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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
Cat Hat
Non classifié
3 633
Piano & claviers
Piano seul
1 774
Piano Facile
515
Piano, Voix
398
Piano, Voix et Guitare
286
Orgue
216
Instruments en Do
180
Piano grosses notes
107
Piano Trio: piano, violon, violoncelle
49
1 Piano, 4 mains
36
Accompagnement Piano
28
Accordéon
25
2 Pianos, 4 mains
25
Piano Quatuor: piano, violon, alto, violoncelle
17
Piano (partie séparée)
13
Orgue, Trompette (duo)
5
Piano Quatuor: piano, 2 violons, violoncelle
4
Piano Quintette: piano, 2 violons, alto, violoncelle
4
Orgue, Piano (duo)
3
Clavier
3
1 Piano, 6 mains
2
2 Pianos, 8 mains
2
Clavecin
1
Ligne De Mélodie, Piano
1
+ 18 instrumentations
Retracter
Guitares
Guitare
202
Basse electrique
121
Guitare notes et tablatures
82
Ligne De Mélodie, (Paroles) et Accords
31
Ukulele
30
Guitare (partie séparée)
24
2 Guitares (duo)
16
Dulcimer
5
Mandoline
5
Banjo
4
Ensemble de guitares
3
3 Guitares (trio)
3
Piano, Guitare (duo)
3
Paroles et Accords
3
Mandoline, Guitare (duo)
1
Dobro
1
Guitare, Violon, Violoncelle (trio)
1
4 Guitares (Quatuor)
1
+ 13 instrumentations
Retracter
Voix
Chorale SATB
640
Chorale 3 parties
217
Chorale 2 parties
116
Chorale TTBB
87
Chorale Unison
78
Voix seule
72
Chorale SSAA
64
Voix duo, Piano
48
Voix Soprano, Piano
26
Voix Baryton, Piano
20
Voix Tenor, Piano
19
Voix Alto, Piano
17
Voix duo
15
Voix moyenne, Piano
7
Chorale SSAATTBB
4
Voix Soprano
4
Chorale SSATTB
2
Voix haute
1
Voix Tenor
1
Chorale SATBB
1
Soli, choeur mixte et accompagnement
1
Chorale SSATB
1
Voix basse, Piano
1
+ 18 instrumentations
Retracter
Vents
Saxophone
447
Flûte traversière
260
Clarinette
242
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
222
Flûte traversière et Piano
218
Quatuor de Saxophones: 4 saxophones
210
Hautbois, Piano (duo)
201
Quintette de Saxophone: 5 saxophones
198
Clarinette et Piano
183
2 Saxophones (duo)
168
Flûte, Hautbois, Clarinette, Basson
146
Saxophone Alto et Piano
139
Saxophone Tenor et Piano
105
2 Flûtes traversières (duo)
103
Saxophone (partie séparée)
88
Saxophone Alto
87
Saxophone Soprano et Piano
75
Hautbois (partie séparée)
73
Quatuor de Clarinettes: 4 clarinettes
69
Saxophone Baryton, Piano
65
3 Saxophones (trio)
65
Ensemble de Clarinettes
61
Ensemble de saxophones
58
Saxophone Tenor
56
2 Clarinettes (duo)
56
Quatuor de Flûtes : 4 flûtes
44
2 Hautbois (duo)
39
Flûte, Clarinette (duo)
35
Hautbois
32
Quintette de Clarinettes: 5 clarinettes
31
Saxophone Soprano
29
Ensemble de Flûtes
29
Cor anglais, Piano
28
3 Clarinettes (trio)
27
Flûte, Hautbois, Clarinette (trio)
27
Clarinette, Basson (duo)
27
2 Flûte à bec (duo)
25
Clarinette Basse, Piano
25
Hautbois, Clarinette, Basson (trio d'anches)
24
Quintette de Flûte : 5 flûtes
24
Flûte à bec Soprano
24
Flute (partie séparée)
20
Saxophone Baryton
20
Trio de Flûtes: 3 flûtes
19
Hautbois, Clarinette (duo)
18
Flûte à bec Alto
17
Hautbois, Basson (duo)
17
Flûte à Bec
16
Flûte, Violoncelle
16
Clarinette, Violoncelle (duo)
15
Clarinette, Violon (duo)
15
Hautbois, Violoncelle
14
Flûte, Hautbois (duo)
14
Clarinette (partie séparée)
12
Quatuor de Flûtes à bec
12
Flûte, Basson et Piano
11
Flûte, Clarinette et Basson
11
Flûte, Violon
11
Flûte, Alto (duo)
10
Flûte, Violon, Piano
10
Flûte à bec Tenor
9
Clarinette et Alto
8
Flûte et Guitare
8
Flûte, Clarinette, Cor, Basson (Quartet)
7
3 Flûtes à bec (trio)
7
Flûte, Hautbois, Basson
6
Ocarina
6
5 Flûtes à bec
6
Flute, harpe et violon
6
Hautbois et alto (duo)
6
Hautbois, violon (duo)
6
Flûte, Hautbois, Piano (trio)
5
Flûte, Violon et Violoncelle
5
Flûte, Saxophone (duo)
5
Clarinette, Guitare (duo)
4
Cor Anglais
4
Saxophone, Clarinette (duo)
4
Clarinette, Harpe (duo)
3
Ensemble à vent
3
Flûte, Trombone (duo)
3
2 Saxophones, Piano
3
Flûte, Violoncelle, Piano (trio)
3
Clarinette, Trompette (duo)
3
Hautbois, Flûte
3
Clarinette, Violoncelle, Piano (trio)
3
2 Clarinettes, Basson
3
Flûte, Clarinette, Piano (trio)
2
Hautbois, Harpe
2
Flûte traversière, Basse continue
2
Flûte, Trompette (duo)
2
Flûte, Harpe et Violoncelle
2
Clarinette, trompette et piano
2
2 Clarinettes, Piano
2
Piccolo, Piano
2
Clarinette, Trombone (duo)
2
Flûte et Trio à cordes
2
Hautbois, Violon, Piano
2
2 Flûtes traversières, Piano
2
Flûte à bec Soprano, Piano
2
Saxophone et Orgue
2
Flûte, trombone et piano
2
Flûte à bec Alto, Piano
2
Flûte, Violon, Violoncelle et Piano
2
Clarinette Basse
2
Harmonica
1
Flûte, Tuba (duo)
1
Clarinette, Orgue
1
Hautbois, Guitare (duo)
1
Hautbois, Basson et Piano
1
Flûte, Alto et Piano
1
Hautbois, trombone (duo)
1
Saxophone et Harpe
1
Quintette de Clarinette: Clarinette, Quatuor à Cordes
1
Flûte à bec Alto, Basse continue
1
Flûte, alto et harpe
1
Ensemble De Flûte à bec
1
Ensemble de Hautbois
1
Flûte irlandaise
1
Saxophone et Guitare
1
Piccolo
1
Cor anglais et Harpe (duo)
1
Clarinette, Tuba
1
+ 117 instrumentations
Retracter
Cuivres
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
303
Trompette
257
Trombone
213
Trombone et Piano
161
Trompette, Piano
147
Cor et Piano
142
Cor
111
Tuba et Piano
102
Quatuor de Cuivres : 2 trompettes, trombone, tuba
84
Tuba
77
Quatuor de Cuivres: 2 trompettes, Cor, trombone
74
Euphonium, Piano (duo)
55
Trombone (partie séparée)
54
Trompette (partie séparée)
51
Quatuor de Cuivres
45
2 Trompettes (duo)
39
2 Trombones (duo)
32
2 Cors (duo)
32
Trompette, Trombone (duo)
28
Cor anglais, Piano
28
Quatuor de cuivres: 4 trombones
26
Ensemble de Trombones
19
2 Tubas (duo)
17
Ensemble de Trompettes
15
Ensemble de Cors
11
Tuba (partie séparée)
11
Cor (partie séparée)
10
Quatuor de cuivres: 4 trompettes
8
Quatuor de cuivres: 4 cors
7
Trompette, Cor (duo)
7
4 Tubas
5
Euphonium
4
Trompette, Basson (duo)
4
Trompette, Saxophone (duo)
4
Cor Anglais
4
Trompette et Guitare
4
3 Trombones (trio)
4
Trompette, Violoncelle (duo)
3
Cor, Violoncelle (duo)
3
Tuba et Orgue
3
2 Euphoniums (duo)
3
Trombone basse et Piano
2
3 Trompettes (trio)
2
Trio de Cuivres
2
Trombone basse
2
Cor et Basson (duo)
2
Trombone, Orgue
1
Trombone, Violon (duo)
1
Cor et Harpe
1
3 Cors (trio)
1
Trombone, Cor (duo)
1
Trombone, Tuba (duo)
1
2 Euphoniums et 2 Tubas
1
3 Tubas (trio)
1
Trompette, Tuba (duo)
1
Trompette, Harpe
1
Euphonium, Tuba (duo)
1
Cor anglais et Harpe (duo)
1
+ 53 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
470
Violon et Piano
268
Violon
211
Violoncelle, Piano
201
Alto, Piano
187
Violoncelle
156
Alto seul
112
Violon, Violoncelle (duo)
107
Trio à Cordes: violon, alto, violoncelle
88
Quintette à cordes: 2 violons, alto, violoncelle, basse
82
Contre Basse
77
Harpe
71
2 Violons (duo)
71
Contrebasse, Piano (duo)
65
2 Violoncelles (duo)
64
Violon, Alto (duo)
60
2 Altos (duo)
47
Trio à Cordes: 2 violons, violoncelle
36
Violon (partie séparée)
27
Alto (partie séparée)
26
Violon, Basson (duo)
25
Contrebasse (partie séparée)
23
Alto, Violoncelle (duo)
22
Trio à cordes: 3 violins
20
Piano Trio: Violon, Alto, Piano
17
Trio à Cordes: 3 violoncelles
15
4 Violoncelles
14
Violon, Guitare (duo)
13
Quatuor à cordes: 4 violons
12
2 Contrebasses (duo)
9
Quatuor à cordes : 4 altos
9
Trio à cordes: 3 altos
7
Ensemble d'Altos
7
Trio à Cordes: 2 violons, alto
7
Ensemble de Violons
7
2 Harpes (duo)
7
Quintette à cordes : 2 violons, alto et 2 violoncelles
6
Alto et Basson
6
Violon, Clarinette, Piano (trio)
6
Harpe, Flûte (duo)
6
Violoncelle (partie séparée)
6
Quintette à cordes: 2 violons, 2 altos, violoncelle
6
Harpe, Voix
4
Violoncelle, Contrebasse (duo)
4
Violoncelle , Guitare (duo)
4
Violoncelle, Basse continue
3
Harpe, Violon (duo)
3
Harpe, Violon, Violoncelle
2
Ensemble de Violoncelles
2
Violon, Tuba (duo)
2
Violoncelle, Orgue
2
Violoncelle, Orchestre
1
Flûte, Contrebasse (duo)
1
Harpe et Piano
1
Violon, Basse continue
1
Alto et Harpe
1
Harpe et mandoline
1
4 Harpes
1
Harpe, Violoncelle (duo)
1
3 Harpes
1
+ 55 instrumentations
Retracter
Orchestre & Percussions
Orchestre d'harmonie
1 009
Orchestre à Cordes
302
Orchestre
232
Batterie
158
Ensemble Jazz
147
Orchestre de chambre
144
Cloches
112
Jazz combo
70
Ensemble de cuivres
60
Fanfare
20
Ensemble de Percussions
19
Batterie (partie séparée)
13
Xylophone, Piano
9
Big band
8
Marimba
7
Percussion (partie séparée)
5
Quintette à cordes : 2 Violons, Alto, Violoncelle, Contrebasse, Clavier
4
Xylophone
3
Ensemble d'École
3
Percussion
2
Vibraphone
2
Orchestre, Violon
2
2 Percussions
1
Caisse Claire
1
Piano et Orchestre
1
2 Xylophones
1
Quintette de Cuivres: autres combinaisons
1
+ 22 instrumentations
Retracter
Autres
Formation musicale - Solfège
6
Instruments
ACCORDEON
ALTO
AUTRES INST…
BALALAIKA
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
BUGLE
CHANT - CHO…
CHARANGO
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
CONTREBASSE
COR
COR ANGLAIS
CORNEMUSE
CORNET
DOBRO - GUI…
DULCIMER
EUPHONIUM
FANFARE - B…
FLUTE
FLUTE A BEC
FLUTE A DIX…
FLUTE DE PA…
FORMATION M…
GUITARE
GUITARE PED…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH, THEOR…
MANDOLINE
MARIMBA
ORCHESTRE
ORGUE
OUD
PARTITIONS …
PAS DE PART…
PERCU. ORCH…
PERCUSSION
PIANO
SAXOPHONE
SYNTHE
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIELLE A RO…
VIOLE DE GA…
VIOLON
VIOLONCELLE
XYLOPHONE
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Partitions Numériques
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TRI ET FILTRES
TRI ET FILTRES
Tri et filtres :
--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)
AFRICAIN
AMERICANA
ASIE
BLUEGRASS
BLUES
CELTIQUE - IRISH - S…
CHANSON FRANÇAISE
CHRISTIAN (contempor…
CLASSIQUE - BAROQUE …
COMEDIES MUSICALES -…
CONTEMPORAIN - 20-21…
CONTEMPORAIN - NEW A…
COUNTRY
EGLISE - SACRE
ENFANTS : EVEIL - IN…
FILM - TV
FILM WALT DISNEY
FINGERSTYLE - FINGER…
FLAMENCO
FOLK ROCK
FOLKLORE - TRADITION…
FUNK
GOSPEL - SPIRITUEL -…
HALLOWEEN
JAZZ
JAZZ MANOUCHE - SWIN…
JEUX VIDEOS
KLEZMER - JUIVE
LATIN - BOSSA - WORL…
LATIN POP ROCK
MARIAGE - AMOUR - BA…
MEDIEVAL - RENAISSAN…
METAL - HARD
METHODE : ACCORDS ET…
METHODE : ETUDES
METHODE : TECHNIQUES
NOËL
OLD TIME - EARLY ROC…
OPERA
PATRIOTIQUE
POLKA
POP ROCK - POP MUSIC
POP ROCK - ROCK CLAS…
POP ROCK - ROCK MODE…
PUNK
RAGTIME
REGGAE
SOUL - R&B - HIP HOP…
TANGO
THANKSGIVING
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Crtitères actifs :
Cat Hat
Orchestre de chambre
Partitions à imprimer
144 partitions trouvées
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51
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126
"The Flying Hat" for chamber orchestra (excerpts)
#
Orchestre de chambre
#
INTERMÉDIAIRE/AVANCÉ
#
Panagiotis Theodossiou
#
"The Flying Hat" for
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Panagiotis Theodossiou
#
SheetMusicPlus
Chamber Orchestra - Level 4 - SKU: A0.886736 Composed by Panagiotis Theodossiou. 20th Century,Children,Concert,Standards. Score and parts. 60 pages. Pan...
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Chamber Orchestra - Level 4 - SKU: A0.886736 Composed by Panagiotis Theodossiou. 20th Century,Children,Concert,Standards. Score and parts. 60 pages. Panagiotis Theodossiou #6019921. Published by Panagiotis Theodossiou (A0.886736). The Flying Hat Scenes of a Fairy Tail, for orchestra op.34 (2006) a. A Little Fanfare b. The Hatland c. Dad, the Giant Hat d. Dance of the Little Hats e. The Wind f. The Flight g. Farewell A fairy tale full of inspiration written by a child was the stimulus for the creation of this polytonal work for orchestra. With humor and innocence, piquant orchestration and cinematic use of the sound, the work is dedicated to the child, Michalis Tillianakis and to Eleutherios Geitonas, director of Geitonas School who gave the idea for this project. The work has been transcribed for piano, 4 hands, for the Duo Pianismo recital in Benetatou Cultural Center of Psihiko in 2010 and for wind quintet for the Q innegal Wind Quintet Concerts in Athens in 2011 (Attikon OdeionConservatory, Art Gallery Café, Athens, Perigiali Theater, Korinthos). Excerpts of the work has been performed by Psychiko Youth Orchestra conducted by the composer at Arssakeion Educational Institute Theater in 2016.
$20.00
MADAMINA ('Catalog Aria' from Don Giovanni, Act I)
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Orchestre de chambre
#
INTERMÉDIAIRE/AVANCÉ
#
Classique
#
Wolfgang Amadeus Mozart
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Flavio Regis Cunha
#
MADAMINA
#
Flavio Regis Cunha
#
SheetMusicPlus
Chamber Orchestra - Level 4 - SKU: A0.601816 Composed by Wolfgang Amadeus Mozart. Arranged by Flavio Regis Cunha. Classical,Concert,Opera. Score and par...
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Chamber Orchestra - Level 4 - SKU: A0.601816 Composed by Wolfgang Amadeus Mozart. Arranged by Flavio Regis Cunha. Classical,Concert,Opera. Score and parts. 83 pages. Flavio Regis Cunha #5314791. Published by Flavio Regis Cunha (A0.601816). Madamina, il catalogo è questo (also known as the Catalogue Aria) is a bass catalogue aria from Mozart's opera Don Giovanni to an Italian libretto by Lorenzo Da Ponte, and is one of Mozart's most famous and popular arias.It is sung by Don Giovanni's servant Leporello to Elvira during act 1 of the opera. Sung to a mostly light-hearted tune, it consists of a description and detailed count of his master's numerous conquests.The aria's two halves reverse the usual order of cavatina followed by cabaletta: in the first, a quick Allegro in 4/4, Leporello has a patter summarizing the number and occupations of Don Giovanni's lovers, while in the second, an Andante con moto in 3/4, in the style of a polonaise (with a melody similar to that of the Larghetto of Mozart's earlier Quintet for Piano and Winds), he describes his approaches and preferences, while Donna Elvira presumably listens in horror.Orquestration: 2.2.0.2 - 2.0.0.0 - Str - Solo Bass
$9.99
The Disqualification of Harry Semantix as Trial Juror for East County - Score Only
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Orchestre de chambre
#
AVANCÉ
#
Igor Korneitchouk
#
The Disqualification of Harry
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Studio at the Post
#
SheetMusicPlus
Chamber Orchestra - Level 5 - SKU: A0.1126484 Composed by Igor Korneitchouk. 20th Century,Contemporary. Score and parts. 40 pages. Studio at the Post #7...
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Chamber Orchestra - Level 5 - SKU: A0.1126484 Composed by Igor Korneitchouk. 20th Century,Contemporary. Score and parts. 40 pages. Studio at the Post #727154. Published by Studio at the Post (A0.1126484). Score only (see A727154 for Parts) Duration: 11 - 12 minutes, 37 pp. Description: In Korneitchouk's mischievously titled quasi-concerto for saxophone and orchestra, The Disqualification of Harry Semantix as Trial Juror for East County, the concept of Truth and Lie is explored musically, as well as metaphorically implying something deeper. The Truth (the opening theme after an introduction pieces it together) is slowly mutated into its opposite, the Lie -- upside down, backward, twice as long and strident (the closing theme just before the double cadenza at the end of the piece). The double cadenza, is in fact a cadenza for the saxophone played over a wild orchestral stretto -- a kind of orchestral cadenza -- both simultaneously intoning bits and pieces of either theme, and seems to ask: Can Truth coexist with its Lie? or perhaps, Can Truth exist without its Lie? The first incarnation of The Disqualification of Harry... (available on CD from Old King Cole Productions) appears as a duo for saxophone and piano and has only more recently been orchestrated. The composer tells us that the idea for this piece initially germinated from his own frustrations of having to serve jury duty and being disqualified as a potential juror for answering honestly during jury selection. East County is to be understood as Any County..
$15.04
The Disqualification of Harry Semantix as Trial Juror for East County (Parts only)
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Orchestre de chambre
#
AVANCÉ
#
Igor Korneitchouk
#
The Disqualification of Harry
#
Studio at the Post
#
SheetMusicPlus
Chamber Orchestra - Level 5 - SKU: A0.1126491 Composed by Igor Korneitchouk. 20th Century,Contemporary. Score and parts. 111 pages. Studio at the Post #...
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Chamber Orchestra - Level 5 - SKU: A0.1126491 Composed by Igor Korneitchouk. 20th Century,Contemporary. Score and parts. 111 pages. Studio at the Post #727166. Published by Studio at the Post (A0.1126491). Parts only (see A727154 for Score). Duration: 11 - 12 minutes, 23 Parts including soloist, parts averaging 3 -5 pp., soloist part 9 pp. Description: In Korneitchouk's mischievously titled quasi-concerto for saxophone and orchestra, The Disqualification of Harry Semantix as Trial Juror for East County, the concept of Truth and Lie is explored musically, as well as metaphorically implying something deeper. The Truth (the opening theme after an introduction pieces it together) is slowly mutated into its opposite, the Lie -- upside down, backward, twice as long and strident (the closing theme just before the double cadenza at the end of the piece). The double cadenza, is in fact a cadenza for the saxophone played over a wild orchestral stretto -- a kind of orchestral cadenza -- both simultaneously intoning bits and pieces of either theme, and seems to ask: Can Truth coexist with its Lie? or perhaps, Can Truth exist without its Lie? The first incarnation of The Disqualification of Harry... (available on CD from Old King Cole Productions) appears as a duo for saxophone and piano and has only more recently been orchestrated. The composer tells us that the idea for this piece initially germinated from his own frustrations of having to serve jury duty and being disqualified as a potential juror for answering honestly during jury selection. East County is to be understood as Any County..
$5.02
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
Carson Cooman: Symphony No. 3, “Ave Maris Stella” (2005) for chamber orchestra, score only
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Orchestre de chambre
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AVANCÉ
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Christian contemporain
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Musique Sacrée
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Carson Cooman
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Carson Cooman: Symphony No. 3,
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Musik Fabrik Music Publishing
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SheetMusicPlus
Chamber Orchestra - Level 5 - SKU: A0.533672 Composed by Carson Cooman. Contemporary,Sacred. Score and parts. 54 pages. Musik Fabrik Music Publishing #3...
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Chamber Orchestra - Level 5 - SKU: A0.533672 Composed by Carson Cooman. Contemporary,Sacred. Score and parts. 54 pages. Musik Fabrik Music Publishing #3037097. Published by Musik Fabrik Music Publishing (A0.533672). Symphony No. 3, “Ave Maris Stella†(2005) was written for the Duquesne ContemporaryEnsemble and is dedicated to composer David Stock. Throughout his career, Stock has beena tireless and generous advocate on behalf of new music and living composers. This work isdedicated to him in tribute – as both an important American composer and a significantcontributor to America’s contemporary musical life.The work’s basic source material is the plainchant Ave maris stella (“Hail, star of the seaâ€) –appropriate because of Duquesne’s standing and history as a Catholic university. When thecomposition of this work first began, the original plan was for a celebratory and vibrant piece.As the planning progressed, however, personal circumstances intervened and began to changethe work’s tone – becoming substantially bleaker and more obsessive.The title of the first movement, Pentimento, is defined as “an underlying image in a painting,as an earlier painting, that shows through when the top layer of paint has become transparentwith age.†The melodic and harmonic material for the movement is entirely drawn from theplainchant source, although it is completely transformed and covered up – as in a pentimento.At various points, one can begin to hear the original plainchant “peek out†in subtle ways.The opening section of the movement obsesses again and again on what sounds like a“beginning†– as though it is trying to begin again and again. After a brief bassoon cadenza, afast and driving section starts, marked “sinister.†After driving through a series oftransformations on the plainchant material, a bridge passage leads to further attempts at the“beginning†again. Finally, these attempts are given up, and the plainchant material (theunderlying layer) begins to show through quietly – in preparation for the next movement.In the second movement, Interrupted Motet, the plainchant theme is used in a morestraightforward fashion. After the opening declamatory statements, the following sectionsmove between more free developmental techniques, based on the first movement’stransformations, and “motet†sections – using cantus firmus methods and textures fromRenaissance music. The tone and palate is, however, much darker and more obsessive.There is a brooding ponderousness to these contrapuntal developments. The final motetsection ends in a rageful shout, the plainchant material is presented again in full force, and thepent-up energy dissipates to the close.FluteOboeClarinet in BbBass Clarinet in BbBassoonHorn in F/BbTrumpet in CTrombonePercussion (1 player):tubular bells, vibraphone(Percussionist needs one rosined bow for vibraphone.)PianoViolin IViolin IIViolaCelloContrabass(single strings)This is the score only. The complete parts and each seperate part are also available as seperate items.
$25.95
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
TRANSFORMATION SYMPHONY
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Orchestre de chambre
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AVANCÉ
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Sara Bongo
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TRANSFORMATION SYMPHONY
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Sara Bongo
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SheetMusicPlus
Chamber Orchestra - Level 5 - SKU: A0.1014368 Composed by Sara Bongo. Contemporary,Instructional,New Age,Spiritual,Standards. Score and parts. 183 pages...
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Chamber Orchestra - Level 5 - SKU: A0.1014368 Composed by Sara Bongo. Contemporary,Instructional,New Age,Spiritual,Standards. Score and parts. 183 pages. Sara Bongo #6237381. Published by Sara Bongo (A0.1014368). Developed from a study of Sergei Prokofiev’s Classical Symphony in D Major, Opus 25, the Transformation Symphony was written as a tribute to Prokofiev’s style much as Prokofiev paid homage to the works of Joseph Haydn. The Transformation Symphony consists of four contrasting movements which include Dream (Allegro), Sacrifice (Larghetto), Perseverance (Minuet and Trio) and Metamorphosis (Rondo.)Each movement can be defined as a progression from a dream to the sacrifice that is needed to reach the dream to the perseverance needed to maintain the sacrifice to the metamorphosis that comes from having achieved the dream. The composer includes a linear progression in the four movements yet manages to also intertwine these elements in the last movement to indicate that the creative process can be both linear and interspersed.
$200.00
TRANSFORMATION SYMPHONY Movement I- DREAM
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Orchestre de chambre
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AVANCÉ
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Sara Bongo
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TRANSFORMATION SYMPHONY Moveme
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Sara Bongo
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SheetMusicPlus
Chamber Orchestra - Level 5 - SKU: A0.1014365 Composed by Sara Bongo. Contemporary,Instructional,New Age,Standards. Score and parts. 122 pages. Sara Bon...
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Chamber Orchestra - Level 5 - SKU: A0.1014365 Composed by Sara Bongo. Contemporary,Instructional,New Age,Standards. Score and parts. 122 pages. Sara Bongo #5372521. Published by Sara Bongo (A0.1014365). P { margin-bottom: 0.08in } Developed from a study of Sergei Prokofiev’s Classical Symphony in D Major, Opus 25, the Transformation Symphony was written as a tribute to Prokofiev’s style much as Prokofiev paid homage to the works of Joseph Haydn. The Transformation Symphony consists of four contrasting movements which include Dream (Allegro), Sacrifice (Larghetto), Perseverance (Minuet and Trio) and Metamorphosis (Rondo.) Each movement can be defined as a progression from a dream to the sacrifice that is needed to reach the dream to the perseverance needed to maintain the sacrifice to the metamorphosis that comes from having achieved the dream. The composer includes a linear progression in the four movements yet manages to also intertwine these elements in the last movement to indicate that the creative process can be both linear and interspersed. P { margin-bottom: 0.08in }
$90.00
TRANSFORMATION SYMPHONY Movement III- PERSEVERANCE
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Orchestre de chambre
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INTERMÉDIAIRE/AVANCÉ
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Sara Bongo
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TRANSFORMATION SYMPHONY Moveme
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Sara Bongo
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SheetMusicPlus
Chamber Orchestra - Level 4 - SKU: A0.1014367 Composed by Sara Bongo. Contemporary,Instructional,New Age,Standards. Score and parts. 106 pages. Sara Bon...
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Chamber Orchestra - Level 4 - SKU: A0.1014367 Composed by Sara Bongo. Contemporary,Instructional,New Age,Standards. Score and parts. 106 pages. Sara Bongo #6121489. Published by Sara Bongo (A0.1014367). The Transformation Symphony consists of four contrasting movements which include Dream (Allegro), Sacrifice (Larghetto), Perseverance (Minuet and Trio) and Metamorphosis (Rondo.)Each movement can be defined as a progression from a dream to the sacrifice that is needed to reach the dream to the perseverance needed to maintain the sacrifice to the metamorphosis that comes from having achieved the dream. The composer includes a linear progression in the four movements yet manages to also intertwine these elements in the last movement to indicate that the creative process can be both linear and interspersed.
$50.00
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
O Holy Night for Vocal Solo and/or String Quartet B-flat
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Orchestre de chambre
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INTERMÉDIAIRE
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Noël
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Adolphe-Charles Adam
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Kovats Istvan
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O Holy Night for Vocal Solo an
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Kovats Istvan
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SheetMusicPlus
Chamber Orchestra - Level 3 - SKU: A0.764307 Composed by Adolphe-Charles Adam. Arranged by Kovats Istvan. Christian,Christmas. Score and parts. 8 pages....
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Chamber Orchestra - Level 3 - SKU: A0.764307 Composed by Adolphe-Charles Adam. Arranged by Kovats Istvan. Christian,Christmas. Score and parts. 8 pages. Kovats Istvan #6645087. Published by Kovats Istvan (A0.764307). Beautiful Christmas song, for Vocal solo and String Quartet, intermediate level.It sounds great, enjoy it :)Tips:-If You don't have a singer, you can play just the String Quartet version from the instrumental parts.-I've added two viola parts, first with HIGHER pizzicatos, the second with LOWER pizzicatos, You can choose which one You like better.-If You need other transposition, check my scores, You may find what You need. If don't, please contact me on the link below, and I'll do it. For more info, contact, etc. visit my Facebook page here: https://www.facebook.com/kovatsmusicGive it a thumbs up, thanks :).
$4.99
A Morte Do Vaqueiro
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Orchestre de chambre
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DÉBUTANT
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Luiz Gonzaga Do Nascimento and
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Renato Brito
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A Morte Do Vaqueiro
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Renato Brito
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SheetMusicPlus
Chamber Orchestra - Level 1 - SKU: A0.1048288 Composed by Luiz Gonzaga Do Nascimento and Nelson Barbalho De Siqueira. Arranged by Renato Brito. Instruct...
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Chamber Orchestra - Level 1 - SKU: A0.1048288 Composed by Luiz Gonzaga Do Nascimento and Nelson Barbalho De Siqueira. Arranged by Renato Brito. Instructional,Multicultural,Traditional,World. Score and parts. 20 pages. Renato Brito #652712. Published by Renato Brito (A0.1048288). For Music Education. A morte do Vaqueiro (The Cowboy Death) is a song from Brazil Northeast that tells about the sadness of the local people life and hard work. It was composed by Luiz Gonzaga to mourn the death of his cousin, Raimundo Jacó, who was murdered. In the song, the cattle are disoriented, waiting to be guided by the cowboy who will not return to continue his work.
$49.99
Concerto Grosso (2017) 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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Allegro
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Concerto Grosso
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Thomas Oboe Lee
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SheetMusicPlus
Chamber Orchestra - Level 4 - SKU: A0.869525 Composed by Thomas Oboe Lee. 20th Century,Classical,Contemporary,Romantic Period. Score and parts. 78 pages...
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Chamber Orchestra - Level 4 - SKU: A0.869525 Composed by Thomas Oboe Lee. 20th Century,Classical,Contemporary,Romantic Period. Score and parts. 78 pages. Thomas Oboe Lee #3112103. Published by Thomas Oboe Lee (A0.869525). Instrumentation: 2222-2200-timp-stringsSteve Laven, cellist with the Boston Pro Arte Chamber Orchestra, contacted me a month ago and asked if I would be interested in writing a work to help celebrate the 40th Anniversary of the founding of the Pro Arte Chamber Orchestra. I said, Sure!!! He said it would be nice if I would consider a concerto grosso in which the principal players of the orchestra would each get a feature. I agreed that that would be a fine idea. So, on June 18th, 2017, I started working on it. And since I am on summer vacation from teaching I was able to finished the 557-measure work on July 2nd, fifteen days after I started. In 2018 just before I made plans to get the work recorded I made some revisions. One major change was that I cut the fourth movement out completely. It is now a mere 482 measures long. The work is now in three movements. 1. Introduction; Allegro 2. Presto 3. Largo Duration: ca. 17 minutes.YouTube link: https://youtu.be/xIMSFEd0p8oBandcamp link: https://thomasoboelee.bandcamp.com/album/concerto-grosso-2017PS: This is the sixth work that the PACO has performed of my music. 1. Phantasia for Elvira Shatayev (1981) with soprano Judith Kellock and Newell Hendricks.2. Harp Concerto (1985) with Ann Hobson-Pilot and Gunther Schuller.3. Symphony No. 1 ... Fallen Angels (1993, rev. 1995) with Gunther Schuller.4. Forró (1998) with Gunther Schuller.5. Daphne ... An Imaginary Ballet (2015) with Beatrice Affron.6. Concerto Grosso (2017) with Kevin Rhodes.
$9.99
Au Moment... (score)
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Orchestre de chambre
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INTERMÉDIAIRE/AVANCÉ
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Drake Mabry
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Au Moment...
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Drake Mabry
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SheetMusicPlus
Chamber Orchestra - Level 4 - SKU: A0.799459 Composed by Drake Mabry. 20th Century,Contemporary,Jazz. Score and parts. 48 pages. Drake Mabry #1966929. P...
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Chamber Orchestra - Level 4 - SKU: A0.799459 Composed by Drake Mabry. 20th Century,Contemporary,Jazz. Score and parts. 48 pages. Drake Mabry #1966929. Published by Drake Mabry (A0.799459). Au Moment… is for improviser(s) and chamber orchestra and was a commissioned from Gérard and Nicole Gouye for the multi-instrumental Resonance Duo. The work is dedicated to the conductor, Paul Méfano. The duration is about 20'. The part of the improviser(s) is entirely improvised while the orchestra plays from a written score which includes an open architecture that can be altered to create a different performing and listening experience each time. Any instrument may be used by the soloist(s). For the premiere of this piece, Resonance Duo played the following instruments: Drake Mabry – oboe with a small miniature saxophone mouthpiece, a wooden soprano saxophone and soprano to contrabass bamboo clarinets. Catherine Schneider played piano both on the keyboard and inside along with percussion instruments from Africa and the Middle East. The work, in three movements was premiered by Resonance Duo with the Ensemble 2e2m conducted by Paul Méfano at the Pompidou Center in Paris on January 29, 1996.
$9.99
Au Moment... (parts)
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Orchestre de chambre
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INTERMÉDIAIRE/AVANCÉ
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Drake Mabry
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Au Moment...
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Drake Mabry
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SheetMusicPlus
Chamber Orchestra - Level 4 - SKU: A0.799460 Composed by Drake Mabry. 20th Century,Contemporary,Jazz. Score and parts. 34 pages. Drake Mabry #1966931. P...
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Chamber Orchestra - Level 4 - SKU: A0.799460 Composed by Drake Mabry. 20th Century,Contemporary,Jazz. Score and parts. 34 pages. Drake Mabry #1966931. Published by Drake Mabry (A0.799460). Au Moment… is for improviser(s) and chamber orchestra and was a commissioned from Gérard and Nicole Gouye for the multi-instrumental Resonance Duo. The work is dedicated to the conductor, Paul Méfano. The duration is about 20'. The part of the improviser(s) is entirely improvised while the orchestra plays from a written score which includes an open architecture that can be altered to create a different performing and listening experience each time. Any instrument may be used by the soloist(s). For the premiere of this piece, Resonance Duo played the following instruments: Drake Mabry – oboe with a small miniature saxophone mouthpiece, a wooden soprano saxophone and soprano to contrabass bamboo clarinets. Catherine Schneider played piano both on the keyboard and inside along with percussion instruments from Africa and the Middle East. The work, in three movements was premiered by Resonance Duo with the Ensemble 2e2m conducted by Paul Méfano at the Pompidou Center in Paris on January 29, 1996.
$7.99
Canticum Canticorum for Krzysztof Penderecki
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Orchestre de chambre
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AVANCÉ
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MohammadHadi Ayanbod
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Canticum Canticorum for Krzysz
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Rimorarte Edition
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SheetMusicPlus
Chamber Orchestra - Level 5 - SKU: A0.1027777 Composed by MohammadHadi Ayanbod. 20th Century,A Cappella,Contemporary,Sacred. Score and parts. 32 pages. ...
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Chamber Orchestra - Level 5 - SKU: A0.1027777 Composed by MohammadHadi Ayanbod. 20th Century,A Cappella,Contemporary,Sacred. Score and parts. 32 pages. Rimorarte Edition #5996921. Published by Rimorarte Edition (A0.1027777). Canticum Canticorum, for Grand String Orchestra & Mixed Choir, is a musical piece based on the old text with the same name from Vulgate. The Canticum Canticorum text also known as Song of Songs, the Song of Solomon, the Canticle of Canticles, (Old Greek: Άσμα Ασμάτων, same meaning as song of songs). As David Berlo once beautifully put this into words: Meanings are in people … not in the messages …. The elements and structure of a language … are only symbols …. Meanings are not transmittable … Only messages are transmittable, and meanings are not in the message, they are in the message-users! Therefore, I needed to understand and interpret the text itself, even before I wanted to try setting it to the music. However, in order to understand the text correctly, one should comprehend the origin of the text and get to know its author(s), at first. In the case of Canticum Canticorum, both the author and the origin of the text are obscure. Furthermore, even the approximate date/century/era of the birth and the cultural context in which the text was created, are far from clear. According to the scholars, the creation of the text ranges from the tenth century B.C.; the era of Solomon, up to the first century B.C., and the origin of it considers from Indian, Tamil, or Ethiopic literature to Palestinian one. Because of these vast spectra of dates and cultures, I had to read and understand the text, compare with other sources, find similarities in other languages and cultures, hermeneutically interpret it and search for those non-written or metaphorical clues that may lead to unfasten the mystery has been attached to the text. In order to achieve the most accurate and faithful interpretation of the text I also had to answer few questions regarding the style, structure, medium, architecture and techniques of the music in relation to the text. I have used string orchestra and mixed choir to render the ideas, since that is among highly versatile instrumentations capable of providing small and delicate whispers, heavenly voices, and intonation changes that is hardly-reproducible by other mediums as well as thunderous sounds. Although Canticum Canticorum is single-movement work, but still possible to distinguish three different sections: the beginning choral part that is a long fugue in 5 voices with the material of serial music which helps orchestra to enter and grow, the a-capella middle section consists of two contrasting but invisibly related atmospheres and the third section – the recapitulation of the ideas already presented, in both the text and the music. The culmination of the work; 11-parts choral, takes place in the third section, somewhere near the end of the piece. Canticum Canticorum, for Grand String Orchestra & Mixed Choir, is dedicated to the genius composer of our time, Maestro Prof. dr. h.c. Krzysztof Penderecki.
$24.99
Concertino for Flute and Strings
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Orchestre de chambre
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INTERMÉDIAIRE/AVANCÉ
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Richard E Brown
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Concertino for Flute and Strin
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Dacker Music
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SheetMusicPlus
Chamber Orchestra - Level 4 - SKU: A0.814750 Composed by Richard E Brown. Contemporary,Standards. Score and parts. 74 pages. Dacker Music #3129233. Publ...
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Chamber Orchestra - Level 4 - SKU: A0.814750 Composed by Richard E Brown. Contemporary,Standards. Score and parts. 74 pages. Dacker Music #3129233. Published by Dacker Music (A0.814750). As the title (which means little concerto) indicates, Concertino for Flute and Strings closely follows sonata forms on a somewhat smaller scale. Tonality is an important part of sonata form, and in this composition, the tonal relationships within and between the movements are all based on thirds. The tempi, form, and keys of the 3 movements are as follows: 1. Allegro molto - sonata-allegro - E minor 2. Andante moderato - theme and variations - C major 3. Allegro energico - abridged sonata-rondo - E minor This composition is the composer's transcription of his Sonatina for Flute and Piano.The price includes license to make as many copies of each part as required.Grade 4 - Duration 7:45
$45.00
BH011REC - Recorder Quartet Songs, Book 11 (>70 pages)
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Orchestre de chambre
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INTERMÉDIAIRE
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Carl Van Pevenage
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BH011REC - Recorder Quartet So
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Carl Van Pevenage
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SheetMusicPlus
Chamber Orchestra - Level 3 - SKU: A0.921171 Composed by Carl Van Pevenage. Classical,Folk,Pop,Romantic Period. Score and parts. 92 pages. Carl Van Peve...
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Chamber Orchestra - Level 3 - SKU: A0.921171 Composed by Carl Van Pevenage. Classical,Folk,Pop,Romantic Period. Score and parts. 92 pages. Carl Van Pevenage #3011785. Published by Carl Van Pevenage (A0.921171). The chansonnettes are easy songs of different styles (folk, classical, pop, romantic, Christmas carols, etc). This book contains 10 songs arranged for Recorder or String Quartets, but can be played by any SATB group with 4 the same or mixed instruments.. All sound is computer generated. Playing it, will bring the music to live.Song list:Chansonnette 101 Folk: A cosy chatChansonnette 102 NostalgiaChansonnette 103 Delicate elasticityChansonnette 104 Hidden forestChansonnette 105 Chorale: PrayerChansonnette 106 A good startChansonnette 107 Bird migrationChansonnette 108 Tell me a storyChansonnette 109 Chorale: SerenityChansonnette 110 Folk: Gabble song
$9.95
Chamber Music with Percussion in School II. - ÜtÅ‘s Kamarazene az Iskolában II.
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Orchestre de chambre
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FACILE
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Béla Ugró
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Chamber Music with Percussion
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Bela Ugro
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SheetMusicPlus
Chamber Orchestra - Level 2 - SKU: A0.1373894 Composed by Béla Ugró. 21st Century,Chamber,Classical,Contemporary,Multicultural,World. 107 pages. B...
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Chamber Orchestra - Level 2 - SKU: A0.1373894 Composed by Béla Ugró. 21st Century,Chamber,Classical,Contemporary,Multicultural,World. 107 pages. Bela Ugro #958370. Published by Bela Ugro (A0.1373894). Explore the rhythmic wonders of percussion chamber music with Chamber Music with Percussion in School II. - ÃœtÅ‘s Kamarazene az Iskolában II., an exciting music sheet collection crafted by the talented composer Béla Ugró. Specifically designed for school ensembles, this collection presents an array of engaging pieces meticulously curated to inspire and challenge budding percussionists with a total of 107 pages.Content:Drumset Duo: ROLLEREK FUNKY DRUMMERS BUMERÃNG BLUES DRUMMERS PICTURES Percussion Ensemble: AFRIKAI TÃNC JEGES LABIRINTUS Parade: BOSSA NOVA (Percussion Quintet) With a diverse selection ranging from dynamic drumset duos to intricate percussion ensemble pieces and vibrant parade compositions, this collection provides students with an immersive musical experience that fosters teamwork, creativity, and technical proficiency. Chamber Music with Percussion in School II. offers an enriching journey for both performers and audiences, encouraging exploration and expression through the captivating world of percussion chamber music.Keywords:Percussion Chamber MusicBéla Ugró CompositionsSchool Ensemble MusicDrumset Duo PiecesPercussion Ensemble RepertoireEducational Music SheetsRhythmic ChallengesCreative Percussion ArrangementsVibrant Parade CompositionsSchool Music CurriculumPercussion TechniquesEnsemble Performance MusicPercussion Education ResourcesStudent Percussion RepertoireCollaborative Percussion Music.
$20.00
Carson Cooman: The Acts of the Apostles (2009), an oratorio for baritone, chorus, congregation/audie
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Orchestre de chambre
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AVANCÉ
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Carson Cooman
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Carson Cooman: The Acts of the
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Musik Fabrik Music Publishing
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SheetMusicPlus
Chamber Orchestra - Level 5 - SKU: A0.533578 Composed by Carson Cooman. Christian,Contemporary,Spiritual. Score and parts. 189 pages. Musik Fabrik Music...
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Chamber Orchestra - Level 5 - SKU: A0.533578 Composed by Carson Cooman. Christian,Contemporary,Spiritual. Score and parts. 189 pages. Musik Fabrik Music Publishing #3025409. Published by Musik Fabrik Music Publishing (A0.533578). The Acts of the Apostles (2009), an oratorio for baritone, chorus, congregation/audience, and chamber orchestra (piano, organ, strings-suggested minimum of 3.3.3.2.1),was commissioned by The Memorial Church at Harvard University. It is dedicated to Edward Elwyn Jones and theHarvard University Choir.The biblical books of Luke and Acts form a pair of documents from a single author and with a single audience (thelikely-metaphorical “Theophilusâ€), yet they are unusual for being composed in such contrasting genres. Luke’sgospel, using Mark as a primary source throughout, features a comparable literary style to that of the otherevangelists. Acts, by contrast, is a historical monograph that charts the birth of the Church with dramatic storiesabout—and speeches from—the apostles, painting a vivid, if not necessarily chronological, picture of their victoriesand struggles. As such, it is a book that provides excellent source material for a dramatic choral libretto of this scale.Although much of Acts is focused on the ministry of Saul/Paul, this oratorio draws most of its material from thefirst third of the book, prior to and including the conversion of Saul. In the Prologue, Christ’s ascension is narratedand—following an orchestral Sinfonia—the chorus sings words of Jesus from the Sermon on the Plain in Luke’sgospel that foreshadow many of the trials the apostles go on to face. The astounding account of Pentecost follows:here, words from the book of Ruth, customarily read on the feast of Shavuot (Pentecost), are included, telling thestory of a Moabite woman who converted to the Israelite faith—a parallel to the expansion of the Christian messageto all nations by the gift of the Holy Spirit. The Prayer for Boldness, quoting Psalm 2, asks God for protection fromthe threats of persecution that the apostles will now face.Stephen, regarded as the proto-martyr of the Christian Church, offers one of the most developed speeches in Acts,only a small portion of which is presented here. Full of scriptural references, including the quotation from Isaiah“Heaven is my throne…â€, the end of the narrative is remarkable for two reasons: firstly, Stephen’s final wordsmirror those of Christ on the cross in Luke’s gospel—where Jesus forgives his executioners and prays “Father, intoyour hands I commend my spirit†(Luke 23:46); secondly, Saul is specifically mentioned as one who approved ofStephen’s stoning, indicative of the redemptive possibilities of the Christian message.The account of the baptism of the Ethiopian eunuch here in the oratorio ends with the First Song of Isaiah—whilenot quoted in Acts, it seems a fitting conclusion to the scene as Philip and the eunuch were reading Isaiah together,and the canticle has often been associated by Christians with the rite of baptism. Similarly, the story of Saul’sConversion is followed here by a Christological poem found in Paul’s letter to the Philippians, though it is likely aquotation from an earlier source. It is often regarded as the earliest extant Christian hymn.The Acts of the Apostles concludes with Luke’s realistic assessment that in spite of Paul’s energetic evangelism manyremained unconvinced by the Christian message. At the heart of both Luke’s gospel and Acts is the tension betweenthe uniquely important role of the Jewish traditions that Jesus himself practiced and the expansion of the gospel togentiles, of whom Luke himself is one. It is appropriate, therefore, to follow Paul’s message of salvation to thegentiles with the Magnificat: a canticle that emphasizes the promises of God to the people of Israel throughouthistory.Three traditional hymn texts are found in the oratorio, each set congregationally to a pre-existing tune. The first,“Spirit of mercy, truth, and love†is an eighteenth century poem that e.
$25.95
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
Dreams - Score Only
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Orchestre de chambre
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INTERMÉDIAIRE
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Juan Guerra González
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Dreams - Score Only
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Juan Carlos Guerra Gonzalez
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SheetMusicPlus
Chamber Orchestra - Level 3 - SKU: A0.1317400 Composed by Juan Guerra González. 21st Century,Classical. 96 pages. Juan Carlos Guerra Gonzalez #906062...
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Chamber Orchestra - Level 3 - SKU: A0.1317400 Composed by Juan Guerra González. 21st Century,Classical. 96 pages. Juan Carlos Guerra Gonzalez #906062. Published by Juan Carlos Guerra Gonzalez (A0.1317400). DREAMS (for Symphony Orchestra)SCORE ONLY Please visit www.juancarlosguerra.com/dreams to buy or rent the parts. Scored for1 Flute1 Oboe1 Clarinet in Bb1 Basoon2 Percussion Players: 1 TimpaniViolin IViolin IIViolaVioloncelloDouble BassAn easy-to-read to read and fascinating piece for a symphony orchestra with a reduced number of winds and no brass. It can be suited ideally in any setting.Program Note“Dreams†is a suite for symphony orchestra in three movements. The work was kindly commissioned by Dr. Luis VÃquez, conductor of the University of Rhode Island’s Symphony Orchestra and to whom this work is being dedicated alongside with his wife Melissa. The titles of the movements come from either an specific dream, or other topics about dreaming that I discovered in the process of writing the work. I. Cherry trees in the morningNature has always inspired me. Every year during spring my family has the tradition to visit the Brooklyn Botanic Garden to experience the cherry blossoms. I usually do not remember many of my dreams but in this particular dream I was in Japan under an esplanade of cherry trees. I remember how amazed I feel and is for sure one of my most memorable dreams. II. DreamcatcherWhile I was writing the initial ideas of for the work I came across a Journal that explored how the use of a particular chord helped reduce nightmares in patients suffering from nightmare disorders. In the study, patients were exposed to the chord C69 (A C Major with the added 6th and 9th) during therapeutic sessions. This chord is used at the beginning of the movement as it moves to explore different sonorities. In this movement you might be able to hear a representation of the “heartbeat†played by the bass drum and timpani, then a more “stressful†section will come to represent a nightmare followed again by another repetition of the C69 chord. If you feel relaxed during the performance, it is on purpose! III. A Dance in the desertDreams, in my case, are usually a mix of different non-related things. For the final movement, I decided to use that idea. I started this dance with a “oriental†style and them throughout the middle of the movement I moved it to a waltz that was influenced by my grandfather. He used to have a small orchestra and he used to play waltzes during events and private parties.I hope the music takes you through a journey of musical emotions.Juan Guerra González
$159.99
Germaine Tailleferre: Concerto for two guitars and orchestra, score only
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Orchestre de chambre
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AVANCÉ
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Contemporain
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Germaine Tailleferre
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Germaine Tailleferre: Concerto
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Musik Fabrik Music Publishing
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SheetMusicPlus
Chamber Orchestra - Level 5 - SKU: A0.534697 Composed by Germaine Tailleferre. 20th Century. Score and parts. 63 pages. Musik Fabrik Music Publishing #6...
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Chamber Orchestra - Level 5 - SKU: A0.534697 Composed by Germaine Tailleferre. 20th Century. Score and parts. 63 pages. Musik Fabrik Music Publishing #6245161. Published by Musik Fabrik Music Publishing (A0.534697). This Concerto, composed in the 60s for the French Radio, was never performed and it was rumoured that Tailleferre, always trusting with her performers, had given the score to a visiting Guitarist from South America in the hopes that it would be performed there. Tailleferre personally considered this work to be on of her strongest and regretted that it was never performed during her lifetime. Her description of the work motivated several musicologists and guitarists to spend many hours searching for the work in music archives and libraries. The missing score was finally located during the Fall of 2003. A musician visiting the French Radio was intrigued however by a new addition to the catalogue and it was quickly confirmed that this was indeed the missing manuscript that so manmusicologists and guitarists had been looking for all of these years. The work is in four movements and is scored for 2011/1000 tymp/harp/celesta/strings and lasts aproximately 17 minutes. The work is more in the style of a concerto grosso than that of a virtuosic concerto, with the guitars frequently used in a solo group with the harp and celesta, which adds a very interesting orchestral colour. The writing is varied, ranging from a medieval cantilène style in the slow movement to free atonal sections in the second Scherzo movement and in the first movement. The work ends in a movement which sounds influenced by South American Popular music. Inspite of this apparent stylistic disparity, the composition remains extremely coherent and shows a great deal of energy and a kind of poetic strangeness. This item is the full score. The parts are on rental from the publisher. A piano reduction and the solo parts are available for sale.
$46.95
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