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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
And There Was Light - Tuba
Non classifié
305
Piano & claviers
Piano seul
110
Piano, Voix
27
Piano, Voix et Guitare
23
Instruments en Do
6
Orgue
6
Piano Facile
5
Piano Trio: piano, violon, violoncelle
2
Piano Quintette: piano, 2 violons, alto, violoncelle
2
Piano Quatuor: piano, violon, alto, violoncelle
1
Accordéon
1
1 Piano, 4 mains
1
2 Pianos, 8 mains
1
+ 7 instrumentations
Retracter
Guitares
Guitare
13
Guitare notes et tablatures
7
3 Guitares (trio)
3
Basse electrique
3
Ligne De Mélodie, (Paroles) et Accords
2
2 Guitares (duo)
1
Ukulele
1
+ 2 instrumentations
Retracter
Voix
Chorale SATB
66
Pack Instrumental pour Chorale
62
Chorale 3 parties
16
Chorale 2 parties
11
Voix Alto, Piano
9
Chorale TTBB
8
Chorale Unison
6
Chorale SSAA
5
Voix Soprano
1
Voix moyenne, Piano
1
Chorale SSAATTBB
1
Voix Soprano, Piano
1
Voix haute
1
Voix duo, Piano
1
+ 9 instrumentations
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Vents
2 Saxophones (duo)
53
Saxophone, Clarinette (duo)
32
2 Clarinettes (duo)
25
Flûte traversière et Piano
23
Clarinette, Violon (duo)
22
2 Flûtes traversières (duo)
20
Clarinette, Trompette (duo)
18
Hautbois, Piano (duo)
18
Saxophone Alto et Piano
15
Clarinette et Piano
15
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
15
Quatuor de Saxophones: 4 saxophones
14
Flûte, Violon
12
2 Hautbois (duo)
11
Clarinette et Alto
11
Flûte, Clarinette (duo)
11
Saxophone Soprano et Piano
11
Saxophone Tenor et Piano
10
Flûte, Trompette (duo)
10
Hautbois, Flûte
10
Hautbois, Clarinette (duo)
10
Flûte, Alto (duo)
9
Quintette de Saxophone: 5 saxophones
8
Ensemble de Flûtes
8
Flûte, Saxophone (duo)
8
Flute (partie séparée)
7
Ensemble de Clarinettes
7
Flûte à bec Soprano
7
Hautbois, Basson (duo)
7
Cor anglais, Piano
7
Flûte, Hautbois, Clarinette, Basson
6
Saxophone Baryton, Piano
6
Ensemble de saxophones
6
Clarinette Basse, Piano
6
3 Saxophones (trio)
4
Quatuor de Clarinettes: 4 clarinettes
4
Quatuor de Flûtes : 4 flûtes
4
2 Flûte à bec (duo)
3
Clarinette (partie séparée)
3
Quintette de Flûte : 5 flûtes
3
Flûte à Bec
3
3 Clarinettes (trio)
2
Saxophone et Harpe
2
Quatuor de Flûtes à bec
2
Quintette de Clarinettes: 5 clarinettes
2
Clarinette
2
Saxophone et Guitare
2
Trio de Flûtes: 3 flûtes
2
5 Flûtes à bec
1
Flûte, Hautbois, Clarinette (trio)
1
Flûte, Violoncelle
1
Clarinette, Violoncelle (duo)
1
Hautbois, Harpe
1
Clarinette, Guitare (duo)
1
Clarinette, Basson (duo)
1
Quintette de Clarinette: Clarinette, Quatuor à Cordes
1
Hautbois, Guitare (duo)
1
Clarinette Basse
1
Flûte à bec Alto, Piano
1
Flûte, Violon, Piano
1
Hautbois, Clarinette, Basson (trio d'anches)
1
Clarinette, Harpe (duo)
1
Flûte irlandaise
1
3 Flûtes à bec (trio)
1
Flûte, Clarinette, Piano (trio)
1
+ 60 instrumentations
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Cuivres
Trompette, Saxophone (duo)
22
Trombone et Piano
12
Trompette, Trombone (duo)
10
Trompette, Piano
9
2 Trompettes (duo)
9
Euphonium, Piano (duo)
8
2 Trombones (duo)
8
Cor anglais, Piano
7
Quatuor de Cuivres: 2 trompettes, Cor, trombone
6
Cor et Piano
4
Ensemble de Trombones
4
Trombone (partie séparée)
3
Cor (partie séparée)
2
Ensemble de Cors
2
Trompette
2
Ensemble de Trompettes
1
Cor et Harpe
1
Quatuor de cuivres: 4 trompettes
1
Trompette, Harpe
1
Trombone
1
Quatuor de cuivres: 4 trombones
1
+ 16 instrumentations
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Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
25
Violon et Piano
25
Alto, Piano
15
Violoncelle, Piano
14
2 Altos (duo)
12
Violon, Alto (duo)
11
2 Violoncelles (duo)
10
Violon, Violoncelle (duo)
10
2 Violons (duo)
10
Harpe
9
Violon
4
Trio à Cordes: violon, alto, violoncelle
3
Harpe, Voix
3
Harpe, Flûte (duo)
2
Violon (partie séparée)
2
Quintette à cordes: 2 violons, alto, violoncelle, basse
2
4 Contrebasses
2
Harpe, Trombone (duo)
1
2 Harpes (duo)
1
Violoncelle , Guitare (duo)
1
Trio à Cordes: 3 violoncelles
1
Trio à cordes: 3 altos
1
Ensemble d'Altos
1
Contrebasse, Piano (duo)
1
Quatuor à cordes: 4 violons
1
Contrebasse (partie séparée)
1
Trio à cordes: 3 violins
1
Alto, Violoncelle (duo)
1
Violoncelle
1
4 Violoncelles
1
Ensemble de Violons
1
Trio à Cordes: 2 violons, violoncelle
1
Alto (partie séparée)
1
Violoncelle (partie séparée)
1
Alto et Harpe
1
Quatuor à cordes : 4 altos
1
Violoncelle, Orchestre
1
Harpe, Violoncelle (duo)
1
Harpe, Violon (duo)
1
+ 34 instrumentations
Retracter
Orchestre & Percussions
Orchestre
40
Orchestre d'harmonie
38
Orchestre à Cordes
22
Ensemble de cuivres
10
Ensemble Jazz
8
Orchestre de chambre
7
Jazz combo
6
Cloches
3
Ensemble de Percussions
3
Percussion (partie séparée)
2
Piano et Orchestre
1
2 Marimbas
1
+ 7 instrumentations
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FLUTE A DIX…
FLUTE DE PA…
FORMATION M…
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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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MANDOLINE
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Crtitères actifs :
And There Was Light - Tuba
Orchestre de chambre
Partitions à imprimer
7 partitions trouvées
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1
TELEMANN – VIOLIN CONCERTO IN A MAJOR "THE FROGS", TWV 51:A4 (Score and parts in PDF)
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Orchestre de chambre
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AVANCÉ
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Classique
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Georg Philipp Telemann
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Sneakwood Editions
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TELEMANN – VIOLIN CONCER
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Sneakwood Editions
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SheetMusicPlus
Chamber Orchestra - Level 5 - SKU: A0.890767 Composed by Georg Philipp Telemann. Arranged by Sneakwood Editions. Baroque,Classical. Score and parts. 41 ...
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Chamber Orchestra - Level 5 - SKU: A0.890767 Composed by Georg Philipp Telemann. Arranged by Sneakwood Editions. Baroque,Classical. Score and parts. 41 pages. Sneakwood Editions #4781035. Published by Sneakwood Editions (A0.890767). Edition based on Ms. D MÜu, ms. 775Score (20 pages) and Parts (friendly performance edition): Violino principale, Violin I, Violin II, Violin III, Viola, Violoncello and Harpsichord.The Violin Concerto in A major (TWV 51:A4), which has come to light only fairly recently, does not take as its musical model the song of the nightingale (as in ‘La Bizarre’ [TWV 55:G2]) or of the goldfinch (Vivaldi), but the croaking of the common frog, also called ‘Reling’ in certain regions of Germany, whence the concerto’s subtitle. Nothing better could be expected of a composer who found inspiration even in crows and in the out-of-tune playing of village musicians! Although this concerto, which the manuscript attributes to Telemann, bears traces of his personal style, other features, such as the exceptionally high solo part, leave room for doubt. At a structurally important point in the first movement the soloist produces no more than a succession of repeated notes, ‘a-a, a-a’, which infect the other parts as well. Of course, this is the vowel that the frog croaks, given a distinctive tone-colour by use of the open A string and stopped D string. But worse is to come. In the second ritornello the orchestral violins ‘forget’ the beginning of their theme, whilst the cello inappropriately pushes its way into the foreground. The setting of the second movement (Adagio), probably a moonlit stretch of shallow water, then audibly inspires a pair of courting frogs to make sweet music together. We are given the opportunity to rejoice in their croaking offspring in the concluding Menuet and its rapid Double. This movement entirely dispenses with concertante sounds of nature and thereby betrays its origins in the suite, where it always takes its accustomed place in Telemann’s music. If we knew that a satirist was at work in this ‘Relinge’ Concerto, someone who was deliberately exhibiting all these deviations from good taste, then we could infer with some certainty that the composer is indeed Telemann. Since his own concertos ‘smack of France’ (as he puts it in his autobiography of 1718), we may most likely credit him with permitting his not at all ‘sullen old heart’ a little joke at the expense of the relevant concertos of a certain Italian composer… – Peter Huth (trans. Charles Johnston)www.snakewoodeditions.com
$18.00
Symphony No. 8 ... City of Light (2011) for chamber orchestra
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Orchestre de chambre
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INTERMÉDIAIRE/AVANCÉ
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Thomas Oboe Lee
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Symphony No. 8 ... City of Lig
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Thomas Oboe Lee
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SheetMusicPlus
Chamber Orchestra - Level 4 - SKU: A0.869356 Composed by Thomas Oboe Lee. 20th Century,Baroque,Classical,Contemporary,Romantic Period. Score and parts. ...
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Chamber Orchestra - Level 4 - SKU: A0.869356 Composed by Thomas Oboe Lee. 20th Century,Baroque,Classical,Contemporary,Romantic Period. Score and parts. 113 pages. Thomas Oboe Lee #15879. Published by Thomas Oboe Lee (A0.869356). Instrumentation: 1 flute, 1 oboe, 1 English horn, 2 bassoons, 2 French horns, timpani and strings.Program note: In the year 2010, my wife Kristin Beckwith and I went to Paris twice, the first time in May and the second time in December right after Christmas. The weather was magnificent in May. Our friends Seph and Roger met us there. Being long-time veterans of Paris, they took us all over the city: Le Marais, the Left Bank, Montmartre, Sacré Coeur, Père LaChaise cemetery, Avenue des Champs-Élysées, Jardin du Luxembourg, Jardin des Tuileries, Notre Dame cathedral, Eiffel Tower, the flea market at Porte de Clignancourt, the canal at Saint Martin, etc. Since the weather was so great we basically stayed outside the entire two weeks. My wife Kris said that we had to return next again to Paris to go inside the museums. So we did. The weather in Paris after Christmas was very damp and chilly. So we did indoor activities: Le Louvre, Musée D’Orsay, Palais Garnier, etc. We even attended a beautiful performance of Swan Lake by the Paris Opera Ballet at L’Opéra Bastille. I should also mention that on both occasions I met up with a former student of mine from Berklee, Joe Makholm. He makes a living in Paris playing jazz piano. Joe got us a gig at the Swan Bar in Montparnasse. On the first occasion we did it as a trio with a French bass player. I played flute. On the second occasion, we did it as a duo. Playing jazz in Paris? You can’t beat that!!! Early this year, Steven Lipsitt and I had a chat about my writing a new work for the Boston Classical Orchestra. My last work for the BCO was a piano concerto with Robert Levin as soloist. I told Steven that this time I wanted to write a symphony. He said, Sure. Go ahead. I told him it would be about Paris. He said he would put Mozart’s Paris Symphony on the same program. I said, Fabulous! Symphony No. 8 … City of Light (2011) is in five movements. 1. La Seine Presto, Moderato 2. Basilique du Sacré-Coeur Largo 3. Palais Garnier Allegro, Trio 4. Avenue des Champs-Élysées Allegro 5. Musée du Louvre Largo, Moderato This work is dedicated to my wife and muse, Kristin Beckwith. Audio Link: https://thomasoboelee.bandcamp.com/album/symphony-no-8-city-of-light-2011Video link: https://youtu.be/-Yn76vWg7jE
$9.99
Händel: Atalanta, HWV 35: Ouverture. Largo - Allegro as played by Alison Balson and Trevor Pinnock.
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Orchestre de chambre
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INTERMÉDIAIRE/AVANCÉ
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Georg Friedrich Händel, Ali
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Flavio Regis Cunha
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Händel: Atalanta, HWV 35:
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Flavio Regis Cunha
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SheetMusicPlus
Chamber Orchestra - Level 4 - SKU: A0.1288408 By Georg Friedrich Händel, Alison Balson, Trevor Pinnock and the English Concert. By George Frideric Ha...
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Chamber Orchestra - Level 4 - SKU: A0.1288408 By Georg Friedrich Händel, Alison Balson, Trevor Pinnock and the English Concert. By George Frideric Handel. Arranged by Flavio Regis Cunha. Baroque,Classical,Contest,Festival,Instructional,Wedding. Score and Parts. 44 pages. Flavio Regis Cunha #879394. Published by Flavio Regis Cunha (A0.1288408). Handel: Atalanta, HWV 35: Ouverture. Largo - Allegro.Do you want to bring Georg Friedrich Händel's Atalanta to life? Introducing Handel's powerful work for trumpet solo and chamber orchestra, as played by the world's premier soloist Alison Balson and Trevor Pinnock. Perfect for church, school and professional orchestras, 'Handel: Atalanta' will give your performance exceptional energy and dynamic expression. Get this timeless masterpiece and experience a stunning work of genius.Advanced Intermediate Format: Concert, 9 x 12 inches44 pagesFull Score and Orchestral Parts Instrumentation: Basso continuo, Trumpet, Chamber Orchestra (0.2.0.1  0.1.0.0  harpsich. str.) + Trumpet and Continuo reductionDuration: 4 min.Program NotesAbout the ComposerThe 'Atalanta, HWV 35: Ouverture' was composed by the renowned Baroque composer, Georg Friedrich Händel. His imaginative works make him one of the most important figures of the Baroque period. Other well-known works of Händel's include 'The Messiah', 'Water Music', and 'Music for the Royal Fireworks'. He was a master at combining various instruments and emotional elements to create enthralling music.Musical CharacteristicsThe 'Atalanta, HWV 35: Ouverture' is characterized as a light and airy composition, made up of a combination of a trumpet solo and chamber orchestra. The movement transitions from a gentle, unhurried 'Largo' into an energetic and lively 'Allegro'. The bright, steady tempo of the 'Allegro' creates a lively and captivating atmosphere. The trumpet solo and chamber orchestra complement each other wonderfully, resulting in an energetic and joyous musical journey. The Composition ItselfThe 'Atalanta, HWV 35: Ouverture' is presented here by trumpeter Alison Balson and conductor Trevor Pinnock and The English Concert. The piece begins with a wonderfully flavorful 'Largo' section, featuring Balson's ethereal, small touches of the trumpet as the orchestra gently sets the musical groundwork. This is soon followed by an equally uplifting 'Allegro'. Balson's trumpet solo is full of passion and energy, creating a bold and energetic atmosphere. As the chamber orchestra grows more intense, the piece builds to a thrilling conclusion. Programmatic InterpretationThe 'Atalanta, HWV 35: Ouverture' is based on the ancient Greek myth of Atalanta. In the myth, Atalanta is a swift and brave Princess who is challenged by a band of young suitors to a race. To the winners, she offers a prize of marriage. As we listen to Handel's composition, we can imagine the race beginning with the slow and steady 'Largo', as Atalanta calmly assesses the present, and takes her time to decide her path. As the 'Allegro' begins, we can feel her strength and power as she embarks on her journey, full of excitement and determination. As the piece builds, we can feel her courage and enthusiasm as she confronts the race ahead. Finally, we can picture Atalanta achieving success as the piece ends in jubilation.About the album 'Magic Trumpet'Sound the Trumpet is an album of glorious baroque music associated with royalty where Alison brings the music of the Purcell and Händel to life. collaboration between the English trumpetist, Alison Balson, the conductor and harpsichordist, Trevor Pinnock and the English Concert baroque soloists.
$39.99
ETERNAL SOURCE OF LIGHT DIVINE - HWV 74) for Soprano, trumpet, Strings and Harpsichord
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Orchestre de chambre
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INTERMÉDIAIRE
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Classique
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George Frideric Handel
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Flávio Régis Cunha
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ETERNAL SOURCE OF LIGHT DIVINE
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Flavio Regis Cunha
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SheetMusicPlus
Chamber Orchestra - Level 3 - SKU: A0.597276 By George Frideric Handel. By George Frideric Handel. Arranged by Flávio Régis Cunha. Baroque,Holiday...
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Chamber Orchestra - Level 3 - SKU: A0.597276 By George Frideric Handel. By George Frideric Handel. Arranged by Flávio Régis Cunha. Baroque,Holiday,Sacred,Wedding. Score and Parts. 20 pages. Flavio Regis Cunha #5002105. Published by Flavio Regis Cunha (A0.597276). Ode for the Birthday of Queen Anne (HWV 74) is a secular cantata composed by George Frideric Handel to a libretto by Ambrose Philips, of which the first line, Eternal source of light divine, provides an alternative title for the work. It was probably composed during January 1713 for a performance on 6 February 1713, although there is no record of the performance having actually taken place. It was originally written in the key of D major for a tenor or alto soloist.
$18.99
Olga-Polka, Op. 196 (arr. for string orchestra): Optional Percussion
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Orchestre de chambre
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Johann Strauss Jr
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Aaron Meier
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Olga-Polka, Op. 196
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Aaron Meier
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SheetMusicPlus
Chamber Orchestra - Level 4 - SKU: A0.922640 Composed by Johann Strauss Jr. Arranged by Aaron Meier. Romantic Period,World. Score and parts. 1 pages. Aa...
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Chamber Orchestra - Level 4 - SKU: A0.922640 Composed by Johann Strauss Jr. Arranged by Aaron Meier. Romantic Period,World. Score and parts. 1 pages. Aaron Meier #5792381. Published by Aaron Meier (A0.922640). Original by Johann Strauss II Reduction to String Orchestra by Aaron Meier Part: *Optional Percussion (snare drum, triangle, cymbals) True to the original work by Strauss, this reduction for string orchestra features the ornaments and mystical writing that defines Strauss' polkas. There are optional percussion parts to be added at the discretion of the ensemble, however even without percussion the ensemble will sound full (the percussion acts as an ornament). Difficulty: Intermediate-advanced - advanced (best-suited for advanced student ensembles) --- Performance Notes: • Approximate length: 3:30 minutes • 1st Violins: In m. 1, trill a half step from a D♠to a D♮ • 2nd Violins:  - At m. 42, divide players by 3, with 2 players playing line A and the remaining player playing line B  - At m. 72-75, emphasize the E♠in the div. • Snare Drum: The buzz roll needs to be quieter than how it is played in the midi recording (*see YouTube link ↓) History: The Olga-Polka itself owed its creation to a Russian royal wedding which took place in St. Petersburg on 28 August 1857. On that day, amid accompanying splendour, the music-loving Grand Duke Michail Nikolaievich (1832-1909), youngest brother of Tsar Alexander II, married Princess Caecilie of Baden (1839-91), daughter of Archduke Leopold of Baden. Johann Strauss, who at that time was giving a summer season of concerts in nearby Pavlovsk, used the opportunity occasioned by the event to enhance his already enviable popularity with the Russian royal family and composed the Caecilien-Polka in honour of the lovely young bride. Indeed, it is clear from a letter which Johann wrote in late July 1857 to Carl Haslinger, his publisher in Vienna, that the new polka had been prepared well in advance of the wedding (the fair copy of the full orchestral score made for the publisher's engraver is dated 9 August) and was enjoying success even before the royal couple's official engagement on 16August 1857. Sometime after performing the Caecilien-Polka in Pavlovsk, Johann despatched the work to the Austrian capital where his brother Josef conducted its Viennese première, together with that of Johann's waltz Telegraphische Depeschen (op. 195, Volume 28), at his own benefit concert in the Volksgartenon Sunday 18 October 1857. The Wiener Allgemeine Theaterzeitung (16.10.1857) remarked that both works have caused a sensation in St. Petersburg and are truly genial Viennese sounds full of verve and melody. Since tradition demanded that the German Princess Caecilie adopt a Russian name - Olga Feodorovna - before her marriage, so Johann's Caecilien-Polka also underwent a change of identity. On 8 December 1857 Carl Haslinger announced the publication of Strauss's Olga-Polka, on the title page of which is the inscription: Dedicated to her Imperial Highness Grand Duchess Olga, née Princess of Baden. It was under this title, too, that Johann himself first conducted the work in Vienna at a concert in the Volksgarten on 1 November 1857, shortly after his return from Russia. Reporting on this event, the Wiener Allgemeine Theaterzeitung (3.11.1857) observed: The 'Olga-Polka' is a most delightful, fragrant musical bouquet, full of fine, gracious rhythms. [excerpted from NAXOS Records] Kemp, Peter. Program Notes - About this Recording. NAXOS, 1993, www.naxos.com/mainsite/blurbs_reviews.asp?item_code=8.223232&catNum=223232&filetype=About%20.......... Accessed 5 June 2020.
$3.99
Variations on a Rossini Theme op.Posth
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Orchestre de chambre
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Classique
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Frederik François Chopin
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James Strauss
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Variations on a Rossini Theme
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James Strauss
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SheetMusicPlus
Chamber Orchestra - SKU: A0.1035224 Composed by Frederik François Chopin (1810-1949). Arranged by James Strauss. Romantic Period. Score and parts. 33...
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Chamber Orchestra - SKU: A0.1035224 Composed by Frederik François Chopin (1810-1949). Arranged by James Strauss. Romantic Period. Score and parts. 33 pages. James Strauss #5806027. Published by James Strauss (A0.1035224). Unless your name is Mozart, Mendelssohn or Korngold, the first compositional steps are always the hardest. Chopin was probably no older than 14 when he set to work on a set of variations for piano and flute. Already in love with opera, he decided on the happy- ending aria, Non più mesta (No longer sad) from Rossini’s opera Cinderella. As the curtain comes down, Cinderella gleefully warbles, No longer sad beside the fire shall I sit alone, singing; my long years of heartache were but a streak of lightning, a dream, a game. We are unsure what actually prompted Chopin to select this for his unique combination of flute and piano, but it was most likely written for the composer’s father who was a capable amateur flute player. In the end, the piece was probably dedicated to Józef Cichowski, a close friend of his fathers and an amateur flautist as well. We are indeed fortunate that this early piece of Chopin juvenilia has actually survived, as Jozef Nowakowski, one of the composer’s friends, kept the single manuscript copy as a memento. For one reason or another, the work did not appear in print until 1953. This charming and fluent set of variations presents the theme and four decorated versions of the original tune. Added triplet figuration enlivens the first variation, while the second relies on a florid bel canto style to embellish the theme. Rapid downward arpeggios propel variation three, and the concluding variant displays rapid staccato figuration. Stylistically, there is nothing in this composition to suggest Chopin’s hand. You certainly won’t hear Chopin’s fingerprint in the piano part, as all the interesting bits are given to the flute. In addition, it’s the only Chopin piano part that can comfortably be played by most amateurs. Clearly, the future poet of the piano had a long way to go! Here in a Flute and orchestra version.
$29.99
Double Bass Concerto
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Orchestre de chambre
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Gavin Bryars
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Double Bass Concerto
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Schott Music - Digital
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SheetMusicPlus
2.0.1.bcl.1.cbsn-2.0.0.0-timp.2perc(glsp, crot, vib, tub bells, tam-t, b.d)-hp-str(0.0.6.4.2 preferred) solo double bass, optional 3 part bass chorus and chambe...
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2.0.1.bcl.1.cbsn-2.0.0.0-timp.2perc(glsp, crot, vib, tub bells, tam-t, b.d)-hp-str(0.0.6.4.2 preferred) solo double bass, optional 3 part bass chorus and chamber orchestra - SKU: S9.Q47174 (Farewell to St. Petersburg). Composed by Gavin Bryars. This edition: study score. Music Of Our Time. Downloadable, Study score. Duration 28 minutes. Schott Music - Digital #Q47174. Published by Schott Music - Digital (S9.Q47174). Russian.This concerto has the unusual addition of an optional male voice choir. Many Russian elements influenced Bryars when he was writing the piece, not least the text for the bass voices which is taken from Glinka’s song cycle Farewell to St Petersburg. Bryars writes ‘The orchestration is quite light throughout, so that the singing quality of the double bass can emerge. The emphasis in terms of tessitura is on the middle register, though in the closing section there is a passage in natural harmonics. Although the piece is not designed to be a virtuoso showpiece, there is a brief cadenza in which the soloist is supported at times by other solo instruments (bass clarinet, viola, cello, bass).’.
$16.99
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And There Was Light - Tuba
