not fail to present themselves, smiling together and finding them to be envigorating.The work is scored for (2(Pic)2(EH)22/2200/Timp/2perc/strings) and lasts aproximately 23 minutes. The orchestral parts are on rental from the pubilsher. The piano reduction with the solo part is available for sale on this site.Thierry Pélicant was born in 1957 at Sainte-Adresse, France. After studying the organ and the horn, his meeting with Jean-Claude Hartemann, the Musical Director of the Opéra Comique in Paris lead him to decide to explore conducting. He was the student of Haremann for fifteen years. He is the Musical Director of the André Messager Orchestre and has also directed the Orchestre Philharmonique de l’Oise since 1980, one of the oldest French orchestras, since it was founded in 1750. A passionate ssupporter of French music, Pélicant reconstructed the Messe solennelle of L.V.A Boïeldieu and Te Deum of 1792 by Philidor and premièred and recorded the Suite Parnassienne, Massenet’s last work. At the same time, he has also served the music of our time in premièring or recording the works of Dazzi, Marchand, Braconnier, Bénard, Drouin, Preschez, etc. As a composer, musical grammar and stylistic debates only interest him from afar. As a true gourmet (since cooking is another of his passions), he strives to write the music that pleases him, that would be enjoyable to play and which would be enjoyable to hear, hopefully with real pleasure and in which he tries to express the emotions and the pleasant or surprising states of being which, to hime, these works are tied. Through this process, he has created concertos (for oboe, for bassoon, for organ, for contrabass), Escales & paysages, ma monumental literary concerto for narrator, piano and orchestra, written for his friend Dominique Preschez, Operas (Histoires comme ça, Ribouldingue, Élise et le fantôme) ; With the poet Luis Porquet, he wrote the song cycle Ombre légère (for soprano, harp and orchestre), Rhapsodie du Havre (for tenor and chamber orchestra, a commission from the Forum de Normandie to commemorate the 500 years of the founding of the city Le Havre), Et de toi, Bethleem, Christmas oratorio for baritone, chorus and orchestra and, finally, commissioned by the Orchestre de l’Oise in honor of the centennial of the First World War 14, fresque de la Grande Guerre, for the tenor Daniel Gà lvez-Vallejo, children’s chorus and orchestra. In the area of chamber music, he has written a sonata for horn and piano, for the Festival de Giverny, Borée (quintet for oboe and strings), Sextuor d’été, and Milonga (septet inspired by the World of Tango Music). Published in 2005, his novel Carnets de Walter Crane, explores the sufferings of a composer who has the obligation to write a string quartet ...
$38.95
Thierry Pélicant: Concerto for contrabass and orchestra, piano reduction and solo part
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Orchestre
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AVANCÉ
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Thierry Pélicant
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Thierry Pélicant: Conce
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Musik Fabrik Music Publishing
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.534555 Composed by Thierry Pélicant. 20th Century,Contemporary,Standards. Score and parts. 46 pages. Musik Fabrik ...
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Full Orchestra - Level 5 - SKU: A0.534555 Composed by Thierry Pélicant. 20th Century,Contemporary,Standards. Score and parts. 46 pages. Musik Fabrik Music Publishing #4283543. Published by Musik Fabrik Music Publishing (A0.534555). In 2004, the Orchestre Philharmonique de l’Oise commissioned its musical director, t Thierry Pélicant, this concerto for the late Claude Caens, the principal contrabass of this orchestra. This great artist, who was friends with everyone in this ensemble, wanted everyone to have a part in the festivities, not only the strings, but also the winds, the horns, the trumpets and the percussion, and also that they all should be heard ! Thierry Pélicant wrote therefore a concerto which is at once very symphonic – and for this reason, it is strongly advised that the contrabass be amplified – but also a piece which would express the friendship between the orchestra and the soloist. This concerto strives to be both warm and lyrical : it is not a virtuoso showpiece, inspite of the real technical that it offers to the soloist and which he would do well to try to hid them from the audience. It is also not a battle between the orchestra and this gentle giant : they stroll together, sometimes joyously, sometimes with nostalgia and go through the strong storms which do not fail to present themselves, smiling together and finding them to be envigorating.The work is scored for (2(Pic)2(EH)22/2200/Timp/2perc/strings) and lasts aproximately 23 minutes. The orchestral parts are on rental from the pubilsher. The full score is available for sale on this site.Thierry Pélicant was born in 1957 at Sainte-Adresse, France. After studying the organ and the horn, his meeting with Jean-Claude Hartemann, the Musical Director of the Opéra Comique in Paris lead him to decide to explore conducting. He was the student of Haremann for fifteen years. He is the Musical Director of the André Messager Orchestre and has also directed the Orchestre Philharmonique de l’Oise since 1980, one of the oldest French orchestras, since it was founded in 1750. A passionate ssupporter of French music, Pélicant reconstructed the Messe solennelle of L.V.A Boïeldieu and Te Deum of 1792 by Philidor and premièred and recorded the Suite Parnassienne, Massenet’s last work. At the same time, he has also served the music of our time in premièring or recording the works of Dazzi, Marchand, Braconnier, Bénard, Drouin, Preschez, etc. As a composer, musical grammar and stylistic debates only interest him from afar. As a true gourmet (since cooking is another of his passions), he strives to write the music that pleases him, that would be enjoyable to play and which would be enjoyable to hear, hopefully with real pleasure and in which he tries to express the emotions and the pleasant or surprising states of being which, to hime, these works are tied. Through this process, he has created concertos (for oboe, for bassoon, for organ, for contrabass), Escales & paysages, ma monumental literary concerto for narrator, piano and orchestra, written for his friend Dominique Preschez, Operas (Histoires comme ça, Ribouldingue, Élise et le fantôme) ; With the poet Luis Porquet, he wrote the song cycle Ombre légère (for soprano, harp and orchestre), Rhapsodie du Havre (for tenor and chamber orchestra, a commission from the Forum de Normandie to commemorate the 500 years of the founding of the city Le Havre), Et de toi, Bethleem, Christmas oratorio for baritone, chorus and orchestra and, finally, commissioned by the Orchestre de l’Oise in honor of the centennial of the First World War 14, fresque de la Grande Guerre, for the tenor Daniel Gà lvez-Vallejo, children’s chorus and orchestra. In the area of chamber music, he has written a sonata for horn and piano, for the Festival de Giverny, Borée (quintet for oboe and strings), Sextuor d’été, and Milonga (septet inspired by the World of Tango Music). Published in 2005, his novel Carnets de Walter Crane, explores the sufferings of a composer who has the obligation to write a string quartet ...
$29.95
Carson Cooman: Pittsburgh Concerto (2005) for orchestra, study score
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Orchestre
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AVANCÉ
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Contemporain
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Carson Cooman
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Carson Cooman: Pittsburgh Conc
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Musik Fabrik Music Publishing
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.533667 Composed by Carson Cooman. Contemporary. Score and parts. 54 pages. Musik Fabrik Music Publishing #3037087. Pu...
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Full Orchestra - Level 5 - SKU: A0.533667 Composed by Carson Cooman. Contemporary. Score and parts. 54 pages. Musik Fabrik Music Publishing #3037087. Published by Musik Fabrik Music Publishing (A0.533667). Pittsburgh Concerto (2005) was written for the Carnegie Mellon Philharmonic and isdedicated to Amy Stabenow, concert manager at Carnegie Mellon’s School of Music. Thepiece was conceived as a tribute to the city of Pittsburgh, Pennsylvania, USA.The work contains only two specific “programmatically inspired†images related toPittsburgh. They form the outer two sections of the work. The inner four sections areinspired more abstractly by various aspects of the city, its landscapes, and its people; theyfeature a series of solos and duets for many members of the orchestra – in the manner of a“concerto for orchestra.â€The opening of the work is inspired by Pittsburgh’s history as America’s steel capital.Colors and sounds of the clangorous industrial age of America’s past are evoked. The basicmusical material (a six-note cell) for the entire work is presented in this aggressiveintroduction. Throughout the rest of the work, this basic material is developed in ways thatrange from lushly romantic to aggressively athletic.The following section is marked “slow, lush†and features a duet first between trumpet andtuba, over warm harmonies in the orchestra. A brief duet for vibraphone and marimba leadsto an extended viola solo.The next section is fast and energetic. It begins with an athletic duet for English horn andbass trombone, followed by a ringing duet of tubular bells and crotales. The final solo is forviolin, as the orchestral texture disintegrates around it.The next section, marked “slow, mysticalâ€, begins with a duet between piano and bassclarinet. A passionate horn duo follows before a passage for solo bass leads directly into thenext section.This section is fragmentary and halting. An unpitched duo of bass drum and flexatonebegins, leading to an aggressive and abortive duet between solo flute and bassoon. Finally,an extended cello solo closes the section.The final part of the work is inspired by my first visit to Pittsburgh. When driving in fromPittsburgh airport (which is far outside the city), the city itself is “hidden†from the road byhills. Upon reaching the hills, one enters the Fort Pitt tunnel and, after a few moments,emerges from it on a suspension bridge over the Monongahela River. Late at night, this wasa truly breathtaking moment as the city and its rivers emerged suddenly in a mass of glitteringlights. The ecstatic rush of the lighted city at night is portrayed in this section – amidstfragments from the opening, recalling the industrial past, now transformed into somethingnew.Instrumentation3 Flutes (3rd dbl. Picc.)2 OboesEnglish Horn3 Clarinets in BbBass Clarinet in Bb2 BassoonsContrabassoon4 Horns in F/Bb3 Trumpets in Bb2 TrombonesBass TromboneTubaTimpaniPercussion (3 players)I: tubular bells, bass drumII: vibraphone (motor off)III: crotales, marimba, flexatone(Percussion II needs two rosined bows.Percussion III needs one rosined bow.)PianoViolin IViolin IIViolaCelloContrabass(principal/solo contrabass must have machine extension to low Db)This is the score only. The parts are available on rental from the publisher
$25.95
Flauta Carioca (2000) for flute and orchestra
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Orchestre
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INTERMÉDIAIRE/AVANCÉ
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Thomas Oboe Lee
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2222-2221-timp-2perc-strings
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Flauta Carioca
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Thomas Oboe Lee
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SheetMusicPlus
Full Orchestra - Level 4 - SKU: A0.869354 Composed by Thomas Oboe Lee. 20th Century,Classical,Contemporary,Latin,Romantic Period. Score and parts. 88 pa...
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Full Orchestra - Level 4 - SKU: A0.869354 Composed by Thomas Oboe Lee. 20th Century,Classical,Contemporary,Latin,Romantic Period. Score and parts. 88 pages. Thomas Oboe Lee #15873. Published by Thomas Oboe Lee (A0.869354). Instrumentation: solo flute & 2222-2221-timp-2perc-strings. Program note: I lived in São Paulo, Brazil, during my teenage years, from 1959 to 1966. Consequently, the samba and the bossa nova are forever engraved into my heart. So, when Larry Tamburri, Executive Director of the New Jersey Symphony Orchestra, proposed that I write a flute concerto for Bart Feller, principal flutist of the NJSO, he (Larry) thought it would be most appropriate if I wrote something inspired by my musical experiences in Brazil. The result is Flauta Carioca, literally meaning, flute in the manner of the people of Rio de Janeiro. The work is in three movements. The first is a chôro, an instrumental ensemble music that features a soloist that is often virtuosic when it is fast, and lyrical when it is slow. The second movement is a bossa nova. It features Bart on the alto flute and the music is very luscious and sexy. The listener can fantasize about Rio and the beach at Ipanema. The last movement begins with a slow introduction, a pastorale. Without a break, a forró enters in the strings, followed immediately by the percussion. Forró is party music, and this last movement is all about dancing. As a matter of fact, Bart wants to party all night ... The evening finally ends when someone turns the light out!!!Audio link: https://thomasoboelee.bandcamp.com/album/flauta-carioca-2000.
$9.99
Concerto for Oboe, Full Score and Individual Parts
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Orchestre
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AVANCÉ
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James Nathaniel Holland
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Concerto for Oboe, Full Score
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James Nathaniel Holland
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.730456 Composed by James Nathaniel Holland. Children,Contemporary,Halloween. 311 pages. James Nathaniel Holland #3550...
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Full Orchestra - Level 5 - SKU: A0.730456 Composed by James Nathaniel Holland. Children,Contemporary,Halloween. 311 pages. James Nathaniel Holland #3550791. Published by James Nathaniel Holland (A0.730456). Contemporary Concerto for Oboe and Orchestraby 21st Century Classical Music Composer James Nathaniel Holland
$59.95
Bach : Concerto pour violon et hautbois en ré mineur, BWV 1060R - II. Adagio
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Orchestre
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INTERMÉDIAIRE
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Classique
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Bach
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Concerto pour violon et hautbo
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Tomplay
Telechargez la partition Bands et Ensembles Concerto pour violon et hautbois en re mineur, BWV 1060R - II. Adagio de Bach. Partition pour Trio -- Classique...
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Telechargez la partition Bands et Ensembles Concerto pour violon et hautbois en re mineur, BWV 1060R - II. Adagio de Bach. Partition pour Trio -- Classique
6.99€
Clarinet Concerto ... Sounds of the Islands (2003) for clarinet solo and orchestra
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Orchestre
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INTERMÉDIAIRE/AVANCÉ
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Thomas Oboe Lee
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Clarinet Concerto ... Sounds o
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Thomas Oboe Lee
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SheetMusicPlus
Full Orchestra - Level 4 - SKU: A0.869365 Composed by Thomas Oboe Lee. 20th Century,Classical,Contemporary,Latin,Romantic Period. Score and parts. 102 p...
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Full Orchestra - Level 4 - SKU: A0.869365 Composed by Thomas Oboe Lee. 20th Century,Classical,Contemporary,Latin,Romantic Period. Score and parts. 102 pages. Thomas Oboe Lee #29655. Published by Thomas Oboe Lee (A0.869365). Instrumentation: 2222-4321-2perc-pf-strings. When Andrea Bates, executive director of the Brockton Symphony Orchestra, first told me that the Brockton Symphony had commissioned me to write a new work to be premiered in 2003-2004, I immediately thought that since its music director, Jonathan Cohler, is a marvelous clarinetist I would be most attracted to the idea of writing a clarinet concerto for the occasion. Both Andrea and Jonathan were very receptive and enthusiastic about my idea. Andrea also told me that the commissioned work should somehow bring to attention the diverse cultures of the recent immigrants that have settled in the city of Brockton. So in the spring of 2003 I came down to Brockton for a meeting to which Andrea had invited representative members of these new communities. Three showed up: Maria Evora-Rosa, Rick Marrero and Fred Fontaine. Andrea had asked them to bring recordings of the music from their countries for me to listen to. There were CDs of very exciting and fun music from Cape Verde, Puerto Rico, Cuba, the Dominican Republic and Haiti. After spending months listening to the music from these countries, all of them islands in the Atlantic or the Caribbean, I slowly began to get a sense of the beauty and the magic of the musical style and language of each place, each individual island. The end result is a three-movement work for clarinet and orchestra. Unlike the traditional Concerto form which is Fast-Slow-Fast, this work begins with something slow. A fast number follows as a second movement; and then, after a short, slow interlude, another fast number appears. The first movement is my adaptation of the morna of Cape Verde – slow, melancholy and sad. The diva of the morna is Cesaria Evora. Her singing brings to mind a fusion between the African blues and the Portuguese fado. The second movement is my take on the merengue as performed by the inimitable Xavier Cugat. It is dance music through and through!!! The third movement is also a dance number: the ever-popular music from Haiti, the reggae. And in order to give some contrast between the two dance numbers, I added a slow chorale for clarinet and strings that serves as a prelude before the dancing begins in the final movement. I envision the chorale as a little church music before the people go out and dance the night away. Throughout the entire work, the solo clarinet is the principal voice … singing, dancing, and cavorting!!! Gotta dance!!! Have fun and enjoy the music!!! I surely did as I was working on it ….
$9.99
Focus on Grace ... A concerto for jazz saxophone and orchestra (2010)
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Orchestre
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INTERMÉDIAIRE/AVANCÉ
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Thomas Oboe Lee
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Focus on Grace ... A concerto
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Thomas Oboe Lee
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SheetMusicPlus
Full Orchestra - Level 4 - SKU: A0.869355 Composed by Thomas Oboe Lee. 20th Century,Classical,Contemporary,Jazz,Romantic Period. Score and parts. 73 pag...
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Full Orchestra - Level 4 - SKU: A0.869355 Composed by Thomas Oboe Lee. 20th Century,Classical,Contemporary,Jazz,Romantic Period. Score and parts. 73 pages. Thomas Oboe Lee #15875. Published by Thomas Oboe Lee (A0.869355). Instrumentation: solo alto saxophone & 2222-4231-perc-drumset-strings. Program note. Maestro Max Hobart called me in the spring of 2009 and told me to check out this young jazz phenom on the saxophone named Grace Kelly. I said OK, that’s cool. That summer we went to the Regatta Bar in Harvard Square to hear her play with her band, and I was duly impressed by her musicality, soulfulness and chops. Max asked if I would be interested in writing a concerto for her and the Wellesley Symphony. I said, Sure. It sounds like a great idea. One of the most cherished jazz records in my vast collection is the collaboration between Stan Getz and Eddie Sauter entitled Focus. Eddie, who used to be an arranger for the Benny Goodman Band in the forties, went on to create the Sauter Finegan Band in the early fifties. The band was one of the first to include the piccolo, oboe, bassoon, harp, celesta, French horn, tuba, xylophone, glockenspiel, chimes, timpani, and other unusual symphonic instruments in the standard big band format of trumpets, trombones, saxophones and rhythm section of piano, bass and drum set. On the album Focus Eddie Sauter composed seven tracks of music for string orchestra and rhythm section. Stan Getz did not have a written part - he just improvised over the written music. If you are not familiar with this recording, then you will do yourself a huge favor if you go find it and add it to your own CD collection. The music is phenomenal and Stan is on top of his game, soaring above the strings with endless melodic inventions, flights of imagination and whimsy! It is one of those desert island CDs one should not be without. When I emailed Grace about this project and mentioned Stan Getz’s Focus, she said, It’s one of my favorite albums. So, we got off on a positive note immediately. My work, Focus on Grace … Concerto for Jazz Saxophone and Orchestra, is very much inspired both by the Stan Getz album and by the performances I heard of Grace and her band. The first movement is based on a funk groove in D minor: Grace’s part is initially written-out but she improvises freely in the coda. The second movement is a boss nova: as in the Stan Getz album, Grace does not have a written part but improvises over a set of chord changes provided by the orchestra. The third and last movement is an Afro-Cuban groove in six-eight: Grace has a written melody at first but soon launches into improvisation on a 12-bar blues in F. She ends the concerto in a free cadenza to show off her virtuosity and saxophone chops. ENJOY!!!
$9.99
Bach : Concerto pour violon et hautbois en ré mineur, BWV 1060R - II. Adagio (transcrit pour flûte)
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Orchestre
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FACILE
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Classique
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Bach
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Concerto pour violon et hautbo
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Tomplay
Telechargez la partition Bands et Ensembles Concerto pour violon et hautbois en re mineur, BWV 1060R - II. Adagio (transcrit pour flûte) de Bach. Partitio...
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Telechargez la partition Bands et Ensembles Concerto pour violon et hautbois en re mineur, BWV 1060R - II. Adagio (transcrit pour flûte) de Bach. Partition pour Trio -- Classique
6.99€
Bach : Concerto pour violon et hautbois en ré mineur, BWV 1060R - II. Adagio (transcrit pour clarinette)
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Orchestre
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FACILE
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Classique
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Bach
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Concerto pour violon et hautbo
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Tomplay
Telechargez la partition Bands et Ensembles Concerto pour violon et hautbois en re mineur, BWV 1060R - II. Adagio (transcrit pour clarinette) de Bach. Partition...
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Telechargez la partition Bands et Ensembles Concerto pour violon et hautbois en re mineur, BWV 1060R - II. Adagio (transcrit pour clarinette) de Bach. Partition pour Trio -- Classique
6.99€
Bach : Concerto pour violon et hautbois en ré mineur, BWV 1060R - II. Adagio (transcrit pour saxophone ténor)
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Orchestre
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FACILE
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Classique
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Bach
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Concerto pour violon et hautbo
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Tomplay
Telechargez la partition Bands et Ensembles Concerto pour violon et hautbois en re mineur, BWV 1060R - II. Adagio (transcrit pour saxophone tenor) de Bach. Part...
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Telechargez la partition Bands et Ensembles Concerto pour violon et hautbois en re mineur, BWV 1060R - II. Adagio (transcrit pour saxophone tenor) de Bach. Partition pour Trio -- Classique
6.99€
Bach : Concerto pour violon et hautbois en ré mineur, BWV 1060R - II. Adagio (transcrit pour trompette)
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Orchestre
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INTERMÉDIAIRE
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Classique
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Bach
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Concerto pour violon et hautbo
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Tomplay
Telechargez la partition Bands et Ensembles Concerto pour violon et hautbois en re mineur, BWV 1060R - II. Adagio (transcrit pour trompette) de Bach. Partition ...
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Telechargez la partition Bands et Ensembles Concerto pour violon et hautbois en re mineur, BWV 1060R - II. Adagio (transcrit pour trompette) de Bach. Partition pour Trio -- Classique
6.99€
Bach : Concerto pour violon et hautbois en ré mineur, BWV 1060R - II. Adagio (transcrit pour saxophone soprano)
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Orchestre
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INTERMÉDIAIRE
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Classique
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Bach
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Concerto pour violon et hautbo
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Tomplay
Telechargez la partition Bands et Ensembles Concerto pour violon et hautbois en re mineur, BWV 1060R - II. Adagio (transcrit pour saxophone soprano) de Bach. Pa...
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Telechargez la partition Bands et Ensembles Concerto pour violon et hautbois en re mineur, BWV 1060R - II. Adagio (transcrit pour saxophone soprano) de Bach. Partition pour Trio -- Classique
6.99€
Bach : Concerto pour violon et hautbois en ré mineur, BWV 1060R - II. Adagio (transcrit pour flûte à bec alto)
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Orchestre
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FACILE
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Classique
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Bach
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Concerto pour violon et hautbo
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Tomplay
Telechargez la partition Bands et Ensembles Concerto pour violon et hautbois en re mineur, BWV 1060R - II. Adagio (transcrit pour flûte à bec alto)...
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Telechargez la partition Bands et Ensembles Concerto pour violon et hautbois en re mineur, BWV 1060R - II. Adagio (transcrit pour flûte à bec alto) de Bach. Partition pour Trio -- Classique
6.99€
Bach : Concerto pour violon et hautbois en ré mineur, BWV 1060R - II. Adagio (transcrit pour flûte à bec soprano)
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Orchestre
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FACILE
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Classique
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Bach
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Concerto pour violon et hautbo
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Tomplay
Telechargez la partition Bands et Ensembles Concerto pour violon et hautbois en re mineur, BWV 1060R - II. Adagio (transcrit pour flûte à bec sopra...
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Telechargez la partition Bands et Ensembles Concerto pour violon et hautbois en re mineur, BWV 1060R - II. Adagio (transcrit pour flûte à bec soprano) de Bach. Partition pour Trio -- Classique
6.99€
Bach : Concerto pour violon et hautbois en ré mineur, BWV 1060R - II. Adagio (transcrit pour euphonium)
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Orchestre
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INTERMÉDIAIRE
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Classique
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Bach
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Concerto pour violon et hautbo
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Tomplay
Telechargez la partition Bands et Ensembles Concerto pour violon et hautbois en re mineur, BWV 1060R - II. Adagio (transcrit pour euphonium) de Bach. Partition ...
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Telechargez la partition Bands et Ensembles Concerto pour violon et hautbois en re mineur, BWV 1060R - II. Adagio (transcrit pour euphonium) de Bach. Partition pour Trio -- Classique
5.99€
Bach : Concerto pour violon et hautbois en ré mineur, BWV 1060R - II. Adagio (transcrit pour basson)
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Orchestre
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INTERMÉDIAIRE
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Classique
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Bach
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Concerto pour violon et hautbo
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Tomplay
Telechargez la partition Bands et Ensembles Concerto pour violon et hautbois en re mineur, BWV 1060R - II. Adagio (transcrit pour basson) de Bach. Partition pou...
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Telechargez la partition Bands et Ensembles Concerto pour violon et hautbois en re mineur, BWV 1060R - II. Adagio (transcrit pour basson) de Bach. Partition pour Trio -- Classique
6.99€
Bach : Concerto pour violon et hautbois en ré mineur, BWV 1060R - II. Adagio (transcrit pour cor)
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Orchestre
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INTERMÉDIAIRE
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Classique
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Bach
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Concerto pour violon et hautbo
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Tomplay
Telechargez la partition Bands et Ensembles Concerto pour violon et hautbois en re mineur, BWV 1060R - II. Adagio (transcrit pour cor) de Bach. Partition pour T...
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Telechargez la partition Bands et Ensembles Concerto pour violon et hautbois en re mineur, BWV 1060R - II. Adagio (transcrit pour cor) de Bach. Partition pour Trio -- Classique
6.99€
Bach : Concerto pour violon et hautbois en ré mineur, BWV 1060R - II. Adagio (fa majeur)
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Orchestre
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INTERMÉDIAIRE
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Classique
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Bach
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Concerto pour violon et hautbo
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Tomplay
Telechargez la partition Bands et Ensembles Concerto pour violon et hautbois en re mineur, BWV 1060R - II. Adagio (fa majeur). Partition pour Trio -- Classique...
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Telechargez la partition Bands et Ensembles Concerto pour violon et hautbois en re mineur, BWV 1060R - II. Adagio (fa majeur). Partition pour Trio -- Classique
19.99€
Bach : Concerto pour violon et hautbois en ré mineur, BWV 1060R - II. Adagio (bémol majeur)
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Orchestre
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INTERMÉDIAIRE
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Classique
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Bach
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Concerto pour violon et hautbo
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Tomplay
Telechargez la partition Bands et Ensembles Concerto pour violon et hautbois en re mineur, BWV 1060R - II. Adagio (bemol majeur). Partition pour Trio -- Classiq...
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Telechargez la partition Bands et Ensembles Concerto pour violon et hautbois en re mineur, BWV 1060R - II. Adagio (bemol majeur). Partition pour Trio -- Classique
12.99€
Concerto for Double Bass & Orchestra
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Orchestre
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AVANCÉ
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Contemporain
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Malcolm D Robertson
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July 2020 &
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Concerto for Double Bass &
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Mr Malcolm D Robertson
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.927995 Composed by Malcolm D Robertson. Contemporary. 53 pages. Mr Malcolm D Robertson #6037979. Published by Mr Malc...
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Full Orchestra - Level 5 - SKU: A0.927995 Composed by Malcolm D Robertson. Contemporary. 53 pages. Mr Malcolm D Robertson #6037979. Published by Mr Malcolm D Robertson (A0.927995). Composed in June & July 2020 & completed on the 19th July 2020. As a former Double Bass player, I thought it was about time a composed a concerto for my former instrument. The Concerto uses a relatively small orchestra (Flute, Oboe, Cor Anglais, 2 Clarinets, Bassoon, 2 Horns, Timpani, Harp & Strings), the string section should not be too large, 8,8,6,6,3, would be a preferable size. The solo Double Bass doesn't have a large amount of carrying power & so the dynamics for the soloist are marked up, as the MIDI playback isn't great for a solo Bass, the soloist's dynamics have been notched up still further in places for MIDI playback purposes, but can be adjusted down in concert performance. The bass clef has largely been used for the solo purely because the tenor clef option sounds an octave too high on the Musescore program. The Concerto is in 3 movements and about 17 minutes in duration.Parts are available upon request.
$12.99
Concerto n° 1 for cembalo [fortepiano] and orchestra in C major - Score Only
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Orchestre
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INTERMÉDIAIRE
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Opera
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Classique
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Johann Simon Mayr
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Concerto n° 1 for cembalo
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Artistic Score Engraving di Galvagno Michele
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SheetMusicPlus
Full Orchestra - Level 3 - SKU: A0.1317490 Composed by Johann Simon Mayr. Arranged by Fabrizio Capitanio & Michele Galvagno. 19th Century,Instructional,...
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Full Orchestra - Level 3 - SKU: A0.1317490 Composed by Johann Simon Mayr. Arranged by Fabrizio Capitanio & Michele Galvagno. 19th Century,Instructional,Opera,Romantic Period. 110 pages. Artistic Score Engraving di Galvagno Michele #906154. Published by Artistic Score Engraving di Galvagno Michele (A0.1317490). Johann Simon Mayr (1763—1845) is a composer rarely performed today. His music, reflecting the transition from the Classical to the Romantic musical era, inspired Rossini and was crucial in the development of Donizetti’s style. He became a central figure in the musical life of the Italian city of Bergamo where, in 1805, he founded the Conservatory, at the time known as “Lezioni Caritatevoli di Musicaâ€. One of the first pupils of the “Lezioni†was Gaetano Donizetti, whose production and fame soon arose above everyone else’s. The first concerto, in C major, is one of the three surviving keyboard concertos from Mayr’s manuscripts kept in the Biblioteca Musicale Gaetano Donizetti and in the Museo Donizettiano. It is pedagogical in nature, its light orchestration (only 2 oboes and 2 horns joining the strings) allowing it to be performed with minimal forces. In three movements, spanning about 18 minutes in total, it looks back at a late Classical style that was quickly fading out of fashion at the time of its creation (1825-6).This edition comes with the unique contribution of M° Fabrizio Capitanio, in the form of a thorough musicological research delving deep into the historical context, and all of the critical aspects that made this work possible.A reduction for two pianos is available under Catalogue N° ASE 0051, while orchestral parts can be found as a bundle under Catalogue N° ASE 0053.This edition is also the first one in the new series dedicated to the City of Bergamo: La Bergamasque!
$45.00
Bach Harpsichord Concerto no. 2 in E major, BWV 1053
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Orchestre
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AVANCÉ
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Classique
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Johann Sebastian Bach
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Johann Sebastian Bach
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Bach Harpsichord Concerto no.
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Gabriel Vinicius
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.1101547 By Johann Sebastian Bach. By Johann Sebastian Bach (1685-1750)j. Arranged by Johann Sebastian Bach. Baroque,C...
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Full Orchestra - Level 5 - SKU: A0.1101547 By Johann Sebastian Bach. By Johann Sebastian Bach (1685-1750)j. Arranged by Johann Sebastian Bach. Baroque,Classical,Instructional,Multicultural,World. Score and parts. 15 pages. Gabriel Vinicius #704925. Published by Gabriel Vinicius (A0.1101547). Johann Sebastian Bach wrote his Harpsichord Concerto no. 2 in E, BWV 1053 in 1738, and it was published in 1854 in Leipzig by C.F. Peters. This concerto is thought to be based on a concerto for a wind instrument, probably oboe or oboe d'amore, and from stylistic considerations, it may have dated from Bach's time in Leipzig. It exists, like BWV 1052, in a later transcription in his cantatas Gott soll allein mein Herze haben, BWV 169, and Ich geh und Suche mit Verlangen, BWV 49, from which further inferences can be made about the original concerto. Bach changed his method of arrangement with this work, significantly altering the ripieno parts from the original concerto for the first time, limiting much more to the tutti sections. The lower string parts were much reduced in scope, allowing the harpsichord bass to be more prominent, and the upper strings were likewise modified to allow the harpsichord to be at the forefront of the texture. A standard rendition of the piece lasts 19 minutes. The work calls for two violins, a viola, and a continuo section, besides the solo harpsichord.
$5.00
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Concerto for Oboe
