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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
We Beethoven
Non classifié
244
Piano & claviers
Piano seul
118
Piano Facile
35
Instruments en Do
12
Orgue
12
1 Piano, 4 mains
9
Piano, Voix
8
Piano, Voix et Guitare
4
Piano Trio: piano, violon, violoncelle
2
2 Pianos, 4 mains
2
Piano Quatuor: piano, 2 violons, violoncelle
2
Piano Quatuor: piano, violon, alto, violoncelle
1
1 Piano, 6 mains
1
Orgue, Trompette (duo)
1
+ 8 instrumentations
Retracter
Guitares
Mandoline
10
Guitare
9
Guitare notes et tablatures
8
Ukulele
3
Piano, Guitare (duo)
1
2 Guitares (duo)
1
Ligne De Mélodie, (Paroles) et Accords
1
Ukulele Baryton
1
+ 3 instrumentations
Retracter
Voix
Chorale SATB
24
Chorale 2 parties
18
Chorale 3 parties
15
Voix duo
8
Chorale SSAA
4
Chorale TTBB
4
Voix duo, Piano
4
Chorale
3
Chorale SSAB a cappella
2
Voix seule
1
Chorale Unison
1
+ 6 instrumentations
Retracter
Vents
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
37
Quatuor de Saxophones: 4 saxophones
31
Quintette de Flûte : 5 flûtes
23
Quintette de Clarinettes: 5 clarinettes
16
Quatuor de Flûtes : 4 flûtes
14
Quatuor de Clarinettes: 4 clarinettes
13
Quintette de Saxophone: 5 saxophones
11
Flûte traversière et Piano
9
Flûte à bec Soprano
9
Clarinette et Piano
9
Flûte à bec Alto
8
Harmonica
8
Saxophone Alto et Piano
7
2 Flûtes traversières (duo)
6
Flûte, Hautbois, Clarinette, Basson
6
Flûte, Clarinette (duo)
6
Saxophone Tenor et Piano
5
Saxophone Soprano et Piano
5
2 Clarinettes (duo)
5
2 Saxophones (duo)
5
Hautbois, Piano (duo)
5
3 Clarinettes (trio)
3
Ensemble de saxophones
3
Hautbois (partie séparée)
3
2 Saxophones, Piano
2
Trio de Flûtes: 3 flûtes
2
3 Saxophones (trio)
2
Flûte, Hautbois, Clarinette (trio)
2
Saxophone et Harpe
2
Clarinette
2
Ensemble de Flûtes
2
Saxophone Alto
2
Flûte, Violon
2
Flûte traversière
2
Ensemble de Clarinettes
1
2 Flûte à bec (duo)
1
Flute (partie séparée)
1
Hautbois, Harpe
1
Saxophone Baryton, Piano
1
Saxophone Tenor
1
Clarinette Basse, Piano
1
Hautbois, Flûte
1
Clarinette, Violon (duo)
1
Flûte et Guitare
1
Saxophone et Piano
1
Clarinette, Violoncelle (duo)
1
2 Clarinettes, Piano
1
Hautbois, Clarinette (duo)
1
+ 43 instrumentations
Retracter
Cuivres
Quatuor de Cuivres : 2 trompettes, trombone, tuba
24
Ensemble de Trombones
19
Trombone et Piano
10
Quatuor de cuivres: 4 trombones
8
Trompette
6
Trompette, Piano
6
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
6
Cor et Piano
5
Quatuor de Cuivres: 2 trompettes, Cor, trombone
5
2 Trombones (duo)
4
Trombone (partie séparée)
3
Cor
3
Trompette (partie séparée)
3
Trompette, Trombone (duo)
2
Trompette, Cor (duo)
2
3 Trombones (trio)
2
2 Trompettes (duo)
2
Trombone
2
2 Euphoniums et 2 Tubas
1
Trio de Cuivres
1
3 Cors (trio)
1
2 Cors (duo)
1
Cor et Harpe
1
2 Trompettes, Clavier (piano ou orgue)
1
3 Trompettes (trio)
1
Cor (partie séparée)
1
+ 21 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
27
Violon et Piano
15
Violon
10
Harpe
10
Violoncelle, Piano
8
2 Harpes (duo)
7
Alto, Piano
5
2 Violons (duo)
4
Violoncelle
4
Trio à Cordes: violon, alto, violoncelle
4
Piano Trio: Violon, Alto, Piano
3
Quintette à cordes: 2 violons, 2 altos, violoncelle
3
Alto seul
2
Harpe, Violon (duo)
2
Trio à Cordes: 2 violons, violoncelle
2
Violon, Alto (duo)
2
Violon, Violoncelle (duo)
2
2 Altos (duo)
2
2 Violoncelles (duo)
2
Harpe, Trombone (duo)
1
Harpe, Flûte (duo)
1
Trio à Cordes: 2 violons, alto
1
Trio à cordes: 3 violins
1
Alto (partie séparée)
1
Violoncelle, Orgue
1
Contre Basse
1
Quatuor à cordes: 4 violons
1
Quintette à cordes: 2 violons, alto, violoncelle, basse
1
4 Violoncelles
1
Harpe, Violoncelle (duo)
1
+ 25 instrumentations
Retracter
Orchestre & Percussions
Orchestre d'harmonie
22
Cloches
14
Orchestre de chambre
7
Orchestre à Cordes
6
Orchestre
5
Jazz combo
1
Ensemble de cuivres
1
+ 2 instrumentations
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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
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FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
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HARPE
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LIVRES
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MANDOLINE
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Vous avez sélectionné:
We Beethoven
Orchestre de chambre
Partitions à imprimer
7 partitions trouvées
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1
Beethoven Sonata in F min, Movement 3
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Orchestre de chambre
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Ludwig van Beethoven
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Joshua Feltman
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Beethoven Sonata in F min, Mov
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Ryan Blauvelt
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SheetMusicPlus
Chamber Orchestra - Level 4 - SKU: A0.921872 Composed by Ludwig van Beethoven. Arranged by Joshua Feltman. Romantic Period. Score and parts. 50 pages. R...
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Chamber Orchestra - Level 4 - SKU: A0.921872 Composed by Ludwig van Beethoven. Arranged by Joshua Feltman. Romantic Period. Score and parts. 50 pages. Ryan Blauvelt #3692801. Published by Ryan Blauvelt (A0.921872). Although Beethoven’s Sonata in F minor is one of his earlier works, the style is still very much Beethoven. The third movement, a minuet in F minor, contains two repeated sections.Syncopation, dramatic pauses, and sharp dynamic contrast characterize the minuet. You’ll hear a melancholy tone spanning major and minor tonality. We’ve taken this high-energy piano selection and transformed it into a high school level chamber work.
$35.00
Joyful, Joyful, We Adore Thee (Hymn to Joy) – String Quartet and Organ
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Orchestre de chambre
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Ludwig van Beethoven
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Christina Harmon
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Joyful, Joyful, We Adore Thee
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Christina Harmon
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SheetMusicPlus
Chamber Orchestra - Level 4 - SKU: A0.753457 Composed by Ludwig van Beethoven. Arranged by Christina Harmon. Classical,Concert,Wedding. Score and parts....
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Chamber Orchestra - Level 4 - SKU: A0.753457 Composed by Ludwig van Beethoven. Arranged by Christina Harmon. Classical,Concert,Wedding. Score and parts. 12 pages. Christina Harmon #6048311. Published by Christina Harmon (A0.753457). Hymn to Joy by Beethoven scored for String Quartet and Organ.
$7.00
Requiem
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Orchestre de chambre
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Harald Weiss
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Requiem
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Schott Music - Digital
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SheetMusicPlus
Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra - SKU: S9.Q7038 Teil I: Schwarz vor Augen... · Teil II: ...und es war...
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Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra - SKU: S9.Q7038 Teil I: Schwarz vor Augen... · Teil II: ...und es ward Licht!. Composed by Harald Weiss. This edition: study score. Music Of Our Time. Downloadable, Study score. Duration 100' 0. Schott Music - Digital #Q7038. Published by Schott Music - Digital (S9.Q7038). Latin • German.On letting go(Concerning the selection of the texts) In the selection of the texts, I have allowed myself to be motivated and inspired by the concept of “letting goâ€. This appears to me to be one of the essential aspects of dying, but also of life itself. We humans cling far too strongly to successful achievements, whether they have to do with material or ideal values, or relationships of all kinds. We cannot and do not want to let go, almost as if our life depended on it. As we will have to practise the art of letting go at the latest during our hour of death, perhaps we could already make a start on this while we are still alive. Tagore describes this farewell with very simple but strikingly vivid imagery: “I will return the key of my doorâ€. I have set this text for tenor solo. Here I imagine, and have correspondingly noted in a certain passage of the score, that the protagonist finds himself as though “in an ocean†of voices in which he is however not drowning, but immersing himself in complete relaxation. The phenomenon of letting go is described even more simply and tersely in Psalm 90, verse 12: “So teach us to number our days, that we may apply our hearts unto wisdomâ€. This cannot be expressed more plainly.I have begun the requiem with a solo boy’s voice singing the beginning of this psalm on a single note, the note A. This in effect says it all. The work comes full circle at the culmination with a repeat of the psalm which subsequently leads into a resplendent “lux aeternaâ€. The intermediate texts of the Requiem which highlight the phenomenon of letting go in the widest spectrum of colours originate on the one hand from the Latin liturgy of the Messa da Requiem (In Paradisum, Libera me, Requiem aeternam, Mors stupebit) and on the other hand from poems by Joseph von Eichendorff, Hermann Hesse, Rabindranath Tagore and Rainer Maria Rilke.All texts have a distinctive positive element in common and view death as being an organic process within the great system of the universe, for example when Hermann Hesse writes: “Entreiß dich, Seele, nun der Zeit, entreiß dich deinen Sorgen und mache dich zum Flug bereit in den ersehnten Morgen†[“Tear yourself way , o soul, from time, tear yourself away from your sorrows and prepare yourself to fly away into the long-awaited morningâ€] and later: “Und die Seele unbewacht will in freien Flügen schweben, um im Zauberkreis der Nacht tief und tausendfach zu leben†[“And the unfettered soul strives to soar in free flight to live in the magic sphere of the night, deep and thousandfoldâ€]. Or Joseph von Eichendorff whose text evokes a distant song in his lines: “Und meine Seele spannte weit ihre Flügel aus. Flog durch die stillen Lande, als flöge sie nach Haus†[“And my soul spread its wings wide. Flew through the still country as if homeward bound.â€]Here a strong romantically tinged occidental resonance can be detected which is however also accompanied by a universal spirit going far beyond all cultures and religions. In the beginning was the sound Long before any sort of word or meaningful phrase was uttered by vocal chords, sounds, vibrations and tones already existed. This brings us back to the music. Both during my years of study and at subsequent periods, I had been an active participant in the world of contemporary music, both as percussionist and also as conductor and composer. My early scores had a somewhat adventurous appearance, filled with an abundance of small black dots: no rhythm could be too complicated, no register too extreme and no harmony too dissonant. I devoted myself intensely to the handling of different parameters which in serial music coexist in total equality: I also studied aleatory principles and so-called minimal music.I subsequently emigrated and took up residence in Spain from where I embarked on numerous travels over the years to India, Africa and South America. I spent repeated periods during this time as a resident in non-European countries. This meant that the currents of contemporary music swept past me vaguely and at a great distance. What I instead absorbed during this period were other completely new cultures in which I attempted to immerse myself as intensively as possible.I learned foreign languages and came into contact with musicians of all classes and styles who had a different cultural heritage than my own: I was intoxicated with the diversity of artistic potential.Nevertheless, the further I distanced myself from my own Western musical heritage, the more this returned insistently in my consciousness.The scene can be imagined of sitting somewhere in the middle of the Brazilian jungle surrounded by the wailing of Indians and out of the blue being provided with the opportunity to hear Beethoven’s late string quartets: this can be a heart-wrenching experience, akin to an identity crisis. This type of experience can also be described as cathartic. Whatever the circumstances, my “renewed†occupation with the “old†country would not permit me to return to the point at which I as an audacious young student had maltreated the musical parameters of so-called contemporary music. A completely different approach would be necessary: an extremely careful approach, inching my way gradually back into the Western world: an approach which would welcome tradition back into the fold, attempt to unfurl the petals and gently infuse this tradition with a breath of contemporary life.Although I am aware that I will not unleash a revolution or scandal with this approach, I am nevertheless confident as, with the musical vocabulary of this Requiem, I am travelling in an orbit in which no ballast or complex structures will be transported or intimated: on the contrary, I have attempted to form the message of the texts in music with the naivety of a “homecomerâ€. Harald WeissColonia de San PedroMarch 20091 (auch Altfl.) · 2 (2. auch Engl. Hr.) · 1 (auch Bassklar.) · 0 - 2 · Flhr. · 0 · 0 - P. S. (Glsp. · Röhrengl. · Gongs · Trgl. · Beck. · Tamt. · 2 Holzschlitztr. (oder Woodbl.) · Woodbl. · gr. Tr.) (3 Spieler) - Org. (Positiv) - Str. (4 · 4 · 4 · 4 · 2).
$55.99
Piano Concerto No. 1 - Score Only
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Orchestre de chambre
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INTERMÉDIAIRE
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Juan MarÃa Solare
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Piano Concerto No. 1 - Score O
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Juan Maria Solare
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SheetMusicPlus
Chamber Orchestra - Level 3 - SKU: A0.1197642 Composed by Juan MarÃa Solare. 20th Century,Classical,Contemporary. Score and parts. 77 pages. Juan Mar...
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Chamber Orchestra - Level 3 - SKU: A0.1197642 Composed by Juan MarÃa Solare. 20th Century,Classical,Contemporary. Score and parts. 77 pages. Juan Maria Solare #796823. Published by Juan Maria Solare (A0.1197642). Juan MarÃa Solare: Piano Concerto (No. 1)PARTSPiano Concerto No. 1 - FIRST movement [score and parts]https://www.sheetmusicplus.com/title/22466227?aff_id=565049https://www.sheetmusicplus.com/title/piano-concerto-no-1-first-movement-score-and-parts-digital-sheet-music/22466227?aff_id=565049https://www.sheetmusicplus.com/22466227?aff_id=565049Piano Concerto No. 1 - SECOND movement [score and parts]https://www.sheetmusicplus.com/title/22466231?aff_id=565049Piano Concerto No. 1 - THIRD movement [score and parts]https://www.sheetmusicplus.com/title/22466233?aff_id=565049Aesthetic reflections on the piano concertoDuring the eras of classicism and romanticism, a concerto was often conceived as a confrontation between a soloist, symbolising the individual, and the orchestra, representing society. Seen in this way, a concert reflects a value system that pits the individual against the group and poses a struggle of I against you. Surely this vehemence could be explained in a Beethovenian era when the concepts of human rights and individual freedom were fragile ideals.However, it is a different scale of values that my piano concerto tries to reflect: the idea of cooperation, of teamwork and of an orchestra as a living organism whose organs are not superior to one another, more vital than others, but fulfil different functions, qualitatively speaking.Every soloist plays a leading role, but this does not imply either subordination to the rest or denigration or subjugation of the rest. The fact that the soloist is sometimes in the foreground does not imply a victory over the others. The very concept of victory is meaningless here.At times, the soloist will fulfil a leadership role, at others he or she will underpin from passivity what is happening in the orchestra, intentionally from the shadows, as a grey eminence. And at other times - why not - he will question what the majority is doing.It is not a rough relationship of me against you, but there is also a we.The composition and orchestration of this piano concerto was made possible by a grant from the Senator for Culture of the Free Hanseatic City of Bremen. This work was funded by an artist's grant as part of the Bremen-Corona-Hilfen programme.The premiere by the orchestra of the Bremer Orchestergemeinschaft is scheduled for the beginning of 2024. Duration: 17 to 20 minutes.1st movement - https://youtu.be/DNckBKzaWtc2nd movement - https://youtu.be/1Zy0ZbrdPJE3rd movement - https://youtu.be/dnYE9dWUEZg
$25.00
Piano Concerto No. 1 - FIRST movement [score and parts]
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Orchestre de chambre
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INTERMÉDIAIRE
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Juan MarÃa Solare
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Piano Concerto No. 1 - FIRST m
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Juan Maria Solare
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SheetMusicPlus
Chamber Orchestra - Level 3 - SKU: A0.1197728 By Juan MarÃa Solare. By Juan MarÃa Solare. 20th Century,Classical,Contemporary. Score and parts. 74...
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Chamber Orchestra - Level 3 - SKU: A0.1197728 By Juan MarÃa Solare. By Juan MarÃa Solare. 20th Century,Classical,Contemporary. Score and parts. 74 pages. Juan Maria Solare #796909. Published by Juan Maria Solare (A0.1197728). Juan MarÃa Solare: Piano Concerto No. 1 - FIRST movement [score and parts]Please find the other two movements - also in this platformThe full score (of the three movements) is also available independently HERE:https://www.sheetmusicplus.com/title/piano-concerto-no-1-score-only-digital-sheet-music/22468631?aff_id=565049Video in YouTube (score follower)Aesthetic reflections on the piano concertoDuring the eras of classicism and romanticism, a concerto was often conceived as a confrontation between a soloist, symbolising the individual, and the orchestra, representing society. Seen in this way, a concert reflects a value system that pits the individual against the group and poses a struggle of I against you. Surely this vehemence could be explained in a Beethovenian era when the concepts of human rights and individual freedom were fragile ideals.However, it is a different scale of values that my piano concerto tries to reflect: the idea of cooperation, of teamwork and of an orchestra as a living organism whose organs are not superior to one another, more vital than others, but fulfil different functions, qualitatively speaking.Every soloist plays a leading role, but this does not imply either subordination to the rest or denigration or subjugation of the rest. The fact that the soloist is sometimes in the foreground does not imply a victory over the others. The very concept of victory is meaningless here.At times, the soloist will fulfil a leadership role, at others he or she will underpin from passivity what is happening in the orchestra, intentionally from the shadows, as a grey eminence. And at other times - why not - he will question what the majority is doing.It is not a rough relationship of me against you, but there is also a we.The composition and orchestration of this piano concerto was made possible by a grant from the Senator for Culture of the Free Hanseatic City of Bremen. This work was funded by an artist's grant as part of the Bremen-Corona-Hilfen programme.The premiere by the orchestra of the Bremer Orchestergemeinschaft is scheduled for the beginning of 2024. Duration: 17 to 20 minutes.
$33.00
Piano Concerto No. 1 - SECOND movement [score and parts]
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Orchestre de chambre
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INTERMÉDIAIRE
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Juan MarÃa Solare
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Juan MarÃa Solare
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Piano Concerto No. 1 - SECOND
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Juan Maria Solare
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SheetMusicPlus
Chamber Orchestra - Level 3 - SKU: A0.1197730 By Juan MarÃa Solare. By Juan MarÃa Solare. Arranged by Juan MarÃa Solare. 20th Century,Classical...
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Chamber Orchestra - Level 3 - SKU: A0.1197730 By Juan MarÃa Solare. By Juan MarÃa Solare. Arranged by Juan MarÃa Solare. 20th Century,Classical,Contemporary. Score and parts. 64 pages. Juan Maria Solare #796911. Published by Juan Maria Solare (A0.1197730). Piano Concerto No. 1 - SECOND movement [score and parts]Please find the other two movements - also in this platformThe full score (of the three movements) is also available independently HERE:https://www.sheetmusicplus.com/title/piano-concerto-no-1-score-only-digital-sheet-music/22468631?aff_id=565049Video in YouTube (score follower)Aesthetic reflections on the piano concerto (by Juan MarÃa Solare)During the eras of classicism and romanticism, a concerto was often conceived as a confrontation between a soloist, symbolising the individual, and the orchestra, representing society. Seen in this way, a concert reflects a value system that pits the individual against the group and poses a struggle of I against you. Surely this vehemence could be explained in a Beethovenian era when the concepts of human rights and individual freedom were fragile ideals.However, it is a different scale of values that my piano concerto tries to reflect: the idea of cooperation, of teamwork and of an orchestra as a living organism whose organs are not superior to one another, more vital than others, but fulfil different functions, qualitatively speaking.Every soloist plays a leading role, but this does not imply either subordination to the rest or denigration or subjugation of the rest. The fact that the soloist is sometimes in the foreground does not imply a victory over the others. The very concept of victory is meaningless here.At times, the soloist will fulfil a leadership role, at others he or she will underpin from passivity what is happening in the orchestra, intentionally from the shadows, as a grey eminence. And at other times - why not - he will question what the majority is doing.It is not a rough relationship of me against you, but there is also a we.The composition and orchestration of this piano concerto was made possible by a grant from the Senator for Culture of the Free Hanseatic City of Bremen. This work was funded by an artist's grant as part of the Bremen-Corona-Hilfen programme.The premiere by the orchestra of the Bremer Orchestergemeinschaft is scheduled for the beginning of 2024. Duration: 17 to 20 minutes.
$33.00
Piano Concerto No. 1 - THIRD movement [score and parts]
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Orchestre de chambre
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INTERMÉDIAIRE
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Contemporain
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Juan MarÃa Solare
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Piano Concerto No. 1 - THIRD m
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Juan Maria Solare
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SheetMusicPlus
Chamber Orchestra - Level 3 - SKU: A0.1197732 Composed by Juan MarÃa Solare. 20th Century,Classical,Contemporary. Score and parts. 53 pages. Juan Mar...
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Chamber Orchestra - Level 3 - SKU: A0.1197732 Composed by Juan MarÃa Solare. 20th Century,Classical,Contemporary. Score and parts. 53 pages. Juan Maria Solare #796913. Published by Juan Maria Solare (A0.1197732). Piano Concerto No. 1 - THIRD movement [score and parts]Please find the other two movements - also in this platformThe full score (of the three movements) is also available independently HEREavailable HERE:(https://www.sheetmusicplus.com/title/piano-concerto-no-1-score-only-digital-sheet-music/22468631?aff_id=565049).Video in YouTube (score follower)Aesthetic reflections on the piano concerto (by Juan MarÃa Solare)During the eras of classicism and romanticism, a concerto was often conceived as a confrontation between a soloist, symbolising the individual, and the orchestra, representing society. Seen in this way, a concert reflects a value system that pits the individual against the group and poses a struggle of I against you. Surely this vehemence could be explained in a Beethovenian era when the concepts of human rights and individual freedom were fragile ideals.However, it is a different scale of values that my piano concerto tries to reflect: the idea of cooperation, of teamwork and of an orchestra as a living organism whose organs are not superior to one another, more vital than others, but fulfil different functions, qualitatively speaking.Every soloist plays a leading role, but this does not imply either subordination to the rest or denigration or subjugation of the rest. The fact that the soloist is sometimes in the foreground does not imply a victory over the others. The very concept of victory is meaningless here.At times, the soloist will fulfil a leadership role, at others he or she will underpin from passivity what is happening in the orchestra, intentionally from the shadows, as a grey eminence. And at other times - why not - he will question what the majority is doing.It is not a rough relationship of me against you, but there is also a we.The composition and orchestration of this piano concerto was made possible by a grant from the Senator for Culture of the Free Hanseatic City of Bremen. This work was funded by an artist's grant as part of the Bremen-Corona-Hilfen programme.The premiere by the orchestra of the Bremer Orchestergemeinschaft is scheduled for the beginning of 2024. Duration: 17 to 20 minutes.Full score available here
$33.00
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