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Fauré: Cantique de Jean Racine (Canticle of Jean Racine) for Harp, SATB Choir and String Orchestra
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Orchestre de chambre
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INTERMÉDIAIRE/AVANCÉ
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Gabriel Faure
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Flavio Regis Cunha
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Harp
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Fauré: Cantique de Jean
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FRC Music
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SheetMusicPlus
Chamber Orchestra - Level 4 - SKU: A0.1153278 By Gabriel Faure. By Gabriel Faure. Arranged by Flavio Regis Cunha. 19th Century,Contest,Festival,Film/TV,...
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Chamber Orchestra - Level 4 - SKU: A0.1153278 By Gabriel Faure. By Gabriel Faure. Arranged by Flavio Regis Cunha. 19th Century,Contest,Festival,Film/TV,Instructional,Wedding. Score and Parts. 59 pages. FRC Music #753526. Published by FRC Music (A0.1153278). Are you looking for a unique and special piece to add to your choir or orchestra repertoire? Look no further!  Introducing 'Cantique de Jean Racine' by Gabriel Fauré, arranged for Harp, SATB Choir and String Orchestra. This beautiful and captivating piece offers a unique sound to your choir or orchestra. With its timeless melody and divine harmony, it will become an instant favorite.  You can now find this amazing sheet music available for purchase. Give your choir or orchestra an amazing performance experience with this incredible piece.  Order now to get your copy of 'Cantique de Jean Racine' by Gabriel Fauré, arranged for Harp, SATB Choir and String Orchestra.This version was transcribed for Harp, SATB Choir and String Orchestra.The scoring of this transcription is compatible with that of the Fauré Requiem (1893 version), edited by Flavio Regis Cunha, so that the Cantique may be used as a companion piece to the Requiem in performance. Ad libitum parts for 1st and 2nd violins (mostly doubling the viola parts) are included with the instrumental material but not shown in the score.Forces or Category: String orchestra & Harp.Orchestration: hp (or org or pn), str (vln I opt, vln II opt, vla I, vla II, vc I, vc II, db) for SATB accompanied by strings and harp, (optional organ or piano).Advanced Intermediate LevelFomat: Concert 9 x 12 inches.59 pages.
$49.99
Zion hört die Wächter singen - BWV 140 - Clarinet Choir
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Orchestre de chambre
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FACILE
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Classique
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Johann Sebastian Bach
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Wilian Dolfini
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Zion hört die Wächte
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Wilian Dolfini
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SheetMusicPlus
Chamber Orchestra - Level 2 - SKU: A0.954834 Composed by Johann Sebastian Bach. Arranged by Wilian Dolfini. Baroque,Christian. Score and parts. 18 pages...
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Chamber Orchestra - Level 2 - SKU: A0.954834 Composed by Johann Sebastian Bach. Arranged by Wilian Dolfini. Baroque,Christian. Score and parts. 18 pages. Wilian Dolfini #4966371. Published by Wilian Dolfini (A0.954834). This piece is great to play in various situations. It can be played by intermediate and advanced students. It is excellent for cults in the easter season. Baroque articulation is the best option, was composed in Leipzig, 1731. It has 4'26 .
$12.99
E Piu Ti Penso
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Orchestre de chambre
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INTERMÉDIAIRE/AVANCÉ
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Andrea Bocelli And Ariana Gran
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Flavio Regis Cunha
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E Piu Ti Penso
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Flavio Regis Cunha
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SheetMusicPlus
Chamber Orchestra - Level 4 - SKU: A0.1493527 By Andrea Bocelli And Ariana Grande. By Elio Cesari, Ennio Morricone, and Giulio Rapetti Mogol. Arranged b...
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Chamber Orchestra - Level 4 - SKU: A0.1493527 By Andrea Bocelli And Ariana Grande. By Elio Cesari, Ennio Morricone, and Giulio Rapetti Mogol. Arranged by Flavio Regis Cunha. 20th Century,Contest,Festival,Film/TV,Instructional,Wedding. 23 pages. Flavio Regis Cunha #1070189. Published by Flavio Regis Cunha (A0.1493527). E Più Ti Penso (The More I Think of You in English), also known as E Più Ti Penso (from Once Upon a Time in America), is an Italian song originally composed by Ennio Morricone, Mogol, and Tony Renis for the movie Once Upon a Time in America. It was first recorded by the Italian operatic-pop trio Il Volo for their debut album Il Volo in 2010. The song later gained further popularity when recorded by Italian singer Andrea Bocelli and American singer Ariana Grande. Released on October 1, 2015, it served as the lead single from Bocelli's album Cinema (2015).This arrangement of Deborah's Theme - E Più Ti Penso is scored for Choir SATB and Orchestra, suitable for advanced intermediate performers.Advanced Intermediate LevelFormat: Concert, 9 x 12 inches Length: 58 pages.
$69.99
Revelation of New Life
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Orchestre de chambre
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INTERMÉDIAIRE
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Bertold Hummel
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Revelation of New Life
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Schott Music - Digital
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SheetMusicPlus
0 · 2 (1. auch Engl. Hr.) · 0 · 2 - 0 · 1 · 0 · 0 - Str. (0 · 0 · 2 · 2 · 1) alto-solo, mixed choir and chamber orchestra - interm...
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0 · 2 (1. auch Engl. Hr.) · 0 · 2 - 0 · 1 · 0 · 0 - Str. (0 · 0 · 2 · 2 · 1) alto-solo, mixed choir and chamber orchestra - intermediate - SKU: S9.Q24032 Advent Cantata for alto solo, miced choir and chamber orchestra. Composed by Bertold Hummel. This edition: vocal/piano score. Downloadable, Piano reduction. Op. 8. Duration 20 minutes. Schott Music - Digital #Q24032. Published by Schott Music - Digital (S9.Q24032). German.Als umfassende, nicht nur chormusikalische Offenbarung erweist sich Bertold Hummels Adventskantate Offenbarung neuen Lebens für Alt-Solo, gemischten Chor und Kammerorchester op. 8. In seinem 1953 im Auftrag des Südwestfunks geschriebenen Werk verarbeitet der 2002 verstorbene Komponist in sechs Abschnitten frühbarocke Kirchenlieder und stellt ihnen Psalm- und Bibelsprüche des Deutschen Psalters von Romano Guardini gegenüber. Dabei wechseln Antiphon, Choralbearbeitung, Chor-Psalmodie und eine Passacaglia einander ab. Es entsteht ein rhythmisch lebhaftes sakrales Werk voller Ausdruckstiefe und herber Klarheit, in dem an alte kirchentonale Psalmtöne anknüpfende melodische Substanz verarbeitet wird. Aber auch Einflüsse des späten Strawinsky sind unverkennbar. Das rund 20-minütige Werk kann wahlweise in deutscher oder englischer Sprache und anstelle des Kammerorchesters auch mit Klavier-/Orgelbegleitung musiziert werden. Es eignet sich natürlich zur Aufführung an einem Stück, kann aber auch – wie bei der Uraufführung geschehen – mit Zwischentexten zum Advent angereichert werden. Zudem ist eine Herauslösung einzelner Abschnitte der Kantate zur musikalischen Gestaltung von Adventsgottesdiensten bei dieser vorweihnachtlichen Komposition durchaus möglich.
$15.99
Revelation of New Life
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Orchestre de chambre
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INTERMÉDIAIRE
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Bertold Hummel
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Revelation of New Life
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Schott Music - Digital
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SheetMusicPlus
0 · 2 (1. auch Engl. Hr.) · 0 · 2 - 0 · 1 · 0 · 0 - Str. (0 · 0 · 2 · 2 · 1) alto-solo, mixed choir and chamber orchestra - interm...
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0 · 2 (1. auch Engl. Hr.) · 0 · 2 - 0 · 1 · 0 · 0 - Str. (0 · 0 · 2 · 2 · 1) alto-solo, mixed choir and chamber orchestra - intermediate - SKU: S9.Q23765 Advent Cantata for alto solo, mixed choir and chamber orchestra. Composed by Bertold Hummel. This edition: score. Downloadable, Score. Op. 8. Duration 20 minutes. Schott Music - Digital #Q23765. Published by Schott Music - Digital (S9.Q23765). German.Als umfassende, nicht nur chormusikalische Offenbarung erweist sich Bertold Hummels Adventskantate Offenbarung neuen Lebens für Alt-Solo, gemischten Chor und Kammerorchester op. 8. In seinem 1953 im Auftrag des Südwestfunks geschriebenen Werk verarbeitet der 2002 verstorbene Komponist in sechs Abschnitten frühbarocke Kirchenlieder und stellt ihnen Psalm- und Bibelsprüche des Deutschen Psalters von Romano Guardini gegenüber. Dabei wechseln Antiphon, Choralbearbeitung, Chor-Psalmodie und eine Passacaglia einander ab. Es entsteht ein rhythmisch lebhaftes sakrales Werk voller Ausdruckstiefe und herber Klarheit, in dem an alte kirchentonale Psalmtöne anknüpfende melodische Substanz verarbeitet wird. Aber auch Einflüsse des späten Strawinsky sind unverkennbar. Das rund 20-minütige Werk kann wahlweise in deutscher oder englischer Sprache und anstelle des Kammerorchesters auch mit Klavier-/Orgelbegleitung musiziert werden. Es eignet sich natürlich zur Aufführung an einem Stück, kann aber auch – wie bei der Uraufführung geschehen – mit Zwischentexten zum Advent angereichert werden. Zudem ist eine Herauslösung einzelner Abschnitte der Kantate zur musikalischen Gestaltung von Adventsgottesdiensten bei dieser vorweihnachtlichen Komposition durchaus möglich.
$35.99
Revelation of New Life
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Orchestre de chambre
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INTERMÉDIAIRE
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Bertold Hummel
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Revelation of New Life
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Schott Music - Digital
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SheetMusicPlus
0 · 2 (1. auch Engl. Hr.) · 0 · 2 - 0 · 1 · 0 · 0 - Str. (0 · 0 · 2 · 2 · 1) alto-solo, mixed choir and chamber orchestra - interm...
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0 · 2 (1. auch Engl. Hr.) · 0 · 2 - 0 · 1 · 0 · 0 - Str. (0 · 0 · 2 · 2 · 1) alto-solo, mixed choir and chamber orchestra - intermediate - SKU: S9.Q23761 Advent Cantata for alto solo, mixed choir and chamber orchestra. Composed by Bertold Hummel. This edition: set of solo parts. Downloadable, Set of solo parts. Op. 8. Duration 20 minutes. Schott Music - Digital #Q23761. Published by Schott Music - Digital (S9.Q23761). German.Als umfassende, nicht nur chormusikalische Offenbarung erweist sich Bertold Hummels Adventskantate Offenbarung neuen Lebens für Alt-Solo, gemischten Chor und Kammerorchester op. 8. In seinem 1953 im Auftrag des Südwestfunks geschriebenen Werk verarbeitet der 2002 verstorbene Komponist in sechs Abschnitten frühbarocke Kirchenlieder und stellt ihnen Psalm- und Bibelsprüche des Deutschen Psalters von Romano Guardini gegenüber. Dabei wechseln Antiphon, Choralbearbeitung, Chor-Psalmodie und eine Passacaglia einander ab. Es entsteht ein rhythmisch lebhaftes sakrales Werk voller Ausdruckstiefe und herber Klarheit, in dem an alte kirchentonale Psalmtöne anknüpfende melodische Substanz verarbeitet wird. Aber auch Einflüsse des späten Strawinsky sind unverkennbar. Das rund 20-minütige Werk kann wahlweise in deutscher oder englischer Sprache und anstelle des Kammerorchesters auch mit Klavier-/Orgelbegleitung musiziert werden. Es eignet sich natürlich zur Aufführung an einem Stück, kann aber auch – wie bei der Uraufführung geschehen – mit Zwischentexten zum Advent angereichert werden. Zudem ist eine Herauslösung einzelner Abschnitte der Kantate zur musikalischen Gestaltung von Adventsgottesdiensten bei dieser vorweihnachtlichen Komposition durchaus möglich.
$41.99
Ring out, wild bells - sleigh bells part
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Orchestre de chambre
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INTERMÉDIAIRE
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Contemporain
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James W
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Ring out, wild bells - sleigh
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Knox Music
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SheetMusicPlus
Chamber Orchestra - Level 3 - SKU: A0.942853 Composed by James W. Knox. Contemporary. Score and parts. 3 pages. Knox Music #3594167. Published by Knox M...
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Chamber Orchestra - Level 3 - SKU: A0.942853 Composed by James W. Knox. Contemporary. Score and parts. 3 pages. Knox Music #3594167. Published by Knox Music (A0.942853). Ring out, Wild Bells is based on the major theme of rejuvenation and bidding goodbye to the past year and letting go of pass sorrows with it. James W. Knox' dramatic work is a great concert feature for intermediate choirs and beyond. Duration 9:30 minutesContact the composer for questions at jwknox@cocc.edu.
$1.99
Ring out, wild bells - violin II part
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Orchestre de chambre
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INTERMÉDIAIRE
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Contemporain
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James W
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Ring out, wild bells - violin
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Knox Music
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SheetMusicPlus
Chamber Orchestra - Level 3 - SKU: A0.942849 Composed by James W. Knox. Contemporary. Score and parts. 6 pages. Knox Music #3594159. Published by Knox M...
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Chamber Orchestra - Level 3 - SKU: A0.942849 Composed by James W. Knox. Contemporary. Score and parts. 6 pages. Knox Music #3594159. Published by Knox Music (A0.942849). Ring out, Wild Bells is based on the major theme of rejuvenation and bidding goodbye to the past year and letting go of pass sorrows with it. James W. Knox' dramatic work is a great concert feature for intermediate choirs and beyond. Duration 9:30 minutesContact the composer for questions at jwknox@cocc.edu.
$1.99
Ring out, wild bells - double bass part
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Orchestre de chambre
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INTERMÉDIAIRE
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Contemporain
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James W
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Ring out, wild bells - double
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Knox Music
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SheetMusicPlus
Chamber Orchestra - Level 3 - SKU: A0.942852 Composed by James W. Knox. Contemporary. Score and parts. 5 pages. Knox Music #3594165. Published by Knox M...
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Chamber Orchestra - Level 3 - SKU: A0.942852 Composed by James W. Knox. Contemporary. Score and parts. 5 pages. Knox Music #3594165. Published by Knox Music (A0.942852). Ring out, Wild Bells is based on the major theme of rejuvenation and bidding goodbye to the past year and letting go of pass sorrows with it. James W. Knox' dramatic work is a great concert feature for intermediate choirs and beyond. Duration 9:30 minutesContact the composer for questions at jwknox@cocc.edu.
$1.99
Requiem
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Orchestre de chambre
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Harald Weiss
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Requiem
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Schott Music - Digital
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SheetMusicPlus
Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra - SKU: S9.Q7038 Teil I: Schwarz vor Augen... · Teil II: ...und es war...
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Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra - SKU: S9.Q7038 Teil I: Schwarz vor Augen... · Teil II: ...und es ward Licht!. Composed by Harald Weiss. This edition: study score. Music Of Our Time. Downloadable, Study score. Duration 100' 0. Schott Music - Digital #Q7038. Published by Schott Music - Digital (S9.Q7038). Latin • German.On letting go(Concerning the selection of the texts) In the selection of the texts, I have allowed myself to be motivated and inspired by the concept of “letting goâ€. This appears to me to be one of the essential aspects of dying, but also of life itself. We humans cling far too strongly to successful achievements, whether they have to do with material or ideal values, or relationships of all kinds. We cannot and do not want to let go, almost as if our life depended on it. As we will have to practise the art of letting go at the latest during our hour of death, perhaps we could already make a start on this while we are still alive. Tagore describes this farewell with very simple but strikingly vivid imagery: “I will return the key of my doorâ€. I have set this text for tenor solo. Here I imagine, and have correspondingly noted in a certain passage of the score, that the protagonist finds himself as though “in an ocean†of voices in which he is however not drowning, but immersing himself in complete relaxation. The phenomenon of letting go is described even more simply and tersely in Psalm 90, verse 12: “So teach us to number our days, that we may apply our hearts unto wisdomâ€. This cannot be expressed more plainly.I have begun the requiem with a solo boy’s voice singing the beginning of this psalm on a single note, the note A. This in effect says it all. The work comes full circle at the culmination with a repeat of the psalm which subsequently leads into a resplendent “lux aeternaâ€. The intermediate texts of the Requiem which highlight the phenomenon of letting go in the widest spectrum of colours originate on the one hand from the Latin liturgy of the Messa da Requiem (In Paradisum, Libera me, Requiem aeternam, Mors stupebit) and on the other hand from poems by Joseph von Eichendorff, Hermann Hesse, Rabindranath Tagore and Rainer Maria Rilke.All texts have a distinctive positive element in common and view death as being an organic process within the great system of the universe, for example when Hermann Hesse writes: “Entreiß dich, Seele, nun der Zeit, entreiß dich deinen Sorgen und mache dich zum Flug bereit in den ersehnten Morgen†[“Tear yourself way , o soul, from time, tear yourself away from your sorrows and prepare yourself to fly away into the long-awaited morningâ€] and later: “Und die Seele unbewacht will in freien Flügen schweben, um im Zauberkreis der Nacht tief und tausendfach zu leben†[“And the unfettered soul strives to soar in free flight to live in the magic sphere of the night, deep and thousandfoldâ€]. Or Joseph von Eichendorff whose text evokes a distant song in his lines: “Und meine Seele spannte weit ihre Flügel aus. Flog durch die stillen Lande, als flöge sie nach Haus†[“And my soul spread its wings wide. Flew through the still country as if homeward bound.â€]Here a strong romantically tinged occidental resonance can be detected which is however also accompanied by a universal spirit going far beyond all cultures and religions. In the beginning was the sound Long before any sort of word or meaningful phrase was uttered by vocal chords, sounds, vibrations and tones already existed. This brings us back to the music. Both during my years of study and at subsequent periods, I had been an active participant in the world of contemporary music, both as percussionist and also as conductor and composer. My early scores had a somewhat adventurous appearance, filled with an abundance of small black dots: no rhythm could be too complicated, no register too extreme and no harmony too dissonant. I devoted myself intensely to the handling of different parameters which in serial music coexist in total equality: I also studied aleatory principles and so-called minimal music.I subsequently emigrated and took up residence in Spain from where I embarked on numerous travels over the years to India, Africa and South America. I spent repeated periods during this time as a resident in non-European countries. This meant that the currents of contemporary music swept past me vaguely and at a great distance. What I instead absorbed during this period were other completely new cultures in which I attempted to immerse myself as intensively as possible.I learned foreign languages and came into contact with musicians of all classes and styles who had a different cultural heritage than my own: I was intoxicated with the diversity of artistic potential.Nevertheless, the further I distanced myself from my own Western musical heritage, the more this returned insistently in my consciousness.The scene can be imagined of sitting somewhere in the middle of the Brazilian jungle surrounded by the wailing of Indians and out of the blue being provided with the opportunity to hear Beethoven’s late string quartets: this can be a heart-wrenching experience, akin to an identity crisis. This type of experience can also be described as cathartic. Whatever the circumstances, my “renewed†occupation with the “old†country would not permit me to return to the point at which I as an audacious young student had maltreated the musical parameters of so-called contemporary music. A completely different approach would be necessary: an extremely careful approach, inching my way gradually back into the Western world: an approach which would welcome tradition back into the fold, attempt to unfurl the petals and gently infuse this tradition with a breath of contemporary life.Although I am aware that I will not unleash a revolution or scandal with this approach, I am nevertheless confident as, with the musical vocabulary of this Requiem, I am travelling in an orbit in which no ballast or complex structures will be transported or intimated: on the contrary, I have attempted to form the message of the texts in music with the naivety of a “homecomerâ€. Harald WeissColonia de San PedroMarch 20091 (auch Altfl.) · 2 (2. auch Engl. Hr.) · 1 (auch Bassklar.) · 0 - 2 · Flhr. · 0 · 0 - P. S. (Glsp. · Röhrengl. · Gongs · Trgl. · Beck. · Tamt. · 2 Holzschlitztr. (oder Woodbl.) · Woodbl. · gr. Tr.) (3 Spieler) - Org. (Positiv) - Str. (4 · 4 · 4 · 4 · 2).
$55.99
Aria: Erbarme Dich, mein Gott from Matthäuspassion (Flute Solo, Oboe d'Amore and Strings)
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Orchestre de chambre
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Johann Sebastian Bach
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Flávio Régis Cunha
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Aria: Erbarme Dich, mein Gott
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Flavio Regis Cunha
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SheetMusicPlus
Chamber Orchestra - Level 4 - SKU: A0.597237 By Johann Sebastian Bach. By Johann Sebastian Bach. Arranged by Flávio Régis Cunha. Baroque,Contest,E...
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Chamber Orchestra - Level 4 - SKU: A0.597237 By Johann Sebastian Bach. By Johann Sebastian Bach. Arranged by Flávio Régis Cunha. Baroque,Contest,Easter,Festival,Instructional,Sacred. Score and parts. 21 pages. Flavio Regis Cunha #4603489. Published by Flavio Regis Cunha (A0.597237). The St Matthew Passion (German: Matthäus-Passion), BWV 244, is a Passion, a sacred oratorio written by Johann Sebastian Bach in 1727 for solo voices, double choir and double orchestra, with libretto by Picander. It sets chapters 26 and 27 of the Gospel of Matthew (in the Luther Bible) to music, with interspersed chorales and arias. It is widely regarded as one of the masterpieces of classical sacred music. The original Latin title Passio Domini nostri J.C. secundum Evangelistam Matthæum translates to The Passion of our Lord Jesus Christ according to the Evangelist Matthew Originally for alto voice, violin solo and string orchestra. The arias are in da capo format (ternary form). Erbarme dich, for alto, and Mache dich, mein Herze, rein, for bass, are examples of such arias in Part Two of the oratorio. In these movements the singers are accompanied by one or a few solo instruments and continuo, occasionally completed by other instrument groups of the orchestra.This Aria was originally composed by J.S. Bach for Violin Solo, strings and alto solo was now arranged for Flute (optional recorder), oboe d'Amore and strings. The flute replaces the solo violin very well, just as the oboe d'Amore's sonority fits wonderfully well by replacing the traditional contralto solo.Flavio Regis Cunha is a pianist, conductor and composer from São Paulo - Brasil. He is currently finishing his doctorate at Mackenzie Presbyterian University where he works as conductor of the Mackenzie University Orchestra and resident composer. For more arrangements like this, works by commission or for any questions you can contact Flavio Regis Cunha at his facebook page: https://www.facebook.com/flavioregiscunhaIntermediate Level Fomat: Concert 9 x 12 inches. 21 pages.
$14.99
For Unto Us a Child is Born, from The Messiah. String orchestra and woodwinds. Score and parts
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Orchestre de chambre
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INTERMÉDIAIRE
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G
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Laura C
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For Unto Us a Child is Born, f
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Laura Quijada
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SheetMusicPlus
Chamber Orchestra - Level 3 - SKU: A0.1324128 Composed by G. F. Handel. Arranged by Laura C. Quijada OrtÃz. Baroque,Chamber,Christmas,Holiday. 45 pag...
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Chamber Orchestra - Level 3 - SKU: A0.1324128 Composed by G. F. Handel. Arranged by Laura C. Quijada OrtÃz. Baroque,Chamber,Christmas,Holiday. 45 pages. Laura Quijada #912321. Published by Laura Quijada (A0.1324128). This chorus from The Messiah oratorio has been adapted for intermediate-level string orchestra (original parts) and solo woodwinds. Can be performed with choir.Original key and lengthStrings + 2 flutes, 2 oboes, 2 clarinets, 2 bassoons.
$40.00
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Choir Intermediate