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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
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SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
XYLOPHONE
3 Of Hearts
Non classifié
181
Piano & claviers
Piano seul
137
Accompagnement Piano
49
Piano, Voix
46
Piano, Voix et Guitare
38
Piano Facile
21
Orgue
11
Instruments en Do
6
Piano Trio: piano, violon, violoncelle
5
Piano Quintette: piano, 2 violons, alto, violoncelle
2
Piano Quatuor: piano, 2 violons, violoncelle
1
Piano grosses notes
1
+ 6 instrumentations
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Guitares
Guitare notes et tablatures
10
Guitare
8
Basse electrique
5
Ligne De Mélodie, (Paroles) et Accords
4
Ukulele
2
Paroles et Accords
2
Piano, Guitare (duo)
1
+ 2 instrumentations
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Voix
Chorale 3 parties
104
Chorale SATB
67
Voix Alto, Piano
31
Voix Tenor
29
Voix Soprano
24
Voix Baryton, Piano
19
Chorale TTBB
18
Chorale SSAA
17
Voix Tenor, Piano
16
Chorale 2 parties
15
Voix Soprano, Piano
9
Chorale Unison
7
Voix duo, Piano
2
Voix seule
1
Chorale
1
+ 10 instrumentations
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Vents
Clarinette et Piano
52
Hautbois, Piano (duo)
50
2 Saxophones (duo)
39
Flûte traversière et Piano
39
Saxophone Alto et Piano
32
Flûte traversière
28
Saxophone Alto
26
Clarinette
21
Saxophone (partie séparée)
20
Saxophone Tenor
19
Quatuor de Saxophones: 4 saxophones
17
Saxophone Tenor et Piano
14
2 Hautbois (duo)
13
Flûte, Hautbois, Clarinette, Basson
13
2 Flûtes traversières (duo)
13
2 Clarinettes (duo)
13
Saxophone Baryton, Piano
13
Saxophone Soprano et Piano
12
Hautbois (partie séparée)
11
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
10
Quintette de Saxophone: 5 saxophones
7
Hautbois
7
Saxophone, Clarinette (duo)
6
Quatuor de Clarinettes: 4 clarinettes
6
Saxophone Baryton
6
Hautbois, Basson (duo)
5
Saxophone Soprano
5
Clarinette, Violon (duo)
4
Flûte, Violoncelle
4
Hautbois, Violoncelle
4
Flûte, Clarinette (duo)
4
Clarinette, Basson (duo)
4
Clarinette, Violoncelle (duo)
3
Quatuor de Flûtes : 4 flûtes
3
3 Saxophones (trio)
3
Hautbois, Clarinette (duo)
2
Hautbois, Clarinette, Basson (trio d'anches)
2
Clarinette et Alto
2
2 Flûtes traversières, Piano
2
Flûte, Hautbois, Clarinette (trio)
2
2 Clarinettes, Piano
2
Flûte, Saxophone (duo)
2
Quintette de Flûte : 5 flûtes
2
Hautbois, Flûte
2
Flûte, Violon
2
2 Hautbois, Piano
2
Clarinette, Trompette (duo)
2
Flûte, Clarinette et Basson
1
Ensemble de Clarinettes
1
Hautbois, Guitare (duo)
1
Flûte, Trompette (duo)
1
Saxophone et Orgue
1
Saxophone
1
Flûte, Hautbois, Basson
1
Quatuor de Flûtes à bec
1
Cor anglais, Piano
1
+ 51 instrumentations
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Cuivres
Trompette, Piano
50
Cor et Piano
50
Trombone et Piano
25
Tuba et Piano
23
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
21
Trompette
21
Trombone
19
Cor
18
Tuba
16
2 Trompettes (duo)
13
2 Cors (duo)
10
2 Trombones (duo)
9
Quatuor de Cuivres: 2 trompettes, Cor, trombone
7
Quatuor de Cuivres : 2 trompettes, trombone, tuba
5
2 Tubas (duo)
4
Trompette, Trombone (duo)
4
Trompette, Saxophone (duo)
4
Quatuor de Cuivres
4
Cor, Violoncelle (duo)
3
2 Trompettes, Clavier (piano ou orgue)
2
2 Cors, Piano
2
Ensemble de Trombones
1
3 Euphoniums
1
Euphonium
1
2 Euphoniums (duo)
1
Ensemble de Cors
1
Trompette (partie séparée)
1
Cor anglais, Piano
1
+ 23 instrumentations
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Cordes
Violon et Piano
62
Violoncelle, Piano
57
Alto, Piano
46
Quatuor à cordes: 2 violons, alto, violoncelle
41
Violon
26
Violoncelle
25
Alto seul
21
2 Violons (duo)
18
Contrebasse, Piano (duo)
14
2 Violoncelles (duo)
13
2 Altos (duo)
13
Violon, Violoncelle (duo)
12
Contre Basse
12
Trio à Cordes: violon, alto, violoncelle
11
Violon, Alto (duo)
7
Quintette à cordes: 2 violons, alto, violoncelle, basse
6
Trio à Cordes: 2 violons, violoncelle
6
Harpe
5
2 Contrebasses (duo)
4
Alto (partie séparée)
4
Violon (partie séparée)
4
Alto, Violoncelle (duo)
4
Alto et Basson
3
Quintette à cordes : 2 violons, alto et 2 violoncelles
3
Quintette à cordes: 2 violons, 2 altos, violoncelle
2
2 Violons, Piano
2
Violoncelle , Guitare (duo)
2
Trio à Cordes: 2 violons, alto
2
2 Violoncelles, Piano
2
Violon, Basson (duo)
1
Harpe, Voix
1
+ 26 instrumentations
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Cloches
14
Orchestre à Cordes
13
Orchestre d'harmonie
12
Orchestre
8
Batterie
5
Ensemble de cuivres
3
Ensemble Jazz
2
Orchestre de chambre
2
Fanfare
1
Jazz combo
1
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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…
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FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
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GUITARE LAP ST…
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Crtitères actifs :
3 Of Hearts
Orchestre de chambre
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1
Requiem
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Orchestre de chambre
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Harald Weiss
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Requiem
#
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
Schumann: Träumerei Op. 15 No. 7 for Piano Sextet
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Orchestre de chambre
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INTERMÉDIAIRE
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Robert Schumann
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James M
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Schumann: Träumerei Op. 1
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jmsgu3
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SheetMusicPlus
Chamber Orchestra - Level 3 - SKU: A0.550196 Composed by Robert Schumann. Arranged by James M. Guthrie. Holiday,Romantic Period,Standards. 10 pages. Jms...
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Chamber Orchestra - Level 3 - SKU: A0.550196 Composed by Robert Schumann. Arranged by James M. Guthrie. Holiday,Romantic Period,Standards. 10 pages. Jmsgu3 #4598499. Published by jmsgu3 (A0.550196). Op. 15 No. 7 Träumerei * Daydreaming * мечтательноÑÑ‚ÑŒ * αφηÏημάδα * snÄ›nà An unexpected and welcome recital encore.Schumann's Träumerei (Dreaming), Op. 15 No. 7, is a solo piano piece that is part of his Scenes from Childhood (Kinderszenen) set, which was his first attempt at writing a piano solo. The piece is significant for several reasons:Emotional Appeal: Träumerei is considered a masterpiece due to its great emotional appeal, combining both haunting sadness and nostalgic tenderness. This emotional depth has allowed the piece to touch many people's hearts and become a beloved piece of music worldwide.Universal Themes: The piece explores themes of childhood, memories, and feelings from a sentimental adult perspective. These themes are universally cherished and can be appreciated by adults and children.Cultural Impact: Träumerei has been used in various cultural contexts, such as in the 1947 Hollywood film Song of Love and the 1944 German biographical film on Schumann. In Russia, a hummed choral, a cappella version that became known as mourning music, was played annually during the Minute of Silence on Victory Day.Influence on Other Artists: The piece has inspired other artists, such as violinist Fenella Humphreys, who released an arrangement of Träumerei for violin in 2021.Schumann's Träumerei is a significant piece of music due to its emotional appeal, universal themes, cultural impact, and influence on other artists. Its timeless beauty and emotional depth continue to resonate with audiences worldwide.
$48.95
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3 Of Hearts
