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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
A Song for Europe
Non classifié
120
Piano & claviers
Piano, Voix
63
Piano Facile
36
Piano seul
31
Piano, Voix et Guitare
16
Orgue
7
Instruments en Do
6
Accordéon
5
2 Accordéons
3
Ensemble d'Accordéons
1
Piano Quatuor: piano, violon, alto, violoncelle
1
Piano Trio: piano, violon, violoncelle
1
2 Pianos, 4 mains
1
Piano grosses notes
1
+ 8 instrumentations
Retracter
Guitares
2 Guitares (duo)
10
Guitare notes et tablatures
10
Guitare
6
Ligne De Mélodie, (Paroles) et Accords
4
Ukulele
2
Ensemble de guitares
2
4 Guitares (Quatuor)
2
Mandoline
1
Paroles et Accords
1
+ 4 instrumentations
Retracter
Voix
Chorale SATB
16
Chorale 3 parties
13
Chorale TTBB
4
Chorale SSAA
4
Chorale SSATB
1
Voix basse, Piano
1
Voix duo, Piano
1
Voix Alto, Piano
1
Chorale 2 parties
1
+ 4 instrumentations
Retracter
Vents
Saxophone Alto et Piano
15
Saxophone Soprano et Piano
12
Quatuor de Clarinettes: 4 clarinettes
12
2 Saxophones (duo)
10
Flûte traversière et Piano
9
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
7
2 Clarinettes (duo)
6
Saxophone, Clarinette (duo)
6
Clarinette et Piano
6
Clarinette
5
Saxophone Baryton, Piano
5
Flûte traversière
5
2 Flûtes traversières (duo)
5
Saxophone Tenor et Piano
5
Clarinette, Violon (duo)
4
Saxophone Tenor
4
Saxophone Alto
4
Cor anglais, Piano
4
Quatuor de Saxophones: 4 saxophones
4
Clarinette, Trompette (duo)
4
Hautbois, Piano (duo)
4
Flûte, Clarinette (duo)
3
Clarinette, Guitare (duo)
3
Flûte et Guitare
3
Flûte, Violon, Piano
3
Clarinette Basse, Piano
3
Flûte, Violon
3
Clarinette et Alto
2
2 Hautbois (duo)
2
Hautbois, Basson (duo)
2
Ensemble de saxophones
2
Saxophone Soprano
2
Quintette de Saxophone: 5 saxophones
2
Flûte à bec, Guitare (duo)
2
Flûte, Alto (duo)
2
Quatuor de Flûtes : 4 flûtes
2
Flûte, Trompette (duo)
2
Hautbois, Flûte
2
Hautbois, Clarinette (duo)
2
Quintette de Clarinettes: 5 clarinettes
2
Flûte, Saxophone (duo)
2
Flûte à bec Alto
1
Flûte, Hautbois, Clarinette, Basson
1
Trio de Flûtes: 3 flûtes
1
Quatuor de Flûtes à bec
1
Saxophone (partie séparée)
1
Ensemble de Flûtes
1
Cor anglais et Harpe (duo)
1
Flûte à bec Soprano, Piano
1
3 Saxophones (trio)
1
Flûte à bec Soprano
1
+ 46 instrumentations
Retracter
Cuivres
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
28
Euphonium, Piano (duo)
7
Trompette
7
Quatuor de Cuivres : 2 trompettes, trombone, tuba
5
Trombone et Piano
5
Trompette, Saxophone (duo)
4
Cor anglais, Piano
4
Trompette, Piano
3
2 Trombones (duo)
3
Cor et Piano
2
Trompette, Trombone (duo)
2
Tuba et Piano
2
Ensemble de Trompettes
2
2 Trompettes (duo)
2
Trombone
2
Quatuor de Cuivres
2
Quatuor de cuivres: 4 trombones
2
2 Tubas (duo)
1
Ensemble de Trombones
1
Cor anglais et Harpe (duo)
1
+ 15 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
34
Violon et Piano
16
Harpe
16
Alto, Piano
8
Violon
7
Violoncelle, Piano
4
2 Harpes (duo)
3
Violoncelle , Guitare (duo)
3
Violoncelle
3
Alto, Guitare (duo)
3
2 Violoncelles (duo)
3
Violon, Violoncelle (duo)
2
Harpe, Flûte (duo)
2
Trio à Cordes: violon, alto, violoncelle
2
2 Violons (duo)
2
Alto seul
2
Violon, Alto (duo)
2
2 Altos (duo)
2
Quintette à cordes: 2 violons, alto, violoncelle, basse
1
Alto (partie séparée)
1
Contre Basse
1
Contrebasse, Piano (duo)
1
Violoncelle, Orgue
1
Violon, Guitare (duo)
1
Trio à Cordes: 3 violoncelles
1
+ 20 instrumentations
Retracter
Orchestre & Percussions
Orchestre d'harmonie
30
Orchestre à Cordes
23
Orchestre
9
Ensemble de cuivres
7
Orchestre de chambre
5
Jazz combo
3
Ensemble Jazz
1
+ 2 instrumentations
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DOBRO - GUI…
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EUPHONIUM
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FLUTE A BEC
FLUTE A DIX…
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FORMATION M…
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GUITARE PED…
HARMONICA
HARPE
HAUTBOIS
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LUTH, THEOR…
MANDOLINE
MARIMBA
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ORGUE
OUD
PARTITIONS …
PAS DE PART…
PERCU. ORCH…
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SAXOPHONE
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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
XYLOPHONE
style (tous)
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MARIAGE - AMOUR - BA…
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METHODE : ACCORDS ET…
METHODE : ETUDES
METHODE : TECHNIQUES
NOËL
OLD TIME - EARLY ROC…
OPERA
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POP ROCK - POP MUSIC
POP ROCK - ROCK CLAS…
POP ROCK - ROCK MODE…
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Vous avez sélectionné:
A Song for Europe
Orchestre de chambre
Partitions à imprimer
5 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
Joseph White: La Bella Cubana for chamber orchestra - Score Only
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Orchestre de chambre
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INTERMÉDIAIRE
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Joseph White
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Robert Debbaut
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Joseph White: La Bella Cubana
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ROBERT DEBBAUT
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SheetMusicPlus
Chamber Orchestra - Level 3 - SKU: A0.939439 Composed by Joseph White. Arranged by Robert Debbaut. Classical,Contest,Festival,Latin,Multicultural,Romant...
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Chamber Orchestra - Level 3 - SKU: A0.939439 Composed by Joseph White. Arranged by Robert Debbaut. Classical,Contest,Festival,Latin,Multicultural,Romantic Period,World. Score and parts. 66 pages. ROBERT DEBBAUT #6363105. Published by ROBERT DEBBAUT (A0.939439). The talents of Afro-Cuban violinist Joseph White were recognized by the American pianist and composer Louis Moreau Gottschalk (1829-1869) who had performed with him on an early recital. Gottschalk raised money so he could go to Paris and study with Jean-Delphin Alard (1815-1888), one of the great violinists of his day. White won the Paris Conservatory’s Premier Prix in 1856 and received high accolades from such musical giants as Auber, Berlioz, Gounod, Rossini, and Saint-Saëns, as well as German violin virtuosi Ferdinand David and Joseph Joachim. He was a major force in the cultural life of Paris as well as Europe for the next twenty years, performing on his Stradivarius violin nicknamed The Swansong. La Bella Cubana was among the original compositions s he performed on his recitals. This volume includes the new arrangement for chamber orchestra, the original transcribed score for two violins and piano, as well as extensive biographical and background information. For those seeking more information about the greatest violinist of whom you have NEVER heard, this is a great starting point.  Adapted from a published lead sheet, this traditional carol is adapted for young string orchestra. If you purchase the score, please write to the arranger at debbaut@gmail.com, subject White LBC and I will send you a copy of the parts for $30 via Venmo or personal check.
$9.99
Three Australian Folk Songs
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Orchestre de chambre
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INTERMÉDIAIRE/AVANCÉ
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Traditonal
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Roman Benedict
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Waltzing Matilda
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Three Australian Folk Songs
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Roman Benedict
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SheetMusicPlus
Chamber Orchestra - Level 4 - SKU: A0.766729 Composed by Traditonal. Arranged by Roman Benedict. 20th Century,Contemporary,Folk,Patriotic. Score and par...
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Chamber Orchestra - Level 4 - SKU: A0.766729 Composed by Traditonal. Arranged by Roman Benedict. 20th Century,Contemporary,Folk,Patriotic. Score and parts. 70 pages. Roman Benedict #5178667. Published by Roman Benedict (A0.766729). This medley of three popular traditional Australian songs is her presented in a lively and colourful arrangement for chamber orchestra. This arrangement works well as an encore or as part of a concert programme (duration: approx. 5'), and is a collection of three popular Australian folk songs: Botany Bay, Click Go The Shears & Waltzing Matilda. These were selected to cover three eras of Australian colonial history: a song from Australia's convict past, one from the development of the pastoral nation, and finishing with the stories of the bush-ranger history. Drawing on musical styles as diverse as folk song, Aaron Copland, and European ballroom dance music it is a fun and entertaining addition to any concert programme.
$70.00
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
Te Quiero Dijiste
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Orchestre de chambre
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INTERMÉDIAIRE
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Maria Grever
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Marek Czekala
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Te Quiero Dijiste
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Marek Czekala
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SheetMusicPlus
Chamber Orchestra - Level 3 - SKU: A0.1190077 Composed by Maria Grever. Arranged by Marek Czekala. Film/TV,Latin. Score and parts. 28 pages. Marek Czeka...
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Chamber Orchestra - Level 3 - SKU: A0.1190077 Composed by Maria Grever. Arranged by Marek Czekala. Film/TV,Latin. Score and parts. 28 pages. Marek Czekala #789711. Published by Marek Czekala (A0.1190077). MarÃa Grever (14 September 1885 – 15 December 1951) was the first female Mexican composer to achieve international acclaim. Grever wrote more than 1000 songs — the majority of them boleros — and her popularity reached audiences in Latin America, Europe, and the United States. In 1920, she began work as a film composer for Paramount Pictures and 20th Century Fox studiosTe quiero dijiste (I love you, you said), written for the 1944 Esther Williams film Bathing Beauty.(Wikipedia).
$49.99
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A Song for Europe
