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TRI ET FILTRES
TRI ET FILTRES
Tri et filtres :
--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
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
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AFRICAIN
AMERICANA
ASIE
BLUEGRASS
BLUES
CELTIQUE - IRISH - S…
CHANSON FRANÇAISE
CHRISTIAN (contempor…
CLASSIQUE - BAROQUE …
COMEDIES MUSICALES -…
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CONTEMPORAIN - NEW A…
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METHODE : TECHNIQUES
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Non classifié
1483
PIANO & CLAVIERS
Piano, Voix
4382
Piano seul
1070
Piano, Voix et Guitare
268
Piano Facile
172
Orgue
55
Instruments en Do
37
Piano grosses notes
32
1 Piano, 4 mains
24
2 Pianos, 4 mains
12
Piano Trio: piano, violon, violoncelle
9
Accompagnement Piano
8
Piano (partie séparée)
4
Piano Quatuor: piano, violon, alto, violoncelle
3
Accordéon
3
Clavecin
1
Orgue, Trompette (duo)
1
Orgue, Piano (duo)
1
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GUITARES
Guitare notes et tablatures
158
Guitare
62
Ligne De Mélodie, (Paroles) et Accords
36
Paroles et Accords
27
Ukulele
16
Basse electrique
16
Ensemble de guitares
16
Piano, Guitare (duo)
12
Guitare (partie séparée)
8
2 Guitares (duo)
7
Mandoline
6
Banjo
3
Dulcimer
3
3 Guitares (trio)
2
Mandoline, Guitare (duo)
1
4 Guitares (Quatuor)
1
Guitare, Violon, Violoncelle (trio)
1
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VOIX
Chorale SATB
246
Chorale 3 parties
76
Chorale 2 parties
40
Chorale TTBB
39
Chorale SSAA
21
Chorale
10
Chorale Unison
10
Voix seule
10
Voix duo, Piano
9
Voix Soprano, Piano
8
Voix duo
7
Voix moyenne, Piano
5
Voix Baryton, Piano
3
Voix Tenor, Piano
2
Voix haute
2
Chorale SAATB A Cappella
1
Chorale SATBB
1
Soli, choeur mixte et accompagnement
1
Chorale SSAATB
1
Chorale SSATB
1
Voix, Guitare
1
Voix Tenor
1
Voix Moyenne
1
Chorale SSAATTBB
1
Instrumentations suivantes
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VENTS
Clarinette
137
Flûte traversière et Piano
131
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
103
Clarinette et Piano
82
2 Saxophones (duo)
78
Quatuor de Saxophones: 4 saxophones
76
Hautbois, Piano (duo)
70
Saxophone Soprano et Piano
64
Saxophone Alto et Piano
64
2 Flûtes traversières (duo)
63
Saxophone Tenor et Piano
59
Quatuor de Clarinettes: 4 clarinettes
59
Saxophone (partie séparée)
58
2 Clarinettes (duo)
47
Saxophone Baryton, Piano
45
Flûte traversière
45
Flûte, Hautbois, Clarinette, Basson
40
Saxophone Alto
39
Quintette de Saxophone: 5 saxophones
36
Saxophone, Clarinette (duo)
34
3 Saxophones (trio)
33
Cor anglais, Piano
31
Clarinette, Violon (duo)
28
Clarinette Basse, Piano
27
Hautbois (partie séparée)
26
Ensemble de saxophones
25
Flûte, Clarinette (duo)
25
2 Hautbois (duo)
25
Quintette de Flûte : 5 flûtes
23
Hautbois, Clarinette (duo)
18
Ensemble de Flûtes
18
3 Clarinettes (trio)
18
Clarinette, Trompette (duo)
17
Hautbois, Clarinette, Basson (trio d'anches)
14
Quintette de Clarinettes: 5 clarinettes
14
Quatuor de Flûtes : 4 flûtes
13
Clarinette et Alto
13
Hautbois, Basson (duo)
13
Flûte, Violon
13
Saxophone Tenor
12
Flûte, Hautbois, Clarinette (trio)
12
Flûte, Saxophone (duo)
12
Ensemble de Clarinettes
12
Hautbois, Flûte
11
Piccolo, Piano
10
Flûte, Alto (duo)
9
Saxophone Soprano
9
Flûte, Trompette (duo)
9
Quatuor de Flûtes à bec
8
Saxophone Baryton
8
Hautbois
8
Trio de Flûtes: 3 flûtes
7
Flûte et Guitare
6
2 Flûte à bec (duo)
5
5 Flûtes à bec
5
Flûte à bec Soprano
5
Flûte, Clarinette et Basson
5
Flûte, Violoncelle
4
Clarinette (partie séparée)
4
Clarinette, Violoncelle (duo)
4
Flute (partie séparée)
4
Clarinette, Basson (duo)
3
Harmonica
3
Flûte à Bec
3
Instruments en Mib
3
Flûte irlandaise
3
3 Hautbois
3
Clarinette, Guitare (duo)
3
Saxophone
3
2 Flûtes traversières, Piano
2
Ensemble De Flûte à bec
2
Flûte et Trio à cordes
2
Flûte, Violon et Violoncelle
2
Flûte à bec Tenor
2
2 Cors Anglais Et Pianoforte
2
Flûte à bec Alto, Piano
2
Hautbois, Violoncelle
2
Flûte, Violon, Piano
2
2 Clarinettes, Piano
2
Flûte, Hautbois, Basson
2
Hautbois, Violin, Alto et Violoncelle (Quatuor)
2
Hautbois, Guitare (duo)
1
Hautbois et alto (duo)
1
Ensemble de Hautbois
1
Flûte, Tuba (duo)
1
Flûte à Bec, Piano
1
Flûte à bec Alto
1
Saxophone et Guitare
1
Flûte, Clarinette, Piano (trio)
1
Cor Anglais
1
Flûte, Trombone (duo)
1
Quatuor de Clarinettes: Clarinette, Violon, Alto, Violoncelle
1
Saxophone et Orgue
1
3 Flûtes à bec (trio)
1
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CUIVRES
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
108
Trombone et Piano
63
Trompette
54
Cor et Piano
51
Quatuor de Cuivres : 2 trompettes, trombone, tuba
50
Euphonium, Piano (duo)
50
Trompette, Piano
46
Cor anglais, Piano
31
Trombone
25
Trombone (partie séparée)
24
Trompette, Saxophone (duo)
23
Cor
20
Trompette (partie séparée)
20
Tuba
19
Tuba et Piano
17
Trompette, Trombone (duo)
14
2 Trombones (duo)
13
Quatuor de cuivres: 4 cors
11
Ensemble de Trombones
10
Quatuor de cuivres: 4 trombones
10
2 Trompettes (duo)
9
Ensemble de Cors
9
Cor (partie séparée)
8
Quatuor de Cuivres: 2 trompettes, Cor, trombone
7
Quatuor de Cuivres
6
Ensemble de Trompettes
4
Tuba et Orgue
4
Tuba (partie séparée)
4
Quintette de Cuivres: 2 trompettes, Cor, 2 trombones
3
Trompette, Cor (duo)
3
Cor, Orchestre
3
2 Cors (duo)
3
Trombone basse et Piano
3
2 Tubas (duo)
2
4 Tubas
2
Euphonium, Tuba (duo)
2
2 Cors Anglais Et Pianoforte
2
Trio de Cuivres
2
Trompette, Tuba (duo)
1
3 Trombones (trio)
1
Trombone, Tuba (duo)
1
Trombone, Violon (duo)
1
Trompette, Violoncelle (duo)
1
2 Trompettes, Clavier (piano ou orgue)
1
Bass Clef Instruments
1
Cor Anglais
1
Instruments en Sib
1
Quatuor de cuivres: 4 trompettes
1
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CORDES
Quatuor à cordes: 2 violons, alto, violoncelle
327
Violon et Piano
156
Alto, Piano
94
Violoncelle, Piano
91
Violon
88
Trio à Cordes: violon, alto, violoncelle
84
Harpe
59
Violon, Violoncelle (duo)
51
2 Violons (duo)
30
Violoncelle (partie séparée)
30
Violoncelle
29
2 Violoncelles (duo)
26
Alto seul
24
Violon, Alto (duo)
23
Contrebasse, Piano (duo)
20
Trio à Cordes: 2 violons, violoncelle
18
2 Altos (duo)
17
Contre Basse
14
Quintette à cordes: 2 violons, alto, violoncelle, basse
11
Alto (partie séparée)
11
4 Violoncelles
10
Alto, Violoncelle (duo)
9
2 Harpes (duo)
7
Violon (partie séparée)
7
Contrebasse (partie séparée)
6
Quatuor à cordes: 4 violons
5
Trio à Cordes: 3 violoncelles
5
Violoncelle, Contrebasse (duo)
3
Quatuor à cordes : 4 altos
3
Harpe, Flûte (duo)
3
Trio à cordes: 3 violins
2
Ensemble de Violoncelles
2
Quintette à cordes: 2 violons, 2 altos, violoncelle
2
Ensemble d'Altos
2
Violon, Basson (duo)
2
Trio à cordes
2
Harpe, Violon (duo)
2
Trio à Cordes: 2 violons, alto
2
Harpe, Voix
2
Violoncelle , Guitare (duo)
2
Ensemble de Violons
2
4 Contrebasses
1
Piano Trio: Violon, Alto, Piano
1
Quintette à cordes : 2 violons, alto et 2 violoncelles
1
Violon, Guitare (duo)
1
Alto, Guitare (duo)
1
Trio à cordes: 3 altos
1
Violoncelle, Orchestre
1
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PERCUSSIONS & ORCHESTRES
Orchestre
213
Orchestre d'harmonie
187
Ensemble Jazz
130
Orchestre à Cordes
122
Orchestre de chambre
59
Cloches
47
Ensemble de cuivres
45
Jazz combo
37
Piano et Orchestre
24
Batterie
16
Ensemble de Percussions
6
Batterie (partie séparée)
5
Percussion (partie séparée)
3
Xylophone, Piano
2
Orchestre, Violon
2
Fanfare
2
2 Marimbas
1
Vibraphone
1
Quintette de Cuivres: autres combinaisons
1
Marimba et Orgue
1
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AUTRES
Formation musicale - Solfège
136
Vous avez sélectionné:
No More
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Partitions à imprimer
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201
Chega De Saudade (No More Blues)
Orchestre
Full Orchestra - Level 4 - Digital Download SKU: A0.1470000 Composed by Antonio Car…
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Full Orchestra - Level 4 - Digital Download SKU: A0.1470000 Composed by Antonio Carlos Jobim, Jessie Cavanaugh, Jon Hendricks, and Vinicius De Moraes. Arranged by Brian Lawrence. 20th Century,Contemporary,Film/TV,Jazz,Latin. 144 pages. Brian Lawrence #1047738. Published by Brian Lawrence (A0.1470000). Here is Antonio Carlos Jobim's Chega de Saudade (No More Blues) arranged for studio orchestraInstrumentation: Voice Tenor Saxophone (solo) Fl, fl, ob, cl, cl, bs cl, bsn Hn, hn, tpt, tpt, tpt, tbn, tbn, bs tbn Gtr, pno, bs, drums Harp Solos: Voice Tenor Saxophone (although anyone could solo in this section) Performance by the University of North Texas Brian Lawrence Studio Orchestra: https://www.youtube.com/watch?v=2ba-sdzwqBwTo view a full score preview, and see other music for sale, please visit my website www.brianlawrencemusic.com/chega-de-saudade
$74.99
69.26 €
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Orchestre
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Antonio Carlos Jobim, Jessie Cavanaugh, Jon Hendricks, and Vinicius De Moraes
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Brian Lawrence
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Chega De Saudade
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Brian Lawrence
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SheetMusicPlus
Divertimento (Op. 2021, No. 3) (Revision 1)
Orchestre
Full Orchestra - Digital Download SKU: A0.650912 By VIKTHARIEN. By Viktharien Volan…
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Full Orchestra - Digital Download SKU: A0.650912 By VIKTHARIEN. By Viktharien Volander. Arranged by Viktharien Volander. Classical,Contemporary. Score and parts. 14 pages. Viktharien Volander #259999. Published by Viktharien Volander (A0.650912). 1st revision of this divertimento for orchestra. Revision notes: - Rebalanced dynamics/removed redundant markings (made everything a bit louder too) - No more mutes on strings - Legato on Violins I for 2nd theme sections - Gave Oboe (and less, Trombone) more to do :) - Rearranged staves to match default Sibelius instrument configuration.
$1.99
1.84 €
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Orchestre
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VIKTHARIEN
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Viktharien Volander
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Divertimento
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Viktharien Volander
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SheetMusicPlus
Bach Harpsichord Concerto no. 2 in E major, BWV 1053
Orchestre
Full Orchestra - Level 5 - Digital Download SKU: A0.1101547 By Johann Sebastian Bac…
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Full Orchestra - Level 5 - Digital Download 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
4.62 €
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Orchestre
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Johann Sebastian Bach
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Johann Sebastian Bach
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Bach Harpsichord Concerto no. 2 in E major, BWV 1053
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Gabriel Vinicius
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SheetMusicPlus
Symphony No. 3 in E-flat, 1st Movement (Eroica) - Score & Parts
Orchestre
Full Orchestra - Level 5 - Digital Download SKU: A0.932000 Composed by Ludwig van B…
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Full Orchestra - Level 5 - Digital Download SKU: A0.932000 Composed by Ludwig van Beethoven. Arranged by Steve Morell. Classical. Score and parts. 305 pages. NiceChart #4764611. Published by NiceChart (A0.932000). The first movement of this legendary symphony is as long as other complete multi-movement symphonies, but will still keep your audiences engaged. This arrangement is true to the original with very little changes outside of moving the instrumentation into more commonly used instrument transpositions. This challenging piece is a marathon and a masterpiece that bridged the gap from the Classical Period to the Romantic Era.
$95.00
87.74 €
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Orchestre
#
Ludwig van Beethoven
#
Steve Morell
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Symphony No. 3 in E-flat, 1st Movement
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NiceChart
#
SheetMusicPlus
Symphony No. 3 in A minor, op. 17 (parts)
Orchestre
Full Orchestra - Level 5 - Digital Download SKU: A0.1357497 Composed by Adrian Gagi…
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Full Orchestra - Level 5 - Digital Download SKU: A0.1357497 Composed by Adrian Gagiu. 20th Century,Classical,Contemporary. 291 pages. Adrian Gagiu #942043. Published by Adrian Gagiu (A0.1357497). The orchestral parts of the Third Symphony (2000, revised 2023), an ambitious, modernist/neoclassical composition for orchestra and chorus with four vocal soloists. It may represent a search for harmony within and/or without and is a huge, subtle variations form on a theme that appears clearly and in full only in the Finale.The chromatic, first movement (Andante maestoso) begins mysteriously with A's in the unaccompanied violins, like a tuning or a seed of what is to come. These A's are adorned with oscillations which gradually become wider leaps until they reach the fifth (as in the beginning of the future full theme), and the other instruments join gradually. The mood is dark, tragic, pensive, and somehow abstract, as the music wanders in an almost improvisatory manner through chromatic modes and goes crescendo-decrescendo back again to the bare, cryptic A's.The energetic second movement (Allegro) is an enormous scherzo toying with the second melodic cell of the full theme, a descending tetrachord. This vital, Dionysian frenzy (in strong contrast to the Apollonian, severe contemplation in the first movement) leads only to its exhaustion and to the disorientated, slow Trio: first, an almost atonal tenor monologue accompanied by harp (on verses from Dante's Purgatory), then a quotation from Beethoven's sketches for a planned overture on the B-A-C-H motif, followed by a fugal section on the same archetypal motif and again a tenor monologue (on verses from Eminescu's Satire No. 4), this time with organ accompaniment and more and more tortured until the choral exclamations and the final cymbal clash. The search seemed in vain, so the rhythmic fury of the scherzo returns, but in mirror, as minor modes replaced the major ones on the same material.The Finale (Larghetto-Allegro-Larghetto) was inspired by the last scene in Goethe's Faust, part 2. After a cryptic variation for choir a cappella, the full theme appears at last in the orchestra, setting a lyric, appeased mood and more diatonic harmonies, while it reconciles the introspection of the first movement and the emotional and vital aspects of the second, although occasional attempts are made to escape, striving more and more towards the ending (with four vocal soloists and chorus). The parenthetic structure of the finale is a holographic reflection of the general form of the whole symphony, alternating gentle, contemplative episodes with exuberant or majestic fugatos. Towards the ending, ecstatic, big, complex quartal chords suggest the limits of perception and language (on the final stanzas from Dante's Paradise), until the sonority becomes again more and more rarefied and the journey returns to its starting point from the first movement: the 'tuning' A's in the violins.Total duration: 54 min. Performing Rights Organization: SOCAN. The mp3 audio clip is the second movement.
$210.00
193.94 €
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Orchestre
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Adrian Gagiu
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Symphony No. 3 in A minor, op. 17
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Adrian Gagiu
#
SheetMusicPlus
Symphony No. 3 in A minor, op. 17
Orchestre
Full Orchestra - Level 5 - Digital Download SKU: A0.1356636 Composed by Adrian Gagi…
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Full Orchestra - Level 5 - Digital Download SKU: A0.1356636 Composed by Adrian Gagiu. 20th Century,Classical,Contemporary. 215 pages. Adrian Gagiu #941262. Published by Adrian Gagiu (A0.1356636). The score, parts and vocal score of the Third Symphony (2000, revised 2023), an ambitious, modernist/neoclassical composition for orchestra and chorus with four vocal soloists. It may represent a search for harmony within and/or without and is a huge, subtle variations form on a theme that appears clearly and in full only in the Finale. The chromatic, first movement (Andante maestoso) begins mysteriously with A's in the unaccompanied violins, like a tuning or a seed of what is to come. These A's are adorned with oscillations which gradually become wider leaps until they reach the fifth (as in the beginning of the future full theme), and the other instruments join gradually. The mood is dark, tragic, pensive, and somehow abstract, as the music wanders in an almost improvisatory manner through chromatic modes and goes crescendo-decrescendo back again to the bare, cryptic A's. The energetic second movement (Allegro) is an enormous scherzo toying with the second melodic cell of the full theme, a descending tetrachord. This vital, Dionysian frenzy (in strong contrast to the Apollonian, severe contemplation in the first movement) leads only to its exhaustion and to the disorientated, slow Trio: first, an almost atonal tenor monologue accompanied by harp (on verses from Dante's Purgatory), then a quotation from Beethoven's sketches for a planned overture on the B-A-C-H motif, followed by a fugal section on the same archetypal motif and again a tenor monologue (on verses from Eminescu's Satire No. 4), this time with organ accompaniment and more and more tortured until the choral exclamations and the final cymbal clash. The search seemed in vain, so the rhythmic fury of the scherzo returns, but in mirror, as minor modes replaced the major ones on the same material. The Finale (Larghetto-Allegro-Larghetto) was inspired by the last scene in Goethe's Faust, part 2. After a cryptic variation for choir a cappella, the full theme appears at last in the orchestra, setting a lyric, appeased mood and more diatonic harmonies, while it reconciles the introspection of the first movement and the emotional and vital aspects of the second, although occasional attempts are made to escape, striving more and more towards the ending (with four vocal soloists and chorus). The parenthetic structure of the finale is a holographic reflection of the general form of the whole symphony, alternating gentle, contemplative episodes with exuberant or majestic fugatos. Towards the ending, ecstatic, big, complex quartal chords suggest the limits of perception and language (on the final stanzas from Dante's Paradise), until the sonority becomes again more and more rarefied and the journey returns to its starting point from the first movement: the 'tuning' A's in the violins. Total duration: 54 min. Performing Rights Organization: SOCAN. The mp3 audio clip is the second movement.
$210.00
193.94 €
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Orchestre
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Adrian Gagiu
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Symphony No. 3 in A minor, op. 17
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Adrian Gagiu
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SheetMusicPlus
Three Pieces For Violin and Orchestra "Violin Concerto No. 2" (violin solo part – violin and symph
Orchestre
Full Orchestra - Level 5 - Digital Download SKU: A0.861954 Composed by Mark O'Conno…
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Full Orchestra - Level 5 - Digital Download SKU: A0.861954 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 30 pages. Mark O'Connor Musik International #6209339. Published by Mark O'Connor Musik International (A0.861954). Three Pieces For Violin and Orchestra Violin Concerto No. 2 (violin solo part – violin and symphony orchestra) MO152BViolin Solo Part (score and parts available)Music by Mark O’Connor26 pages - 56:00 minutes in length (1st Mvnt – 20 min; 2nd Mvnt – 16 min; 3rd Mvnt – 20 min Three Pieces For Violin and Orchestra Violin Concerto No. 2Originally composed to mark the bicentennial of the state of Tennessee, O’Connor’s 2nd Violin Concerto was premiered with the Nashville Symphony during the 1996 celebration. The movements, Call of the Mockingbird, Trail of Tears, and Fanfare for the Volunteer reflect on broad themes relating to the history and culture of the state. The work was released in 1999 on a cd for Sony Classical performed with the London Philharmonic Orchestra titled by its final movement Fanfare for the Volunteer.Call of the Mockingbird; The evocations of nature and landscape. In the course of its many voicings (both literal and figurative), the theme evokes a broad range of images, from the bird of the title to the ruggedness of the Appalachian terrain.Trail of Tears; The tragedy of the forced migration of the Cherokee Indians in 1838-39. An episode in American history, the work incorporates aspects of Native American, Celtic and Central European traditions within the broader context of a symphonic composition.Fanfare for the Volunteer; The fierce and bittersweet pride of the southeastern United States. Perhaps, the clearest blending of O’Connor’s background as a traditional fiddler with his more recent work as a symphonic composer. The occasional hints of Irish balladry evoke nothing so much as the keenest sense of longing.-Jackson Braider(The music is suited for advanced levels) Original music printed from the composer’s manuscripts.Music editing, copying and engraving by Mark O’Connorusing Finale on Apple Macintosh 1994-95 Composed by Mark O’ConnorCommissioned by the Nashville Symphony OrchestraCan be heard on Fanfare for the Volunteer! Sony Classical and The Essential Mark O’Connor Sony ClassicalMark O’Connor - violin, London Philharmonic Orchestra, Steve Mercurio Catalogue Number MO152BCopyright © 1994 by Mark O’Connor Music International For more information on violinist and composer Mark O'Connor, O’Connor String Camps, Touring Ensembles, Discography, Bio, Repertoire and more, please visitwww.markoconnor.com For information on the O’Connor Method – instructional book series for violin, viola, cello and school string orchestra programs:www.oconnormethod.com
$20.00
18.47 €
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Orchestre
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Mark O'Connor
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2nd Mvnt
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Three Pieces For Violin and Orchestra "Violin Concerto No. 2"
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Mark O'Connor Musik International
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SheetMusicPlus
Three Pieces For Violin and Orchestra "Violin Concerto No. 2" (wind parts – violin and symphony or
Orchestre
Full Orchestra - Level 5 - Digital Download SKU: A0.861955 Composed by Mark O'Conno…
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Full Orchestra - Level 5 - Digital Download SKU: A0.861955 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 183 pages. Mark O'Connor Musik International #6209345. Published by Mark O'Connor Musik International (A0.861955). Three Pieces For Violin and Orchestra Violin Concerto No. 2 (wind parts – violin and symphony orchestra) MO152C-JWind Parts (score and parts available)Music by Mark O’Connor151 pages - 56:00 minutes in length (1st Mvnt – 20 min; 2nd Mvnt – 16 min; 3rd Mvnt – 20 min Three Pieces For Violin and Orchestra Violin Concerto No. 2Originally composed to mark the bicentennial of the state of Tennessee, O’Connor’s 2nd Violin Concerto was premiered with the Nashville Symphony during the 1996 celebration. The movements, Call of the Mockingbird, Trail of Tears, and Fanfare for the Volunteer reflect on broad themes relating to the history and culture of the state. The work was released in 1999 on a cd for Sony Classical performed with the London Philharmonic Orchestra titled by its final movement Fanfare for the Volunteer.Call of the Mockingbird; The evocations of nature and landscape. In the course of its many voicings (both literal and figurative), the theme evokes a broad range of images, from the bird of the title to the ruggedness of the Appalachian terrain.Trail of Tears; The tragedy of the forced migration of the Cherokee Indians in 1838-39. An episode in American history, the work incorporates aspects of Native American, Celtic and Central European traditions within the broader context of a symphonic composition.Fanfare for the Volunteer; The fierce and bittersweet pride of the southeastern United States. Perhaps, the clearest blending of O’Connor’s background as a traditional fiddler with his more recent work as a symphonic composer. The occasional hints of Irish balladry evoke nothing so much as the keenest sense of longing.-Jackson Braider(The music is suited for advanced levels) Original music printed from the composer’s manuscripts.Music editing, copying and engraving by Mark O’Connorusing Finale on Apple Macintosh 1994-95 Composed by Mark O’ConnorCommissioned by the Nashville Symphony OrchestraCan be heard on Fanfare for the Volunteer! Sony Classical and The Essential Mark O’Connor Sony ClassicalMark O’Connor - violin, London Philharmonic Orchestra, Steve Mercurio Catalogue Number MO152C-JCopyright © 1994 by Mark O’Connor Music International For more information on violinist and composer Mark O'Connor, O’Connor String Camps, Touring Ensembles, Discography, Bio, Repertoire and more, please visitwww.markoconnor.com For information on the O’Connor Method – instructional book series for violin, viola, cello and school string orchestra programs:www.oconnormethod.com
$80.00
73.88 €
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Orchestre
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Mark O'Connor
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2nd Mvnt
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Three Pieces For Violin and Orchestra "Violin Concerto No. 2"
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Mark O'Connor Musik International
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SheetMusicPlus
Three Pieces For Violin and Orchestra "Violin Concerto No. 2" (brass parts – violin and symphony o
Orchestre
Full Orchestra - Level 5 - Digital Download SKU: A0.861956 Composed by Mark O'Conno…
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Full Orchestra - Level 5 - Digital Download SKU: A0.861956 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 114 pages. Mark O'Connor Musik International #6209349. Published by Mark O'Connor Musik International (A0.861956). Three Pieces For Violin and Orchestra Violin Concerto No. 2 (brass parts – violin symphony orchestra) MO152K-OBrass Parts (score and parts available)Music by Mark O’Connor94 pages - 56:00 minutes in length (1st Mvnt – 20 min; 2nd Mvnt – 16 min; 3rd Mvnt – 20 min Three Pieces For Violin and Orchestra Violin Concerto No. 2Originally composed to mark the bicentennial of the state of Tennessee, O’Connor’s 2nd Violin Concerto was premiered with the Nashville Symphony during the 1996 celebration. The movements, Call of the Mockingbird, Trail of Tears, and Fanfare for the Volunteer reflect on broad themes relating to the history and culture of the state. The work was released in 1999 on a cd for Sony Classical performed with the London Philharmonic Orchestra titled by its final movement Fanfare for the Volunteer.Call of the Mockingbird; The evocations of nature and landscape. In the course of its many voicings (both literal and figurative), the theme evokes a broad range of images, from the bird of the title to the ruggedness of the Appalachian terrain.Trail of Tears; The tragedy of the forced migration of the Cherokee Indians in 1838-39. An episode in American history, the work incorporates aspects of Native American, Celtic and Central European traditions within the broader context of a symphonic composition.Fanfare for the Volunteer; The fierce and bittersweet pride of the southeastern United States. Perhaps, the clearest blending of O’Connor’s background as a traditional fiddler with his more recent work as a symphonic composer. The occasional hints of Irish balladry evoke nothing so much as the keenest sense of longing.-Jackson Braider(The music is suited for advanced levels) Original music printed from the composer’s manuscripts.Music editing, copying and engraving by Mark O’Connorusing Finale on Apple Macintosh 1994-95 Composed by Mark O’ConnorCommissioned by the Nashville Symphony OrchestraCan be heard on Fanfare for the Volunteer! Sony Classical and The Essential Mark O’Connor Sony ClassicalMark O’Connor - violin, London Philharmonic Orchestra, Steve Mercurio Catalogue Number MO152K-OCopyright © 1994 by Mark O’Connor Music International For more information on violinist and composer Mark O'Connor, O’Connor String Camps, Touring Ensembles, Discography, Bio, Repertoire and more, please visitwww.markoconnor.com For information on the O’Connor Method – instructional book series for violin, viola, cello and school string orchestra programs:www.oconnormethod.com
$80.00
73.88 €
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Orchestre
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Mark O'Connor
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2nd Mvnt
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Three Pieces For Violin and Orchestra "Violin Concerto No. 2"
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Mark O'Connor Musik International
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SheetMusicPlus
Three Pieces For Violin and Orchestra "Violin Concerto No. 2" (string parts – violin and symphony
Orchestre
Full Orchestra - Level 5 - Digital Download SKU: A0.861958 Composed by Mark O'Conno…
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Full Orchestra - Level 5 - Digital Download SKU: A0.861958 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 180 pages. Mark O'Connor Musik International #6209357. Published by Mark O'Connor Musik International (A0.861958). Three Pieces For Violin and Orchestra Violin Concerto No. 2 (string parts – violin symphony orchestra) MO152S-XString Parts (score and parts available)Music by Mark O’Connor156 pages - 56:00 minutes in length (1st Mvnt – 20 min; 2nd Mvnt – 16 min; 3rd Mvnt – 20 min Three Pieces For Violin and Orchestra Violin Concerto No. 2Originally composed to mark the bicentennial of the state of Tennessee, O’Connor’s 2nd Violin Concerto was premiered with the Nashville Symphony during the 1996 celebration. The movements, Call of the Mockingbird, Trail of Tears, and Fanfare for the Volunteer reflect on broad themes relating to the history and culture of the state. The work was released in 1999 on a cd for Sony Classical performed with the London Philharmonic Orchestra titled by its final movement Fanfare for the Volunteer.Call of the Mockingbird; The evocations of nature and landscape. In the course of its many voicings (both literal and figurative), the theme evokes a broad range of images, from the bird of the title to the ruggedness of the Appalachian terrain.Trail of Tears; The tragedy of the forced migration of the Cherokee Indians in 1838-39. An episode in American history, the work incorporates aspects of Native American, Celtic and Central European traditions within the broader context of a symphonic composition.Fanfare for the Volunteer; The fierce and bittersweet pride of the southeastern United States. Perhaps, the clearest blending of O’Connor’s background as a traditional fiddler with his more recent work as a symphonic composer. The occasional hints of Irish balladry evoke nothing so much as the keenest sense of longing.-Jackson Braider(The music is suited for advanced levels) Original music printed from the composer’s manuscripts.Music editing, copying and engraving by Mark O’Connorusing Finale on Apple Macintosh 1994-95 Composed by Mark O’ConnorCommissioned by the Nashville Symphony OrchestraCan be heard on Fanfare for the Volunteer! Sony Classical and The Essential Mark O’Connor Sony ClassicalMark O’Connor - violin, London Philharmonic Orchestra, Steve Mercurio Catalogue Number MO152S-XCopyright © 1994 by Mark O’Connor Music International For more information on violinist and composer Mark O'Connor, O’Connor String Camps, Touring Ensembles, Discography, Bio, Repertoire and more, please visitwww.markoconnor.com For information on the O’Connor Method – instructional book series for violin, viola, cello and school string orchestra programs:www.oconnormethod.com
$80.00
73.88 €
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Orchestre
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Mark O'Connor
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2nd Mvnt
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Three Pieces For Violin and Orchestra "Violin Concerto No. 2"
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Mark O'Connor Musik International
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SheetMusicPlus
Three Pieces For Violin and Orchestra "Violin Concerto No. 2" (percussion parts – violin and symph
Orchestre
Full Orchestra - Level 5 - Digital Download SKU: A0.861957 Composed by Mark O'Conno…
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Full Orchestra - Level 5 - Digital Download SKU: A0.861957 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 66 pages. Mark O'Connor Musik International #6209353. Published by Mark O'Connor Musik International (A0.861957). Three Pieces For Violin and Orchestra Violin Concerto No. 2 (percussion parts – violin symphony orchestra) MO152P-RPercussion Parts (score and parts available)Music by Mark O’Connor54 pages - 56:00 minutes in length (1st Mvnt – 20 min; 2nd Mvnt – 16 min; 3rd Mvnt – 20 min Three Pieces For Violin and Orchestra Violin Concerto No. 2Originally composed to mark the bicentennial of the state of Tennessee, O’Connor’s 2nd Violin Concerto was premiered with the Nashville Symphony during the 1996 celebration. The movements, Call of the Mockingbird, Trail of Tears, and Fanfare for the Volunteer reflect on broad themes relating to the history and culture of the state. The work was released in 1999 on a cd for Sony Classical performed with the London Philharmonic Orchestra titled by its final movement Fanfare for the Volunteer.Call of the Mockingbird; The evocations of nature and landscape. In the course of its many voicings (both literal and figurative), the theme evokes a broad range of images, from the bird of the title to the ruggedness of the Appalachian terrain.Trail of Tears; The tragedy of the forced migration of the Cherokee Indians in 1838-39. An episode in American history, the work incorporates aspects of Native American, Celtic and Central European traditions within the broader context of a symphonic composition.Fanfare for the Volunteer; The fierce and bittersweet pride of the southeastern United States. Perhaps, the clearest blending of O’Connor’s background as a traditional fiddler with his more recent work as a symphonic composer. The occasional hints of Irish balladry evoke nothing so much as the keenest sense of longing.-Jackson Braider(The music is suited for advanced levels) Original music printed from the composer’s manuscripts.Music editing, copying and engraving by Mark O’Connorusing Finale on Apple Macintosh 1994-95 Composed by Mark O’ConnorCommissioned by the Nashville Symphony OrchestraCan be heard on Fanfare for the Volunteer! Sony Classical and The Essential Mark O’Connor Sony ClassicalMark O’Connor - violin, London Philharmonic Orchestra, Steve Mercurio Catalogue Number MO152P-RCopyright © 1994 by Mark O’Connor Music International For more information on violinist and composer Mark O'Connor, O’Connor String Camps, Touring Ensembles, Discography, Bio, Repertoire and more, please visitwww.markoconnor.com For information on the O’Connor Method – instructional book series for violin, viola, cello and school string orchestra programs:www.oconnormethod.com
$50.00
46.18 €
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Orchestre
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Mark O'Connor
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2nd Mvnt
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Three Pieces For Violin and Orchestra "Violin Concerto No. 2"
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Mark O'Connor Musik International
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SheetMusicPlus
Three Pieces For Violin and Orchestra "Violin Concerto No. 2" (Score – violin and symphony orchest
Orchestre
Full Orchestra - Level 5 - Digital Download SKU: A0.861953 Composed by Mark O'Conno…
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Full Orchestra - Level 5 - Digital Download SKU: A0.861953 Composed by Mark O'Connor. 20th Century,Contemporary,Folk. Score and parts. 158 pages. Mark O'Connor Musik International #6209329. Published by Mark O'Connor Musik International (A0.861953). Three Pieces For Violin and Orchestra Violin Concerto No. 2 (score – violin and symphony orchestra) MO152AScore (parts available)Music by Mark O’Connor154 pages - 56:00 minutes in length (1st Mvnt – 20 min; 2nd Mvnt – 16 min; 3rd Mvnt – 20 min Three Pieces For Violin and Orchestra Violin Concerto No. 2Originally composed to mark the bicentennial of the state of Tennessee, O’Connor’s 2nd Violin Concerto was premiered with the Nashville Symphony during the 1996 celebration. The movements, Call of the Mockingbird, Trail of Tears, and Fanfare for the Volunteer reflect on broad themes relating to the history and culture of the state. The work was released in 1999 on a cd for Sony Classical performed with the London Philharmonic Orchestra titled by its final movement Fanfare for the Volunteer.Call of the Mockingbird; The evocations of nature and landscape. In the course of its many voicings (both literal and figurative), the theme evokes a broad range of images, from the bird of the title to the ruggedness of the Appalachian terrain.Trail of Tears; The tragedy of the forced migration of the Cherokee Indians in 1838-39. An episode in American history, the work incorporates aspects of Native American, Celtic and Central European traditions within the broader context of a symphonic composition.Fanfare for the Volunteer; The fierce and bittersweet pride of the southeastern United States. Perhaps, the clearest blending of O’Connor’s background as a traditional fiddler with his more recent work as a symphonic composer. The occasional hints of Irish balladry evoke nothing so much as the keenest sense of longing.-Jackson Braider(The music is suited for advanced levels) Original music printed from the composer’s manuscripts.Music editing, copying and engraving by Mark O’Connorusing Finale on Apple Macintosh 1994-95 Composed by Mark O’ConnorCommissioned by the Nashville Symphony OrchestraCan be heard on Fanfare for the Volunteer! Sony Classical and The Essential Mark O’Connor Sony ClassicalMark O’Connor - violin, London Philharmonic Orchestra, Steve Mercurio Catalogue Number MO152ACopyright © 1994 by Mark O’Connor Music International For more information on violinist and composer Mark O'Connor, O’Connor String Camps, Touring Ensembles, Discography, Bio, Repertoire and more, please visitwww.markoconnor.com For information on the O’Connor Method – instructional book series for violin, viola, cello and school string orchestra programs:www.oconnormethod.com
$40.00
36.94 €
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Orchestre
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Mark O'Connor
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2nd Mvnt
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Three Pieces For Violin and Orchestra "Violin Concerto No. 2"
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Mark O'Connor Musik International
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SheetMusicPlus
Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush, No. 2 La soirée dans
Orchestre
Full Orchestra - Digital Download SKU: A0.1008374 Composed by Claude Debussy. Arran…
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Full Orchestra - Digital Download SKU: A0.1008374 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 24 pages. Arkady Leytush #4849775. Published by Arkady Leytush (A0.1008374). Estampes (Engravings) is the title of the triptych of three pieces which Debussy put together in 1903. The first complete performance was given on 9 January 1904 in the Salle Erard, Paris, by the young Spanish pianist Ricardo Viñes, who was already emerging as the prime interpreter of the new French music of Debussy and Ravel. The first two pieces were completed in 1903, but the third derives from an earlier group of pieces from 1894, collectively titled Images, which remained unpublished until 60 years after Debussy’s death, when they were printed as Images (oubliées). Estampes marks an expansion of Debussy’s keyboard style: he was apparently spurred to fuse neo-Lisztian technique with a sensitive, impressionistic pictorial impulse under the impact of discovering Ravel’s Jeux d’eau, published in 1902. The opening movement, ‘Pagodes’, is Debussy’s first pianistic evocation of the Orient and is essentially a fixed contemplation of its object, as in a Chinese print. This static impression is partly caused by Debussy’s use of long pedal-points, partly by his almost constant preoccupation with pentatonic melodies which subvert the sense of harmonic movement. He uses such pentatonic fragments in many different ways: in delicate arabesques, in two-part counterpoint, in canon, harmonized in fourths and fifths and as an underpinning for pattering, gamelan-like ostinato writing. Altogether the piece reflects the decisive impression made on him by hearing Javanese and Cambodian musicians at the 1889 Paris Exposition, which he had striven for years to incorporate effectively in music. In its final bars the music begins to dissolve into elaborate filigree.Just as ‘Pagodes’ was his first Oriental piece, so ‘La soirée dans Grenade’ was the first of Debussy’s evocations of Spain-that preternatural embodiment of an ‘imaginary Andalusia’ which would inspire Manuel de Falla, the native Spaniard, to go back to his country and create a true modern Spanish music based on Debussyan principles. Debussy’s personal acquaintance with Spain was virtually non-existent (he had spent a day just over the border at San Sebastian) and it is possible that one model for the piece was Ravel’s Habanera. Yet he wrote of this piece (to his friend Pierre Louÿs, to whom it was dedicated), ‘if this isn’t the music they play in Granada, so much the worse for Granada!’-and there is no debate about the absolute authenticity of Debussy’s use of Spanish idioms here. Falla himself pronounced it ‘characteristically Spanish in every detail’. ‘La soirée dans Grenade’ is founded on an ostinato that echoes the rhythm of the habanera and is present almost throughout. Beginning and ending in almost complete silence, this dark nocturne of warm summer nights builds powerfully to its climaxes. The melodic material ranges from a doleful Moorish chant with a distinctly oriental character to a stamping, vivacious dance-measure, taking in brief suggestions of guitar strumming and perfumed Impressionist haze. There is even a hint of castanets near the end. The piece fades out in a coda that seems to distil all the melancholy of the Moorish theme and a last few distant chords of the guitar. ‘Jardins sous la pluie’ is based on the children’s song ‘Nous n’rons plus au bois’ (We shan’t go to the woods): its original 1894 form was in fact entitled Quelques aspects de ‘Nous n’rons plus au bois’. The two versions are really two distinct treatments of the same set of ideas, but in ‘Jardins sous la pluie’ Estampes the earlier piece has been entirely rethought. The whole conception is more impressionistic, and subtilized. The teeming semiquaver motion is more all-pervasive, the tunes (for Debussy has added a second children’s song for treatment, ‘Do, do, l’enfant do’) more elusive and tinged sometimes with melancholy or nostalgia. The ending of the piece is entirely new. What it loses, perha.
$25.00
23.09 €
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Orchestre
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Claude Debussy
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Arkady Leytush
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Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush, No. 2 La soirée dans
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Arkady Leytush
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SheetMusicPlus
Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush No. 1 Pagodes (Pagodas
Orchestre
Full Orchestra - Digital Download SKU: A0.1008372 Composed by Claude Debussy. Arran…
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Full Orchestra - Digital Download SKU: A0.1008372 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 24 pages. Arkady Leytush #4849769. Published by Arkady Leytush (A0.1008372). Estampes (Engravings) is the title of the triptych of three pieces which Debussy put together in 1903. The first complete performance was given on 9 January 1904 in the Salle Erard, Paris, by the young Spanish pianist Ricardo Viñes, who was already emerging as the prime interpreter of the new French music of Debussy and Ravel. The first two pieces were completed in 1903, but the third derives from an earlier group of pieces from 1894, collectively titled Images, which remained unpublished until 60 years after Debussy’s death, when they were printed as Images (oubliées). Estampes marks an expansion of Debussy’s keyboard style: he was apparently spurred to fuse neo-Lisztian technique with a sensitive, impressionistic pictorial impulse under the impact of discovering Ravel’s Jeux d’eau, published in 1902. The opening movement, ‘Pagodes’, is Debussy’s first pianistic evocation of the Orient and is essentially a fixed contemplation of its object, as in a Chinese print. This static impression is partly caused by Debussy’s use of long pedal-points, partly by his almost constant preoccupation with pentatonic melodies which subvert the sense of harmonic movement. He uses such pentatonic fragments in many different ways: in delicate arabesques, in two-part counterpoint, in canon, harmonized in fourths and fifths and as an underpinning for pattering, gamelan-like ostinato writing. Altogether the piece reflects the decisive impression made on him by hearing Javanese and Cambodian musicians at the 1889 Paris Exposition, which he had striven for years to incorporate effectively in music. In its final bars the music begins to dissolve into elaborate filigree. Just as ‘Pagodes’ was his first Oriental piece, so ‘La soirée dans Grenade’ was the first of Debussy’s evocations of Spain-that preternatural embodiment of an ‘imaginary Andalusia’ which would inspire Manuel de Falla, the native Spaniard, to go back to his country and create a true modern Spanish music based on Debussyan principles. Debussy’s personal acquaintance with Spain was virtually non-existent (he had spent a day just over the border at San Sebastian) and it is possible that one model for the piece was Ravel’s Habanera. Yet he wrote of this piece (to his friend Pierre Louÿs, to whom it was dedicated), ‘if this isn’t the music they play in Granada, so much the worse for Granada!’-and there is no debate about the absolute authenticity of Debussy’s use of Spanish idioms here. Falla himself pronounced it ‘characteristically Spanish in every detail’. ‘La soirée dans Grenade’ is founded on an ostinato that echoes the rhythm of the habanera and is present almost throughout. Beginning and ending in almost complete silence, this dark nocturne of warm summer nights builds powerfully to its climaxes. The melodic material ranges from a doleful Moorish chant with a distinctly oriental character to a stamping, vivacious dance-measure, taking in brief suggestions of guitar strumming and perfumed Impressionist haze. There is even a hint of castanets near the end. The piece fades out in a coda that seems to distil all the melancholy of the Moorish theme and a last few distant chords of the guitar. ‘Jardins sous la pluie’ is based on the children’s song ‘Nous n’rons plus au bois’ (We shan’t go to the woods): its original 1894 form was in fact entitled Quelques aspects de ‘Nous n’rons plus au bois’. The two versions are really two distinct treatments of the same set of ideas, but in ‘Jardins sous la pluie’ Estampes the earlier piece has been entirely rethought. The whole conception is more impressionistic, and subtilized. The teeming semiquaver motion is more all-pervasive, the tunes (for Debussy has added a second children’s song for treatment, ‘Do, do, l’enfant do’) more elusive and tinged sometimes with melancholy or nostalgia. Th.
$25.00
23.09 €
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Orchestre
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Claude Debussy
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Arkady Leytush
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Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush No. 1 Pagodes
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Arkady Leytush
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SheetMusicPlus
Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush, No. 3 Jardins sous la
Orchestre
Full Orchestra - Digital Download SKU: A0.1008375 Composed by Claude Debussy. Arran…
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Full Orchestra - Digital Download SKU: A0.1008375 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 39 pages. Arkady Leytush #4885449. Published by Arkady Leytush (A0.1008375). Estampes (Engravings) is the title of the triptych of three pieces which Debussy put together in 1903. The first complete performance was given on 9 January 1904 in the Salle Erard, Paris, by the young Spanish pianist Ricardo Viñes, who was already emerging as the prime interpreter of the new French music of Debussy and Ravel. The first two pieces were completed in 1903, but the third derives from an earlier group of pieces from 1894, collectively titled Images, which remained unpublished until 60 years after Debussy’s death, when they were printed as Images (oubliées). Estampes marks an expansion of Debussy’s keyboard style: he was apparently spurred to fuse neo-Lisztian technique with a sensitive, impressionistic pictorial impulse under the impact of discovering Ravel’s Jeux d’eau, published in 1902. The opening movement, ‘Pagodes’, is Debussy’s first pianistic evocation of the Orient and is essentially a fixed contemplation of its object, as in a Chinese print. This static impression is partly caused by Debussy’s use of long pedal-points, partly by his almost constant preoccupation with pentatonic melodies which subvert the sense of harmonic movement. He uses such pentatonic fragments in many different ways: in delicate arabesques, in two-part counterpoint, in canon, harmonized in fourths and fifths and as an underpinning for pattering, gamelan-like ostinato writing. Altogether the piece reflects the decisive impression made on him by hearing Javanese and Cambodian musicians at the 1889 Paris Exposition, which he had striven for years to incorporate effectively in music. In its final bars the music begins to dissolve into elaborate filigree.Just as ‘Pagodes’ was his first Oriental piece, so ‘La soirée dans Grenade’ was the first of Debussy’s evocations of Spain-that preternatural embodiment of an ‘imaginary Andalusia’ which would inspire Manuel de Falla, the native Spaniard, to go back to his country and create a true modern Spanish music based on Debussyan principles. Debussy’s personal acquaintance with Spain was virtually non-existent (he had spent a day just over the border at San Sebastian) and it is possible that one model for the piece was Ravel’s Habanera. Yet he wrote of this piece (to his friend Pierre Louÿs, to whom it was dedicated), ‘if this isn’t the music they play in Granada, so much the worse for Granada!’-and there is no debate about the absolute authenticity of Debussy’s use of Spanish idioms here. Falla himself pronounced it ‘characteristically Spanish in every detail’. ‘La soirée dans Grenade’ is founded on an ostinato that echoes the rhythm of the habanera and is present almost throughout. Beginning and ending in almost complete silence, this dark nocturne of warm summer nights builds powerfully to its climaxes. The melodic material ranges from a doleful Moorish chant with a distinctly oriental character to a stamping, vivacious dance-measure, taking in brief suggestions of guitar strumming and perfumed Impressionist haze. There is even a hint of castanets near the end. The piece fades out in a coda that seems to distil all the melancholy of the Moorish theme and a last few distant chords of the guitar. ‘Jardins sous la pluie’ is based on the children’s song ‘Nous n’rons plus au bois’ (We shan’t go to the woods): its original 1894 form was in fact entitled Quelques aspects de ‘Nous n’rons plus au bois’. The two versions are really two distinct treatments of the same set of ideas, but in ‘Jardins sous la pluie’ Estampes the earlier piece has been entirely rethought. The whole conception is more impressionistic, and subtilized. The teeming semiquaver motion is more all-pervasive, the tunes (for Debussy has added a second children’s song for treatment, ‘Do, do, l’enfant do’) more elusive and tinged sometimes with melancholy or nostalgia. The ending of the piece is entirely new. What it loses, perha.
$25.00
23.09 €
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Orchestre
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Claude Debussy
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Arkady Leytush
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Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush, No. 3 Jardins sous la
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Arkady Leytush
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SheetMusicPlus
Symphony No. 7 ... Roman Holidays (2008, rev. 2013)
Orchestre
Full Orchestra - Level 4 - Digital Download SKU: A0.869183 Composed by Thomas Oboe …
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Full Orchestra - Level 4 - Digital Download SKU: A0.869183 Composed by Thomas Oboe Lee. 20th Century,Baroque,Classical,Contemporary,Romantic Period. Score and parts. With 2 Flutes, piccolo 2 Oboes 2 Clarinets in Bb 2 Bassoons. 153 pages. Thomas Oboe Lee #3895. Published by Thomas Oboe Lee (A0.869183). Instrumentation: 2 Flutes, piccolo 2 Oboes 2 Clarinets in Bb 2 Bassoons 2 French Horns in F 2 Trumpets in Bb 3 Trombones Tuba TimpaniPercussion 1: triangle, claves, tom-toms, cow-bells Percussion 2: snare drum, bass drum 1st Violin 2nd Violin Viola Cello Double bass This is a transposed score. Program note: My love affair with the city of Rome dates back to the year 1986-87 when I spent just under eleven months at the American Academy in Rome on a Rome Prize Fellowship. During that Fellowship year I was very much inspired by the beauty and culture of the Eternal City, which resulted in a number of works that continue to resonate with me: Twenty-nine Fireflies Book II for solo piano; Concertino for trumpet, timpani and strings; Apples … six dreams by Richard Kenney; String Quartet No 5 … Four Birthdays; and Chôrinhos … opus 38. Since 1997 my wife, Kristin Beckwith, and I have returned to the American Academy in Rome almost every year. I would compose in the morning and then my wife and I would go to our usual haunt at Bar G. for cappuccini and cornetti. And then we’d go to the local bakery and street markets and buy stuff for lunch. In the afternoon we would wander into the city to go shopping and sight-seeing. In the evenings we would dine at one of our favorite local trattorias. Life could not be better in Rome. Musically speaking, several important works in my portfolio had their beginnings during these sojourns at the Academy , among them Yo Picasso, Flauta Carioca, Mass for the Holy Year 2000, Symphony No. 5 … Utopia Parkway, Twenty-nine Fireflies Books IV & V, and Piano Concerto … Mozartiana. Just before the 2008 recession, clarinetist extraordinaire Jonathan Cohler asked me to write a symphony for the inaugural concert of a new orchestra he was planning to create. I came up with Symphony No. 7 … Roman Holidays, my give back to the city of Rome – a compendium of favorite places that continue to live in my thoughts and musings. Although the work is heard in four movements, it is actually divided into seven sections, as in the seven hills of Rome. 1. Prelude: Fontana Paola and the panoramic view of the city of Rome from that vantage point. 2. First interlude: La Befana festivities at Piazza Navona. The Protestant Cemetery in Testaccio at night under a full moon. 3. Second interlude: Fontana delle Tartughe in the Jewish Ghetto. Bernini’s Apollo and Daphne at the Galleria Borghese. 4. Third interlude: Bernini’s Beata Ludovica Albertoni in Trastevere. The Spanish Steps and the view of Rome from the French Academy at Villa Medici. NB: Unfortunately, thanks to the recession, Roman Holidays never saw the light of day. This year (2013) I decided to revisit the work, which lay dormant for 5 five years, and saw that it could use a little tweaking. The new version is essentially the same, musically speaking. I reduced the orchestration a bit (two horns instead of four, and two trumpets instead of three) and added more heft to the lower brass. I completely rewrote the tune for the floating foreign ghosts at the Protestant Cemetery. I also shortened the work by about three minutes by cutting some repeats. Enjoy!!!Audio link: https://thomasoboelee.bandcamp.com/album/symphony-no-7-roman-holidays-2008-rev-2013Video link: https://youtu.be/1DlzEOUmH54
$9.99
9.23 €
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Orchestre
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Thomas Oboe Lee
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Symphony No. 7 ... Roman Holidays
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Thomas Oboe Lee
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SheetMusicPlus
Symphony No. 2 - Finale
Orchestre
Full Orchestra - Level 3 - Digital Download SKU: A0.1366865 By Artyfile. By Gustav …
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Full Orchestra - Level 3 - Digital Download SKU: A0.1366865 By Artyfile. By Gustav Mahler. Arranged by Paul Lorenz. 20th Century,Classical,Film/TV,Praise and Worship,Romantic Period. 42 pages. Paul Lorenz #951198. Published by Paul Lorenz (A0.1366865). Paul Lorenz's Majestic Arrangement of Mahler's Symphony No. 2 Finale Rediscovering a Masterpiece: The Finale of Mahler's Symphony No. 2 Experience the grandeur of Gustav Mahler's Symphony No. 2 like never before with Paul Lorenz specially arranged concert version. Meticulously crafted for orchestras, soloists, and choirs, this edition brings the awe-inspiring 'Resurrection Symphony' to a wider audience. Its adaptability makes it perfect for a diverse range of ensembles, from full orchestras to chamber groups, ensuring that the magnificence of this monumental work is accessible to all. Elevating Performance Standards Paul Lorenz's expert arrangement encapsulates the essence of Mahler's vision, offering an exquisite balance between authenticity and practicality. The orchestration includes flutes, oboes, clarinets, horns, trumpets, trombones, timpani, organ, strings, and a four-part choir, creating a rich tapestry of sound. This version is ideal for smaller ensembles seeking to perform a large-scale work without compromising on quality. It's a testament to the timeless appeal of Mahler's symphony and a tribute to the innovative spirit of Paul Lorenz Music. A Symphony for the Ages The 'Resurrection Symphony' is renowned for its profound emotional depth and complexity. This arrangement not only encapsulates the essence of Mahler's masterpiece but also aligns with the contemporary cinematic narrative, as seen in the award-winning film 'Maestro' featuring Bradley Cooper as Leonard Bernstein. Paul Lorenz Music's version honors this legacy, providing musicians and audiences alike with an unforgettable experience. This arrangement is not just a score; it's an opportunity to connect with one of the greatest musical works of all time, brought to life through a contemporary lens. Find More About Paul Lorenz Music: - Homepage- Instagram- Facebook- YouTube
$156.00
144.07 €
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Orchestre
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Artyfile
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Paul Lorenz
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Symphony No. 2 - Finale
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Paul Lorenz
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SheetMusicPlus
Symphony No. 3 Eb major
Orchestre
Orchestra - Digital Download SKU: S9.Q19576 Eroica. Composed by Ludwig van B…
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Orchestra - Digital Download SKU: S9.Q19576 Eroica. Composed by Ludwig van Beethoven. This edition: study score. Ernst Eulenburg - Orchestra - Score. Eulenburg Miniature Scores. Downloadable, Study score. Op. 55. Ernst Eulenburg & Co. GmbH - Digital #Q19576. Published by Ernst Eulenburg & Co. GmbH - Digital (S9.Q19576). Key: E flat major. German • English.'So he too is nothing more than an ordinary man. [...] he will place himself above everyone else and become a tyrant!' is what Beethoven is said to have shouted full of rage when Napoleon had declared himself emperor, and supposedly tore the title page of Symphony No. 3 headed 'Bonaparte' to pieces. Despite his anger, however, the work was again headed 'Bonaparte' when he wanted to publish it in 1804. But it was the first edition of 1806 which finally bore the title of Sinfonia eroica. Symphony No. 3 was Beethoven's first work in which he had come to terms with his progressing deafness and left the boundaries of the musical conventions far behind.
$15.99
14.77 €
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Orchestre
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Ludwig van Beethoven
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Symphony No. 3 Eb major
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Ernst Eulenburg & Co. GmbH - Digital
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SheetMusicPlus
L'Arlésienne Suite No. 2
Orchestre
Orchestra - Digital Download SKU: S9.Q21191 Composed by Georges Bizet. This edition…
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Orchestra - Digital Download SKU: S9.Q21191 Composed by Georges Bizet. This edition: study score. Ernst Eulenburg - Orchester - Partitur. Eulenburg Miniature Scores. Downloadable, study score. Ernst Eulenburg & Co. GmbH - Digital #Q21191. Published by Ernst Eulenburg & Co. GmbH - Digital (S9.Q21191). The première of Daudet's play, L'Arlésienne, with incidental music by Bizet, given at the Théâtre du Vaudeville on 30 September 1872, was a devastating event for both playwright and composer and the production was removed from the repertory after 19 performances. The critic Johannès Weber, however, was alert to the quality of Bizet's score and suggested that the composer should excerpt and rescore several pieces for the Concerts populaires where 'the lovely music would be better appreciated than at the Vaudeville'. Bizet must have moved rather quickly to follow Weber's suggestion, for the première of the first Arlésienne suite took place only six weeks later at the Concerts populaires on 10 November 1872 and the work in its new abridged form was soon taken up by many other orchestras. Bizet, however, did not turn to preparing a second suite from L'Arlésienne. Some four years after Bizet's death, the success of the first suite may have prompted his original publisher to commission the arrangement of more excerpts from the Arlésienne MS from Bizet's good friend Ernest Guiraud who had earlier written recitatives and put together a ballet for Carmen.In 1872 Bizet wrote the incidental music to Daudet’s famous tragedy ‘L’Arlésienne’. He had to tailor his composition to an orchestra of only 26 players, but these limited forces turned out to pose a stimulating challenge rather than an obstacle. Shortly after the premiere, he arranged four of the movements and formed them into the Suite No. 1 for large orchestra. The Suite No. 2 was arranged by Ernest Guiraud four years after Bizet’s death.
$13.99
12.92 €
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Orchestre
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Georges Bizet
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L'Arlésienne Suite No. 2
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Ernst Eulenburg & Co. GmbH - Digital
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SheetMusicPlus
There's No Business Like Show Business
Orchestre
Full Orchestra - Level 4 - Digital Download SKU: A0.1412924 Composed by Irving Berl…
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Full Orchestra - Level 4 - Digital Download SKU: A0.1412924 Composed by Irving Berlin. Arranged by Daryl McKenzie and Matt Amy. Broadway,Contemporary,Film/TV,Musical/Show,Pop. 120 pages. Matt Amy Music #994928. Published by Matt Amy Music (A0.1412924). Key: F majorBPM: 272Style: Show TwoDuration: 3:08“ Ensemble type: Pops Orchestra (reduced)Full Recording (MIDI): No Business Like Show Business (MIDI)Instrumentation- Reed 1- Reed 2- Reed 3- Horn- Trumpet 1, 2, 3- Trombone 1, 2- Voice- Piano- Acoustic Bass (Rhythm Section)- Drums- Percussion- Harp- Violin 1- Violin 2- Viola- Cello- ContrabassClick the following link for more arrangements by Matt AmyContact Matt here
$75.00
69.26 €
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Orchestre
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Irving Berlin
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Daryl McKenzie and Matt Amy
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There's No Business Like Show Business
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Matt Amy Music
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SheetMusicPlus
Symphony No. 101 D major, "The Clock"
Orchestre
Orchestra - Digital Download SKU: S9.Q4375 London No. 11. Composed by Franz …
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Orchestra - Digital Download SKU: S9.Q4375 London No. 11. Composed by Franz Joseph Haydn. This edition: study score. Ernst Eulenburg - Orchester - Partitur. Eulenburg Miniature Scores. Downloadable, Study score. Ernst Eulenburg & Co. GmbH - Digital #Q4375. Published by Ernst Eulenburg & Co. GmbH - Digital (S9.Q4375). Key: D major. German • English.With more than 1,200 titles from the orchestral and choral repertoire, from chamber music and musical theatre, Edition Eulenburg is the world's largest series of scores, covering large part of music history from the Baroque to the Classical era and looking back on a long tradition.
$12.99
12 €
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Orchestre
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Franz Joseph Haydn
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Symphony No. 101 D major, "The Clock"
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Ernst Eulenburg & Co. GmbH - Digital
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SheetMusicPlus
Symphony No. 98 Bb major
Orchestre
Orchestra - Digital Download SKU: S9.Q4398 London No. 4. Composed by Franz J…
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Orchestra - Digital Download SKU: S9.Q4398 London No. 4. Composed by Franz Joseph Haydn. This edition: study score. Ernst Eulenburg - Orchestra - Score. Eulenburg Miniature Scores. Downloadable, Study score. Duration 29 minutes. Ernst Eulenburg & Co. GmbH - Digital #Q4398. Published by Ernst Eulenburg & Co. GmbH - Digital (S9.Q4398). Key: B flat major.With more than 1,200 titles from the orchestral and choral repertoire, from chamber music and musical theatre, Edition Eulenburg is the world's largest series of scores, covering large part of music history from the Baroque to the Classical era and looking back on a long tradition.
$12.99
12 €
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Orchestre
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Franz Joseph Haydn
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Symphony No. 98 Bb major
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Ernst Eulenburg & Co. GmbH - Digital
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SheetMusicPlus
Symphony No. 83 G minor, "La Poule"
Orchestre
Orchestra - Digital Download SKU: S9.Q4415 Paris No. 2. Composed by Franz Jo…
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Orchestra - Digital Download SKU: S9.Q4415 Paris No. 2. Composed by Franz Joseph Haydn. This edition: study score. Ernst Eulenburg - Orchestra - Score. Eulenburg Miniature Scores. Downloadable, Study score. Ernst Eulenburg & Co. GmbH - Digital #Q4415. Published by Ernst Eulenburg & Co. GmbH - Digital (S9.Q4415). Key: G minor.With more than 1,200 titles from the orchestral and choral repertoire, from chamber music and musical theatre, Edition Eulenburg is the world's largest series of scores, covering large part of music history from the Baroque to the Classical era and looking back on a long tradition.
$11.99
11.07 €
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Orchestre
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Franz Joseph Haydn
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Symphony No. 83 G minor, "La Poule"
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Ernst Eulenburg & Co. GmbH - Digital
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SheetMusicPlus
Symphony No. 104 D major, "Salomon"
Orchestre
Orchestra - Digital Download SKU: S9.Q4368 London No. 7. Composed by Franz J…
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Orchestra - Digital Download SKU: S9.Q4368 London No. 7. Composed by Franz Joseph Haydn. This edition: study score. Ernst Eulenburg - Orchestra - Score. Eulenburg Miniature Scores. Downloadable, Study score. Ernst Eulenburg & Co. GmbH - Digital #Q4368. Published by Ernst Eulenburg & Co. GmbH - Digital (S9.Q4368). Key: D major. German • English.With more than 1,200 titles from the orchestral and choral repertoire, from chamber music and musical theatre, Edition Eulenburg is the world's largest series of scores, covering large part of music history from the Baroque to the Classical era and looking back on a long tradition.
$12.99
12 €
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Orchestre
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Franz Joseph Haydn
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Symphony No. 104 D major, "Salomon"
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Ernst Eulenburg & Co. GmbH - Digital
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SheetMusicPlus
Symphony No. 87 A major
Orchestre
Orchestra - Digital Download SKU: S9.Q4416 Paris No. 6. Composed by Franz Jo…
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Orchestra - Digital Download SKU: S9.Q4416 Paris No. 6. Composed by Franz Joseph Haydn. This edition: study score. Ernst Eulenburg - Orchestra - Score. Eulenburg Miniature Scores. Downloadable, Study score. Ernst Eulenburg & Co. GmbH - Digital #Q4416. Published by Ernst Eulenburg & Co. GmbH - Digital (S9.Q4416). Key: A major.With more than 1,200 titles from the orchestral and choral repertoire, from chamber music and musical theatre, Edition Eulenburg is the world's largest series of scores, covering large part of music history from the Baroque to the Classical era and looking back on a long tradition.
$11.99
11.07 €
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Orchestre
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Franz Joseph Haydn
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Symphony No. 87 A major
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Ernst Eulenburg & Co. GmbH - Digital
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SheetMusicPlus
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