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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
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DEEJAY
DIDGERIDOO
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EUPHONIUM
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FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
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HAUTBOIS
LIVRES
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MANDOLINE
MARIMBA
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175
Piano & claviers
Piano seul
169
Orgue
45
Piano, Voix
25
Piano Facile
18
Piano, Voix et Guitare
12
1 Piano, 4 mains
8
Instruments en Do
7
Piano Quatuor: piano, violon, alto, violoncelle
2
Piano Trio: piano, violon, violoncelle
2
Piano grosses notes
1
Clavecin
1
Accordéon
1
Piano Quintette: piano, 2 violons, alto, violoncelle
1
Piano (partie séparée)
1
+ 9 instrumentations
Retracter
Guitares
Guitare
17
Ligne De Mélodie, (Paroles) et Accords
11
Ukulele
7
Guitare notes et tablatures
7
Banjo
1
4 Guitares (Quatuor)
1
Guitare (partie séparée)
1
2 Guitares (duo)
1
3 Guitares (trio)
1
+ 4 instrumentations
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Voix
Chorale SATB
46
Chorale 3 parties
7
Chorale TTBB
4
Chorale SSAA
4
Voix Soprano, Piano
4
Chorale 2 parties
3
Voix Baryton, Piano
2
Chorale Unison
2
Voix seule
1
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1
Voix Tenor, Piano
1
Voix Alto, Piano
1
Voix haute
1
Voix duo, Piano
1
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Quatuor de Saxophones: 4 saxophones
27
Quintette de Saxophone: 5 saxophones
22
Flûte traversière et Piano
22
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22
Flûte, Hautbois, Clarinette, Basson
17
Saxophone Tenor et Piano
17
Clarinette et Piano
15
Hautbois, Piano (duo)
14
Saxophone Alto et Piano
14
Clarinette
12
2 Saxophones (duo)
10
Flûte traversière
9
2 Flûte à bec (duo)
9
Saxophone Alto
9
Saxophone Baryton, Piano
9
Saxophone (partie séparée)
8
Saxophone Soprano et Piano
8
Saxophone Tenor
8
Quatuor de Clarinettes: 4 clarinettes
7
Hautbois
6
3 Saxophones (trio)
6
Quintette de Clarinettes: 5 clarinettes
5
2 Clarinettes (duo)
5
Hautbois (partie séparée)
4
Saxophone Baryton
4
Ensemble de Flûtes
4
Saxophone Soprano
4
3 Clarinettes (trio)
3
Hautbois, Clarinette (duo)
2
Instruments en Mib
2
Flûte et Guitare
2
Flûte, Clarinette et Basson
2
Flute (partie séparée)
2
Flûte à bec Tenor
2
2 Hautbois (duo)
2
2 Flûtes traversières (duo)
2
Clarinette, Basson (duo)
2
Quintette de Flûte : 5 flûtes
2
Hautbois, Clarinette, Basson (trio d'anches)
1
Quatuor de Flûtes à bec
1
2 Clarinettes, Basson
1
Flûte, Violon, Piano
1
Clarinette Basse, Piano
1
Quatuor de Flûtes : 4 flûtes
1
Flûte à bec Alto
1
5 Flûtes à bec
1
Cor anglais, Piano
1
Flûte, Clarinette (duo)
1
Flûte, Violon, Violoncelle et Piano
1
3 Flûtes à bec (trio)
1
Trio de Flûtes: 3 flûtes
1
Flûte à Bec
1
Ensemble de Clarinettes
1
+ 48 instrumentations
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Cuivres
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
20
Trombone et Piano
15
Trompette
14
Cor et Piano
12
Quatuor de Cuivres: 2 trompettes, Cor, trombone
11
Trompette, Piano
11
Trombone
10
Tuba et Piano
10
Cor
9
Tuba
8
Quatuor de Cuivres : 2 trompettes, trombone, tuba
7
Quatuor de cuivres: 4 trombones
4
Euphonium, Piano (duo)
4
Bass Clef Instruments
3
2 Trompettes (duo)
3
Trompette (partie séparée)
2
2 Trombones (duo)
2
2 Cors (duo)
2
Quatuor de cuivres: 4 cors
2
Trompette, Trombone (duo)
2
Ensemble de Cors
2
Ensemble de Trompettes
1
2 Tubas (duo)
1
Quatuor de cuivres: 4 trompettes
1
4 Tubas
1
Instruments en Sib
1
Ensemble de Trombones
1
Cor anglais, Piano
1
Trombone (partie séparée)
1
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Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
36
Violon et Piano
27
Violon
17
Violoncelle
13
Violoncelle, Piano
12
Alto, Piano
12
Contre Basse
10
Quintette à cordes: 2 violons, alto, violoncelle, basse
8
Alto seul
8
Contrebasse, Piano (duo)
8
Harpe
7
2 Violons (duo)
7
2 Violoncelles (duo)
6
Violon, Violoncelle (duo)
5
2 Altos (duo)
4
Violon, Alto (duo)
3
Quintette à cordes : 2 violons, alto et 2 violoncelles
3
Contrebasse (partie séparée)
2
Alto, Violoncelle (duo)
2
2 Contrebasses (duo)
2
Trio à Cordes: 2 violons, violoncelle
2
Trio à Cordes: 3 violoncelles
2
Violoncelle, Contrebasse (duo)
1
Trio à cordes: 3 altos
1
Quatuor à cordes : 4 altos
1
4 Violoncelles
1
Trio à cordes: 3 violins
1
Harpe, Voix
1
Quatuor à cordes: 4 violons
1
Alto (partie séparée)
1
Trio à Cordes: violon, alto, violoncelle
1
+ 26 instrumentations
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Orchestre & Percussions
Orchestre d'harmonie
137
Orchestre à Cordes
34
Orchestre
28
Orchestre de chambre
9
Ensemble de cuivres
8
Ensemble Jazz
7
Cloches
7
Jazz combo
2
Fanfare
2
Ensemble de Percussions
2
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1
Percussion (partie séparée)
1
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BASSE
BASSON
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CHORALE - CHAN…
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CLARINETTE
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COR
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CORNET
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1
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
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
Hancock Shaker Village (2001) for mezzo-soprano and string quartet
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Orchestre de chambre
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INTERMÉDIAIRE/AVANCÉ
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Thomas Oboe Lee
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Hancock Shaker Village
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Thomas Oboe Lee
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SheetMusicPlus
Chamber Orchestra - Level 4 - SKU: A0.869267 Composed by Thomas Oboe Lee. 20th Century,Christian,Classical,Contemporary,Romantic Period. Score and parts...
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Chamber Orchestra - Level 4 - SKU: A0.869267 Composed by Thomas Oboe Lee. 20th Century,Christian,Classical,Contemporary,Romantic Period. Score and parts. 43 pages. Thomas Oboe Lee #30957. Published by Thomas Oboe Lee (A0.869267). Program note. First of all, my enormous gratitude to Deborah Leath Rentz for the source material: Songs and the Spirit: Hancock Shaker Village's Musical Legacy, Volume I. Transcriptions of Hancock Hymnal : 1850. In 1997, Mark Ludwig commissioned me to write a work based on a Shaker song. Ms. Rentz provided me with a lovely song, Grateful Remembrance, from her collection. The result was SEPTET: Variations on a Shaker Tune. Hancock Shaker Village is in many ways also a set of variations. It begins with a Prelude of my own devising. For the rest of the work I chose five songs from Ms. Rentz's book which provide a glimpse of a typical day for the inhabitants of this religious community. The first song, Pillar of Fire, greets the dawn and the rising sun. The second song, Glean with Care, is about the orchards and the gardens. The third, Sweet Home, is about the religious life and home. The fourth, Quick, a lively dance number, prays for God's power and grace. The last song, Farewell Dear Crossbearers, is for the dearly departed. The work is played continuously without pause between movements and is dedicated to Mark Ludwig, Deborah Leath Rentz and the Hancock Shaker Village.YouTube link: https://youtu.be/GJowUC7pDfw
$9.99
Piano Concerto
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Orchestre de chambre
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AVANCÉ
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Panagiotis Theodossiou
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Piano Concerto
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Panagiotis Theodossiou
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SheetMusicPlus
Chamber Orchestra - Level 5 - SKU: A0.886650 Composed by Panagiotis Theodossiou. 20th Century,Concert,Contemporary,Graduation. Score and parts. 107 page...
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Chamber Orchestra - Level 5 - SKU: A0.886650 Composed by Panagiotis Theodossiou. 20th Century,Concert,Contemporary,Graduation. Score and parts. 107 pages. Panagiotis Theodossiou #3043801. Published by Panagiotis Theodossiou (A0.886650). Piano Concerto, for piano and strings (2005).The work is written in the classical form of a concerto and follows a neoclassical idiom. The three parts are respectively dedicated to:a. Johannes Brahms – Dmitri Schostakovitch,b Bella Bartok c. Sergei Prokofiev – Paul Hinthemith – Johann Sebastian Bach being a study of each composer’s style .The whole work is dedicated to pianist Konstantinos Papadakis. The 3d part has been performed by Lorenda Ramou and the Orchestra of Colours under the direction of Miltos Logiadis at Benaki Museum Concert Hall, Athens in 2006. https://www.youtube.com/watch?v=56kEhr1aNnshttps://www.youtube.com/watch?v=80OyC1pqMgohttps://www.youtube.com/watch?v=4S4lP5pSF6k
$29.99
Variations on a Rossini Theme op.Posth
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Orchestre de chambre
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Classique
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Frederik François Chopin
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James Strauss
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Variations on a Rossini Theme
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James Strauss
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SheetMusicPlus
Chamber Orchestra - SKU: A0.1035224 Composed by Frederik François Chopin (1810-1949). Arranged by James Strauss. Romantic Period. Score and parts. 33...
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Chamber Orchestra - SKU: A0.1035224 Composed by Frederik François Chopin (1810-1949). Arranged by James Strauss. Romantic Period. Score and parts. 33 pages. James Strauss #5806027. Published by James Strauss (A0.1035224). Unless your name is Mozart, Mendelssohn or Korngold, the first compositional steps are always the hardest. Chopin was probably no older than 14 when he set to work on a set of variations for piano and flute. Already in love with opera, he decided on the happy- ending aria, Non più mesta (No longer sad) from Rossini’s opera Cinderella. As the curtain comes down, Cinderella gleefully warbles, No longer sad beside the fire shall I sit alone, singing; my long years of heartache were but a streak of lightning, a dream, a game. We are unsure what actually prompted Chopin to select this for his unique combination of flute and piano, but it was most likely written for the composer’s father who was a capable amateur flute player. In the end, the piece was probably dedicated to Józef Cichowski, a close friend of his fathers and an amateur flautist as well. We are indeed fortunate that this early piece of Chopin juvenilia has actually survived, as Jozef Nowakowski, one of the composer’s friends, kept the single manuscript copy as a memento. For one reason or another, the work did not appear in print until 1953. This charming and fluent set of variations presents the theme and four decorated versions of the original tune. Added triplet figuration enlivens the first variation, while the second relies on a florid bel canto style to embellish the theme. Rapid downward arpeggios propel variation three, and the concluding variant displays rapid staccato figuration. Stylistically, there is nothing in this composition to suggest Chopin’s hand. You certainly won’t hear Chopin’s fingerprint in the piano part, as all the interesting bits are given to the flute. In addition, it’s the only Chopin piano part that can comfortably be played by most amateurs. Clearly, the future poet of the piano had a long way to go! Here in a Flute and orchestra version.
$29.99
"On the beaches of Tijuana"
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Orchestre de chambre
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INTERMÉDIAIRE/AVANCÉ
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Luis Carlos Diaz
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Luis Carlos Diaz
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"On the beaches of Tijuan
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azdi
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SheetMusicPlus
Chamber Orchestra - Level 4 - SKU: A0.1029901 Composed by Luis Carlos Diaz. Arranged by Luis Carlos Diaz. 20th Century,Contemporary,Film/TV. Score and p...
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Chamber Orchestra - Level 4 - SKU: A0.1029901 Composed by Luis Carlos Diaz. Arranged by Luis Carlos Diaz. 20th Century,Contemporary,Film/TV. Score and parts. 67 pages. Azdi #5983045. Published by azdi (A0.1029901). On the beaches of Tijuana August 2018 It is a sound work for chamber orchestral ensemble based on the traditional and anonymous Son Istmeño La Llorona. Developed under a minimalist aesthetic influenced by ambient and experimental music. It fuses the themes of the traditional son with melodic and rhythmic motifs of popular Mexican rock songs also inspired by this traditional rhythm: La muerte chiquita by Café Tacuba and Llorona by Caifanes. It is structured similar to the format of a rock song. Start with a long base note or drone. Introduction (intro) about a descending harmony in the key of La Menor. A melody as a verse and a different melody as choir. Both melodies are presented and performed by different instruments with variations and different combinations of accompaniment and instrumentation. Variations of the thematic patterns and the ¨intro¨. A rhythmic-melodic experiment towards the end on the same descending harmonic progression as the solo part in a rock song. It ends with a fading orchestral atmosphere (outro). All oriented towards a minimalist style setting focused on melodic lines and emotional expressiveness. For a chamber orchestra. Ideally a string septet consisting of: 2 violins. 2 violas. 2 cellos. 1 double bass. Breaths: 1 trombone. 1 trumpet. 1 transverse flute. 1 Picollo flute. 1 Clarinet. 1 Oboe. Percussion of a determined note. It can be a vibraphone. Xylophone (preferably) or marimba. If it is not possible to use this type of instrument, that part is played an octave up on a piano. The number of instruments can be increased for each of the parts if needed and be convenient for the chamber orchestra in question. The Tempo can vary between 95 and 115 bpm. The work is designed so that it can be performed mainly by youth and children's orchestras. Dedicated to Tijuana beaches. pre.cjk { font-family: WenQuanYi Micro Hei Mono, monospace; }p { margin-bottom: 0.1in; line-height: 115%; }
$22.00
"The Flying Hat" for chamber orchestra (excerpts)
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Orchestre de chambre
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INTERMÉDIAIRE/AVANCÉ
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Panagiotis Theodossiou
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"The Flying Hat" for
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Panagiotis Theodossiou
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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
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
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
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