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PIANO & CLAVIERS
Piano Facile
194
Piano seul
169
Piano, Voix
38
Piano Trio: piano, violon, violoncelle
9
Piano, Voix et Guitare
8
1 Piano, 4 mains
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7
Orgue
3
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Piano Quatuor: piano, 2 violons, violoncelle
1
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GUITARES
Mandoline
13
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13
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9
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7
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2
Basse electrique
2
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1
Piano, Guitare (duo)
1
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1
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VOIX
Chorale SATB
12
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6
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6
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5
Voix duo
4
Chorale Unison
2
Voix Baryton, Piano
1
Voix moyenne, Piano
1
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VENTS
Quatuor de Saxophones: 4 saxophones
44
2 Flûtes traversières (duo)
42
2 Saxophones (duo)
41
Flûte traversière et Piano
38
Clarinette
27
Clarinette et Piano
26
3 Saxophones (trio)
25
Flûte à bec Soprano
25
Quintette de Saxophone: 5 saxophones
22
Saxophone Alto et Piano
22
Flûte, Hautbois, Clarinette, Basson
21
Hautbois (partie séparée)
21
Hautbois, Piano (duo)
18
Flûte, Clarinette (duo)
18
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
17
Quatuor de Clarinettes: 4 clarinettes
17
2 Flûte à bec (duo)
16
Flûte à bec Alto
15
2 Clarinettes (duo)
15
Flûte traversière
14
3 Clarinettes (trio)
14
Saxophone Tenor et Piano
13
Quatuor de Flûtes : 4 flûtes
12
3 Flûtes à bec (trio)
10
Harmonica
10
Clarinette, Basson (duo)
10
Flûte à bec Soprano, Piano
9
Saxophone Soprano et Piano
9
Saxophone Baryton, Piano
9
Cor anglais, Piano
8
Quatuor de Flûtes à bec
7
Hautbois, Clarinette, Basson (trio d'anches)
7
Flûte à Bec
6
Flûte, Violoncelle
6
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6
Trio de Flûtes: 3 flûtes
6
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6
Hautbois, Violoncelle
5
Hautbois, Basson (duo)
5
Saxophone (partie séparée)
5
5 Flûtes à bec
4
Flûte à Bec, Piano
4
2 Saxophones, Piano
4
Ensemble de saxophones
4
2 Hautbois (duo)
4
Saxophone Alto
3
Clarinette Basse, Piano
3
Clarinette, Violoncelle (duo)
3
Hautbois
3
Flûte, Hautbois, Clarinette (trio)
3
Ensemble de Clarinettes
3
Flûte, Hautbois, Basson
2
Clarinette, Violon (duo)
2
Flute (partie séparée)
2
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2
Flûte à bec Tenor
2
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2
Flûte, Trombone (duo)
2
Saxophone Tenor
2
Clarinette (partie séparée)
2
Cor Anglais
2
Ensemble de Flûtes
2
Hautbois, Clarinette (duo)
2
Flûte, Violon
2
Flûte à bec, Guitare (duo)
1
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1
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1
Saxophone Baryton
1
Ensemble De Flûte à bec
1
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1
Saxophone Soprano
1
Piccolo, Piano
1
Flûte et Trio à cordes
1
Flûte, Alto (duo)
1
Flûte, Violon et Violoncelle
1
Flûte, Clarinette et Basson
1
Saxophone, Clarinette (duo)
1
Piccolo
1
Flûte à bec Alto, Piano
1
Clarinette et Alto
1
Flûte irlandaise
1
Hautbois, violon (duo)
1
Saxophone, Violon (duo)
1
Flûte et Guitare
1
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CUIVRES
Trompette
22
Trombone et Piano
21
Trompette, Piano
17
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
16
Quatuor de Cuivres : 2 trompettes, trombone, tuba
16
Cor
16
Trompette, Trombone (duo)
13
Cor et Piano
12
2 Trombones (duo)
12
2 Trompettes (duo)
10
2 Cors (duo)
9
Cor anglais, Piano
8
Trombone
7
Quatuor de cuivres: 4 trombones
6
Trompette, Cor (duo)
6
4 Tubas
6
Tuba et Piano
6
Ensemble de Cors
5
Quatuor de cuivres: 4 trompettes
5
Tuba
5
Quatuor de Cuivres: 2 trompettes, Cor, trombone
5
Trompette, Basson (duo)
5
Euphonium, Piano (duo)
4
Trombone (partie séparée)
4
Ensemble de Trompettes
4
Trompette, Violoncelle (duo)
4
Quatuor de cuivres: 4 cors
4
3 Trompettes (trio)
4
2 Tubas (duo)
4
Trombone, Cor (duo)
3
Cor, Violoncelle (duo)
3
Cor et Basson (duo)
3
3 Trombones (trio)
3
Trio de Cuivres
2
Trompette (partie séparée)
2
Cor Anglais
2
3 Tubas (trio)
2
Trombone basse
1
Trombone, Tuba (duo)
1
Quatuor de Cuivres
1
Trombone basse et Piano
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Ensemble de Trombones
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Cor, Tuba (duo)
1
Trompette, Trombone, Piano
1
3 Cors (trio)
1
Tuba et Orgue
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Cor (partie séparée)
1
Tuba (partie séparée)
1
Euphonium, Tuba (duo)
1
Trompette, violon (duo)
1
Trompette, Saxophone (duo)
1
Trompette, Euphonium (duo)
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CORDES
Quatuor à cordes: 2 violons, alto, violoncelle
468
Trio à Cordes: violon, alto, violoncelle
64
Violon
43
Quintette à cordes: 2 violons, alto, violoncelle, basse
36
Violon et Piano
30
Violoncelle
26
2 Violons (duo)
24
Trio à cordes: 3 violins
20
Alto seul
19
Alto, Piano
19
Quatuor à cordes : 4 altos
18
Violon, Violoncelle (duo)
18
Quatuor à cordes: 4 violons
17
Trio à Cordes: 3 violoncelles
16
Violoncelle, Piano
16
Trio à Cordes: 2 violons, violoncelle
15
Violon, Alto (duo)
15
2 Altos (duo)
12
2 Violoncelles (duo)
12
Contre Basse
11
Trio à cordes: 3 altos
11
Alto, Violoncelle (duo)
10
Trio à Cordes: 2 violons, alto
9
Quintette à cordes: 2 violons, 2 altos, violoncelle
9
4 Violoncelles
7
Contrebasse, Piano (duo)
5
Harpe
5
Violon (partie séparée)
4
Alto (partie séparée)
4
Violon, Basson (duo)
3
Alto et Basson
3
Piano Trio: Violon, Alto, Piano
3
Violoncelle (partie séparée)
2
Trio à cordes
2
Contrebasse (partie séparée)
2
3 Contrebasses
1
4 Contrebasses
1
Quintette à cordes : 2 violons, alto et 2 violoncelles
1
2 Violoncelles, Piano
1
Violoncelle, Contrebasse (duo)
1
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PERCUSSIONS & ORCHESTRES
Orchestre à Cordes
412
Orchestre
29
Orchestre d'harmonie
24
Ensemble de cuivres
6
Cloches
5
Orchestre de chambre
4
Ensemble Jazz
3
2 Xylophones
3
Xylophone, Piano
2
Batterie (partie séparée)
2
Xylophone
1
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AUTRES
Vous avez sélectionné:
Des Beethoven
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Symphony No. 8, after Beethoven's sketches, op. 80
Orchestre de chambre
Chamber Orchestra - Level 4 - Digital Download SKU: A0.1038395 Composed by Adrian G…
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Chamber Orchestra - Level 4 - Digital Download SKU: A0.1038395 Composed by Adrian Gagiu. Classical. 451 pages. Adrian Gagiu #643336. Published by Adrian Gagiu (A0.1038395). Throughout his career, Beethoven made dozens of concept sketches for many movements of symphonies, besides those for the completed nine compositions of that genre. In the period 1812-1816, mainly during the composition of the Seventh and Eighth Symphonies, there were three recurring such projected works in his sketchbooks, namely in D minor, E minor and E flat major respectively, and remarkably with sketches for more than one of their movements. The present symphony in late Classical style is based on those projects, making use of all their themes in a „combined†symphony in D minor and thus with peculiar tonal relationships. The incentive for this new work in the Classical idiom was in the quality and potential of some of the sketches, especially the one included now in the main theme of the slow movement. Some of the sketched material was subject to transpositions and adaptations to fit the formal outlook, and to editorial choices for the unclear pitches and durations. This publication includes the score and parts. The sketchbook sources for each passage are mentioned at the bottom of the score. Total duration: 36 min. Performing Rights Organization: SOCAN. The mp3 recording is the third, slow movement.
$100.00
89.32 €
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Orchestre de chambre
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Adrian Gagiu
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Symphony No. 8, after Beethoven's sketches, op. 80
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Adrian Gagiu
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SheetMusicPlus
Beethoven: Symphony #5, First Movement
Orchestre de chambre
Chamber Orchestra - Level 2 - Digital Download SKU: A0.921852 Composed by Ludwig va…
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Chamber Orchestra - Level 2 - Digital Download SKU: A0.921852 Composed by Ludwig van Beethoven. Arranged by Joshua Feltman. Romantic Period. Score and parts. 36 pages. Ryan Blauvelt #3447671. Published by Ryan Blauvelt (A0.921852). One of the most highly recognized compositions in history, Beethoven's 5th Symphony is the epitome of classical music muscle. The famous four-note motive that opens the symphony is heard throughout the first movement. Here's an arrangement that's designed for the beginning program in mind - with a hybrid instrumentation meant to allow ensembles with unique instrumentation to perform this monumental piece. <p><a href=>https://arrangethatmusic.com/custom-sheet-music>Customize this music on our website</a></p>
$25.00
22.33 €
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Orchestre de chambre
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Ludwig van Beethoven
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Joshua Feltman
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Beethoven: Symphony #5, First Movement
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Ryan Blauvelt
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SheetMusicPlus
Overture and Minuet in C major, based on Beethoven's sketches, op. 83
Orchestre de chambre
Chamber Orchestra - Level 4 - Digital Download SKU: A0.1415801 Composed by Ludwig v…
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Chamber Orchestra - Level 4 - Digital Download SKU: A0.1415801 Composed by Ludwig van Beethoven. Arranged by Adrian Gagiu. Classical. 190 pages. Adrian Gagiu #997496. Published by Adrian Gagiu (A0.1415801). Score and parts of a premiere realization of some of Beethoven's sketches for the first movement of another Symphony in C major before the First, dubbed 'No. 0' or Unv. 2 by some: 1. 'Overture' (Andante con moto - Allegro con brio), 2. Tempo di menuetto. Useful for people interested in Beethoven's sketches and for students of the Classical style. In 1794-1796, Beethoven made extensive concept sketches mostly for the first movement of this abortive symphony. The material is abundant and sometimes contradictory, as usual with his preliminary work, and he recycled later from this one only the main theme of the Finale of the completed Symphony No. 1. For this speculative realization, suggested by Mr. Armando Orlandi at the Centro Ricerche Musicali and dedicated to them, only the more promising sketches were utilized, and the slow introduction was assembled from the ones in cut time, while those in triple time make up now a Minuet. Virtually every bar of music here includes the sketches, also in the elaboration and coda of the 'overture', only with a few transpositions needed for assembling the sonata form and for the repeats in the Minuet. Obviously, Beethoven would have done it much differently, had he decided to continue working on this symphony, and the question remains regarding the utility of recycling material abandoned by some classical composer. However, this gives one an approximate idea of one of the many possibilities implied by the preliminary sketches for his Symphony 'No. 0'. Total duration 15 minutes. The mp3 audio clip is the first movement. Performing Rights Organization: SOCAN.
$100.00
89.32 €
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Orchestre de chambre
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Ludwig van Beethoven
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Adrian Gagiu
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Overture and Minuet in C major, based on Beethoven's sketches, op. 83
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Adrian Gagiu
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SheetMusicPlus
Requiem
Orchestre de chambre
Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra - Digital Dow…
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Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra - Digital Download 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
50.01 €
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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
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