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--INSTRUMENTS--
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Non classifié
215
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41
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3
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1
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1 151
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1 116
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716
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662
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342
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339
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257
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201
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189
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177
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176
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116
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69
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48
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37
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36
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35
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32
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31
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31
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29
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28
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24
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23
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23
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21
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19
Flûte à bec Tenor
16
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15
2 Flûtes traversières, Guitare
14
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13
Flûte, Clarinette, Piano (trio)
13
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12
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11
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10
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8
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8
Flûte, Clarinette, Cor, Basson (Quartet)
8
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7
Flûte, Hautbois, Basson
7
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6
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6
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5
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4
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4
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2
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2
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2
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2
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2
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1
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1
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Clarinette et Piano
1
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Flûte, Hautbois, Violon
1
2 Saxophones (duo)
1
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94
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37
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18
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13
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8
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4
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2
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2
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2
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1
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1
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1
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1
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40
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--INSTRUMENTS--
ACCORDEON
ALTO
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12 partitions trouvées
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Claude Debussy: Sérénade for violin and 17 instrments, full score and solo part only (parts on ren
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Orchestre de chambre
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Claude Debussy/Robert Orledge
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Claude Debussy: Sér&eac
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Musik Fabrik Music Publishing
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SheetMusicPlus
Chamber Orchestra - Level 4 - SKU: A0.1080705 Composed by Claude Debussy/Robert Orledge. 20th Century,Romantic Period,Standards. Score and parts. 30 pag...
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Chamber Orchestra - Level 4 - SKU: A0.1080705 Composed by Claude Debussy/Robert Orledge. 20th Century,Romantic Period,Standards. Score and parts. 30 pages. Musik Fabrik Music Publishing #4727447. Published by Musik Fabrik Music Publishing (A0.1080705). Instrumentation2 flûtes/2 flutescor anglais (doublant hautbois/doubling oboe)clarinette en La/clarinet in Abasson/bassooncor en Fa/horn in Fpercission (1 éxecutant - timbales (3)/cymbale suspendue, tambour de basque)/percussion (1 performer - timpani (3)/suspended cymbal, tambourine)harpe/harp9 cordes/9 strings (2.2.2.2.1)durée/duration: 5 minutes 30 secconds (environ/approx.) Une versions pour violon et piano ainsi qu’une version pour violon et orchestre (31CA(hb)23/2100/timb/perc/hpe/cordes)est également disponibile/A version for violin and piano as well as a version for violin and orchestra (31EH(ob)23/2100/timp/perc/strings) is also available.______________________Prmière: Edmond Agapian, violin with the Calagray (CA) Youth orchestra, cond. Gareth Jones, University of Calgary, 28 Janaury, 2011Première of the version for violin and 17 instruments: Frédéric Moisan, violin Orchestre 21 cond. Paolo Bellomio, Unveristy of Montreal, Canada, 2 March 2012Preface:In the early 1890s, Debussy composed the opening of a lyrical piece in E major for violin and piano, perhaps as a shorter companion piece for the violin Nocturne he was planning for the Belgian violinist Eugène Ysaÿe. After Debussy’s death in 1918, his second wife Emma often gave away sketch pages to performers or composers as memorials to her beloved husband , and this particular page was given to the Cuban born pianist and composer Joaquin Nin (1879-1949). It came up for sale in the catalogue of the British antiquarian dealer Lisa Cox in 2010 and although it might possibly be an early song for contralto and piano, the more dynamic idea in bar 12 strongly suggests the violin, especially as it begins on an open D string. Moreover, there is no text and in pieces of this length, Debussy usually wrote at least one word in, if only to remind himself where he had got to in any song. So my starting point was a complete 12-bar melody gently undulating in the violin’s lowest register over a sensual accompaniment, rising to a climax in bar 12 and giving me a contrasting idea that I could use as a link between sections and in the cadenza. As the B section (bars 14-26) derives directly from Debussy’s opening theme by metamorphosis, my own additions were restricted to the central section (bars 27-57) - comprising a new scherzando idea (C) and the more lyrical D (bars 36-46). C returns at bar 47, followed by the opening sections in reverse order, so that the Sérénade begins and ends with Debussy’s material and is cast in arch form (ABCDCBA). Robert OrledgeBrighton, 19 June 2019Robert Orledge was born in Bath in 1948 and educated at Clare College, Cambridge, where he gained his doctorate for his study of the composer Charles Kœchlin in 1973. Between 1971 and 1991 He rose from Lecturer to Professor in the Music Department of the University of Liverpool, publishing books on Gabriel Fauré, Claude Debussy, Charles Kœchlin and Erik Satie, as well as numerous articles, editions and reviews. As a historical musicologist, Professor Orledge specialized in the way composers composed, ,and since taking early retirement in 2004, he has concentrated on completing and orchestrating Debussy’s unfinished works, and especially his theatre projects. His completion of Debussy’s opera The Fall of the House of Usher (1908-17) was successfully premiered at the Bregenz Opera Festival in Austria in August 2006 and has since been performed in America, Portugal Germany and Holland, as well as being broadcast throughout Europe. A DVD of the Bregenz premier is available on Capriccio 93517, produced by Phylida Lloyd and conducted by Lawrence Foster. His completion of the Chinese ballet No-ja-li ou Le Palais du Silence (1914) was also premiered in 2006 in Los Angeles and ot.
$16.95
The Arrival of the Queen of Sheba from Solomon (HWV 67) - for 2 Oboes, Strings and Continuo
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Orchestre de chambre
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INTERMÉDIAIRE/AVANCÉ
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George Frideric Handel
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Flávio Régis Cunha
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The Arrival of the Queen of Sh
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FRC Music
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SheetMusicPlus
Chamber Orchestra - Level 4 - SKU: A0.589280 By George Frideric Handel. By George Frideric Handel. Arranged by Flávio Régis Cunha. Baroque,Contest...
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Chamber Orchestra - Level 4 - SKU: A0.589280 By George Frideric Handel. By George Frideric Handel. Arranged by Flávio Régis Cunha. Baroque,Contest,Festival,Film/TV,Wedding. Score and Parts. 46 pages. FRC Music #198554. Published by FRC Music (A0.589280). The Arrival of the Queen of Sheba from Handel's oratorio Solomon is one of the best known instrumental pieces of the Baroque era. Very clean edition with the harpsichord (continuo) part realized.
$18.99
The Enchanted Garden
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Orchestre de chambre
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Christian Jost
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The Enchanted Garden
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Schott Music - Digital
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SheetMusicPlus
2 Fl. · 2 Ob. · 1 Fg. - Cemb. - Str. (5 · 4 · 3 · 2 · 1) [mit modernen oder barocken Instrumenten aufführbar] violin and chamber orchestra ...
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2 Fl. · 2 Ob. · 1 Fg. - Cemb. - Str. (5 · 4 · 3 · 2 · 1) [mit modernen oder barocken Instrumenten aufführbar] violin and chamber orchestra - SKU: S9.Q47444 Concertino for violin and chamber orchestra. Composed by Christian Jost. This edition: piano reduction with solo part. Violin Library. Downloadable, Piano reduction with solo part. Duration 18 minutes. Schott Music - Digital #Q47444. Published by Schott Music - Digital (S9.Q47444). Zauberei, Magie, Mythen, Legenden, dies sind die großen Themen barocker Opern – Ausdruck der Sehnsucht jener Zeit, sich durch die Illusion der Oper dem Phantastischen hingeben zu können. Diese unverkennbare Parallele zu unserer Gegenwart ist die Grundlage einer tiefgreifenden kompositorischen und inhaltlichen Auseinandersetzung mit Stoffen und Gesten der Alten Musik, die mich zu einer Reihe von Werken anregt. Sie wird mit dem Zaubergarten – Concertino für Violine und Kammerorchester gleichsam eröffnet. Die vier Sätze „erwacht – verzaubert – bedroht – entschwunden“, deren jeweilige atmosphärische Struktur von der Solo-Violine charakterisiert wird (darin ähnlich den vivaldinischen Vier Jahreszeiten), durchlaufen unterschiedliche Stadien der Idiome „Alter Musik“, um sie durch das Prisma unserer Zeit unverbraucht und „magisch“ erscheinen zu lassen. So kann sich der Konzertmeister oder ein Gastsolist auf die Pfade des „Zaubergartens“ begeben, sie lenken oder sich dahintreibend in das Geschehen einfügen. Christian Jost, Mai 2011Die vier Sätze „erwacht – verzaubert – bedroht – entschwunden“, deren jeweilige atmosphärische Struktur von der Solo-Violine charakterisiert wird (ähnlich den vivaldinischen Vier Jahreszeiten), durchlaufen unterschiedliche Stadien der Idiome „Alter Musik, um sie durch das Prisma unserer Zeit unverbraucht und „magisch erscheinen zu lassen. So kann sich der Konzertmeister oder ein Gastsolist auf die Pfade des „Zaubergartens begeben, sie lenken oder sich dahintreibend in das Geschehen einfügen. Christian Jost.
$36.99
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
Fonogrammi
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Orchestre de chambre
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Krzysztof Penderecki
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Fonogrammi
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Schott Music - Digital
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SheetMusicPlus
Fl. (Picc. · gr. Fl. · Altfl.) - S. (Trgl. · 4 hg. Beck. · 2 Tamt. · Gl. · Kuhgl. · Handgl. · 2 Gongs · Flex. · Vibr. · Xylorim...
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Fl. (Picc. · gr. Fl. · Altfl.) - S. (Trgl. · 4 hg. Beck. · 2 Tamt. · Gl. · Kuhgl. · Handgl. · 2 Gongs · Flex. · Vibr. · Xylorimba) (4 Spieler) - Cel. · Cemb. · Harm. · Klav. - Str. (6 · 0 · 4 · 2 · 1) flute and chamber orchestra - SKU: S9.Q582008 For flute and chamber orchestra. Composed by Krzysztof Penderecki. Music Of Our Time. Downloadable, Score. Duration 7 minutes. Schott Music - Digital #Q582008. Published by Schott Music - Digital (S9.Q582008).
$12.99
Chamber music No. 7
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Orchestre de chambre
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Paul Hindemith
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Chamber music No. 7
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Schott Music - Digital
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SheetMusicPlus
Kl. Flöte, gr. Flöte, Oboe, Klar. in B, Bass-Klar. in B, 2 Fag, Kontrafag., Horn in F, Trp. in C, Pos., Violoncelli, Kontrabässe Organ and Chamber Orch...
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Kl. Flöte, gr. Flöte, Oboe, Klar. in B, Bass-Klar. in B, 2 Fag, Kontrafag., Horn in F, Trp. in C, Pos., Violoncelli, Kontrabässe Organ and Chamber Orchestra - SKU: S9.Q1569 Concerto for Organ and Chamber orchestra. Composed by Paul Hindemith. This edition: solo part. Downloadable, Solo part. Op. 46/2. Duration 17 minutes. Schott Music - Digital #Q1569. Published by Schott Music - Digital (S9.Q1569).
$30.99
Concert music
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Orchestre de chambre
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AVANCÉ
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Hans Werner Henze
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Concert music
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Schott Music - Digital
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SheetMusicPlus
Fl. · Ob. · Tr. · Pos. (oder Fag.) - Str. (1 · 1 · 1 · 1 · 1 oder 2 · 2 · 2 · 2 · 2) violin solo and small chamber orchestra - ...
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Fl. · Ob. · Tr. · Pos. (oder Fag.) - Str. (1 · 1 · 1 · 1 · 1 oder 2 · 2 · 2 · 2 · 2) violin solo and small chamber orchestra - advanced - SKU: S9.Q569465 For violin solo and chamber orchestra. Composed by Hans Werner Henze. Downloadable, Separate edition. Duration 13 minutes. Schott Music - Digital #Q569465. Published by Schott Music - Digital (S9.Q569465).
$18.99
Because - Tenor Voice and Chamber Orchestra
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Orchestre de chambre
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INTERMÉDIAIRE/AVANCÉ
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Guy d'Hardelot, Edward Teschem
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Daryl McKenzie
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Because - Tenor Voice and Cham
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Daryl McKenzie
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SheetMusicPlus
Chamber Orchestra - Level 4 - SKU: A0.717689 Composed by Guy d'Hardelot, Edward Teschemacher. Arranged by Daryl McKenzie. 20th Century,Concert,Standards...
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Chamber Orchestra - Level 4 - SKU: A0.717689 Composed by Guy d'Hardelot, Edward Teschemacher. Arranged by Daryl McKenzie. 20th Century,Concert,Standards. Score and parts. 26 pages. Daryl McKenzie #3411971. Published by Daryl McKenzie (A0.717689). Because. Arranged for Solo Tenor Voice and chamber orchestra Fl, Ob, Cl, Bsn, 4 FHns, Pno, 2 per, Harp and Strings.
$59.99
Piano Concerto No. 6, Full Score Only - Score Only
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Orchestre de chambre
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INTERMÉDIAIRE/AVANCÉ
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James Nathaniel Holland
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Piano Concerto No. 6, Full Sco
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James Nathaniel Holland
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SheetMusicPlus
Chamber Orchestra - Level 4 - SKU: A0.1321776 Composed by James Nathaniel Holland. 21st Century,Chamber,Contemporary. 120 pages. James Nathaniel Holland...
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Chamber Orchestra - Level 4 - SKU: A0.1321776 Composed by James Nathaniel Holland. 21st Century,Chamber,Contemporary. 120 pages. James Nathaniel Holland #910235. Published by James Nathaniel Holland (A0.1321776). FULL SCORE (Only, In Concert Pitch)  Number 6 of 21st century, American composer James Nathaniel Holland’s Piano Concertos for smaller orchestra and piano soloist.  This lively piece contains three distinct movements.  Movement one giggles and bubbles with triumphant glee;  movement 2, a quiet rocking; ending with movement 3, a neo-classical style with modern sensibilities.  Good for smaller hand, intermediate advanced level. (License or permission to perform may apply.)Instrumentation:  Fl, Ob, Cl Bb 1.2., Bsn, Hrn 1.2, Tpt, Trom, Timp, Perc. (Cymbal w/soft mallet, Crash Cymbals, Splash cymbal, high hat, bass drum, wood block) PIANO SOLOIST, StringsTwo Pianos/Four Hands, Full Score only, and Full Score with Instrument Parts, all sold separately.Total Duration:  Approximately 30 minutes.
$15.95
Tie A Yellow Ribbon Round The Ole Oak Tree
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Orchestre de chambre
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FACILE
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Dawn Featuring Tony Orlando
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Yunhee Cho
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Tie A Yellow Ribbon Round The
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Yunhee Cho
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SheetMusicPlus
Chamber Orchestra - Level 2 - SKU: A0.1492400 By Dawn Featuring Tony Orlando. By Irwin Levine and L. Russell Brown. Arranged by Yunhee Cho. 20th Century...
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Chamber Orchestra - Level 2 - SKU: A0.1492400 By Dawn Featuring Tony Orlando. By Irwin Levine and L. Russell Brown. Arranged by Yunhee Cho. 20th Century,Chamber,Contest,Country,Festival,Pop. 24 pages. Yunhee Cho #1069072. Published by Yunhee Cho (A0.1492400). Tie A Yellow Ribbon Round The Ole Oak Tree is arranged for small orchestra. The instrumentation includes Fl.1,2 Ob., Cla.1,2, Tp.Bb, Tb., Vin.1,2, Vc. and piano accompaniment. The performance level of the piece is intermediate.
$49.99
Mariä Wiegenlied A flat majeur
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Orchestre de chambre
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INTERMÉDIAIRE
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Max Reger
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Mariä Wiegenlied A flat m
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Schott Music - Digital
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SheetMusicPlus
Flöte, Oboe, Klarinette in B, Fagott, Horn in F, Pauken - Streicher (5.5.4.3.2) soprano and chamber orchestra - intermediate - SKU: S9.Q6456 Aus S...
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Flöte, Oboe, Klarinette in B, Fagott, Horn in F, Pauken - Streicher (5.5.4.3.2) soprano and chamber orchestra - intermediate - SKU: S9.Q6456 Aus Schlichte Weisen. Composed by Max Reger. This edition: score. Downloadable, Score. Op. 76/52. Duration 6 minutes. Schott Music - Digital #Q6456. Published by Schott Music - Digital (S9.Q6456). Key: A flat major. German.The vocal oeuvre of Max Reger is quite comprehensive but only few of his more than 300 works have become firmly established in the concert repertoire. One song, however, was to become a real big seller: Mariä Wiegenlied in which the composer had woven the old Christmas carol Joseph, lieber Joseph mein. Because of its huge success, Max Reger recommended to his publisher an instrumentation which he actually realized later: This gem for piano was turned into an atmospheric piece of pastoral music for voice and chamber orchestra.
$15.99
Mariä Wiegenlied A flat majeur
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Orchestre de chambre
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INTERMÉDIAIRE
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Max Reger
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Mariä Wiegenlied A flat m
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Schott Music - Digital
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SheetMusicPlus
Flöte, Oboe, Klarinette in B, Fagott, Horn in F, Pauken, Violine 1, Violine 2, Viola, Violoncello, Kontrabass soprano and chamber orchestra - intermediate - ...
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Flöte, Oboe, Klarinette in B, Fagott, Horn in F, Pauken, Violine 1, Violine 2, Viola, Violoncello, Kontrabass soprano and chamber orchestra - intermediate - SKU: S9.Q6457 Aus Schlichte Weisen. Composed by Max Reger. This edition: set of parts. Downloadable, Set of parts. Op. 76/52. Duration 6 minutes. Schott Music - Digital #Q6457. Published by Schott Music - Digital (S9.Q6457). Key: A flat major. German.The vocal œuvre of Max Reger is quite comprehensive but only few of his more than 300 works have become firmly established in the concert repertoire. One song, however, was to become a real big seller: Mariä Wiegenlied in which the composer had woven the old Christmas carol Joseph, lieber Joseph mein. Because of its huge success, Max Reger recommended to his publisher an instrumentation which he actually realized later: This gem for piano was turned into an atmospheric piece of pastoral music for voice and chamber orchestra.
$45.99
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