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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
Faith's Song
Non classifié
251
Piano & claviers
Piano seul
108
Piano, Voix
52
Piano, Voix et Guitare
52
Accompagnement Piano
25
Piano Facile
20
Orgue
15
Instruments en Do
11
Piano grosses notes
8
Piano Trio: piano, violon, violoncelle
7
1 Piano, 4 mains
6
Piano Quatuor: piano, 2 violons, violoncelle
5
Piano Quatuor: piano, violon, alto, violoncelle
1
+ 7 instrumentations
Retracter
Guitares
Guitare notes et tablatures
28
Guitare
12
2 Guitares (duo)
7
Ukulele
4
Paroles et Accords
2
2 Ukuleles
2
Ligne De Mélodie, (Paroles) et Accords
2
Basse electrique
2
Piano, Guitare (duo)
1
+ 4 instrumentations
Retracter
Voix
Chorale SATB
118
Chorale 3 parties
35
Chorale Unison
25
Chorale 2 parties
21
Chorale TTBB
20
Chorale SSAA
16
Voix duo
6
Voix duo, Piano
5
Voix Mezzo-Soprano, Piano
1
Voix Alto, Piano
1
Voix Tenor, Piano
1
Chorale SSAATTBB
1
Chorale
1
+ 8 instrumentations
Retracter
Vents
2 Saxophones (duo)
27
Clarinette et Piano
20
Hautbois, Piano (duo)
19
Quatuor de Saxophones: 4 saxophones
17
2 Flûte à bec (duo)
16
Flûte, Hautbois, Clarinette, Basson
16
Flûte traversière et Piano
15
Saxophone Alto et Piano
14
Hautbois (partie séparée)
13
Saxophone Soprano et Piano
12
Saxophone Alto
11
Saxophone Tenor et Piano
11
Quatuor de Clarinettes: 4 clarinettes
10
Saxophone (partie séparée)
10
2 Flûtes traversières (duo)
10
Clarinette
10
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
10
2 Clarinettes (duo)
9
Saxophone Baryton, Piano
8
Flûte, Clarinette (duo)
8
Saxophone Tenor
7
Quintette de Saxophone: 5 saxophones
7
Ensemble de Clarinettes
6
Flûte traversière
6
Flûte à Bec
5
Saxophone Soprano
5
Quatuor de Flûtes : 4 flûtes
5
2 Hautbois (duo)
5
Quintette de Clarinettes: 5 clarinettes
5
Flûte à bec Alto
4
Flûte à bec Soprano
4
Hautbois
4
Flûte à bec Tenor
4
Hautbois, Basson (duo)
4
Saxophone, Clarinette (duo)
3
Clarinette, Basson (duo)
3
Clarinette, Violon (duo)
3
Ensemble de saxophones
3
Flûte et Guitare
2
Flûte, Violoncelle, Piano (trio)
2
3 Clarinettes (trio)
2
Flûte, Trompette (duo)
2
Cor anglais, Piano
2
Quintette de Flûte : 5 flûtes
2
Ensemble De Flûte à bec
2
Quatuor de Flûtes à bec
2
Hautbois, Clarinette (duo)
2
Ocarina
2
Ensemble de Flûtes
1
Clarinette (partie séparée)
1
Flûte, Hautbois, Clarinette (trio)
1
Flûte, Clarinette, Piano (trio)
1
Hautbois, Flûte
1
Saxophone Baryton
1
Flûte, Violon
1
3 Saxophones (trio)
1
Trio de Flûtes: 3 flûtes
1
Flûte, Violon, Piano
1
2 Clarinettes, Piano
1
2 Flûtes traversières, Piano
1
Cornemuse
1
Clarinette, Violoncelle (duo)
1
Clarinette Basse, Piano
1
Clarinette et Alto
1
Flûte, Saxophone (duo)
1
Flûte, Violoncelle
1
Clarinette, Trompette (duo)
1
+ 62 instrumentations
Retracter
Cuivres
Trompette, Piano
18
Trombone et Piano
17
Trompette
14
Cor et Piano
11
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
11
Quatuor de Cuivres : 2 trompettes, trombone, tuba
9
Trombone
9
2 Cors (duo)
8
2 Trompettes (duo)
7
Cor
7
Quatuor de Cuivres: 2 trompettes, Cor, trombone
7
Trompette, Cor (duo)
7
2 Trombones (duo)
6
Trompette, Trombone (duo)
5
Trompette (partie séparée)
4
Tuba et Piano
4
Ensemble de Trompettes
3
Tuba
3
Euphonium, Piano (duo)
3
Quatuor de cuivres: 4 trombones
2
2 Tubas (duo)
2
3 Trombones (trio)
2
Cor anglais, Piano
2
Trompette, Saxophone (duo)
2
Trompette, Violoncelle et Piano
2
Ensemble de Trombones
1
Quatuor de cuivres: 4 cors
1
Quatuor de cuivres: 4 trompettes
1
4 Tubas
1
+ 24 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
57
Violon et Piano
39
Alto, Piano
29
Violoncelle, Piano
22
Violon, Violoncelle (duo)
20
2 Violons (duo)
13
Violoncelle
13
Violon
12
Violon, Alto (duo)
11
Piano Trio: Violon, Alto, Piano
9
Alto seul
8
Harpe
7
Trio à Cordes: violon, alto, violoncelle
7
2 Altos (duo)
6
2 Violoncelles (duo)
5
Harpe, Voix
5
Violon (partie séparée)
5
Alto (partie séparée)
4
Contrebasse, Piano (duo)
4
Contre Basse
4
2 Harpes (duo)
3
Contrebasse (partie séparée)
2
Alto, Violoncelle (duo)
2
2 Contrebasses (duo)
2
Violoncelle, Contrebasse (duo)
1
Quatuor à cordes: 4 violons
1
Ensemble de Violons
1
Trio à cordes: 3 violins
1
Violoncelle (partie séparée)
1
4 Violoncelles
1
Ensemble de Violoncelles
1
Ensemble d'Altos
1
+ 27 instrumentations
Retracter
Orchestre & Percussions
Orchestre d'harmonie
87
Orchestre
13
Ensemble de cuivres
5
Cloches
5
Orchestre de chambre
3
Orchestre à Cordes
3
Jazz combo
2
Percussion (partie séparée)
2
Batterie
1
Xylophone, Piano
1
+ 5 instrumentations
Retracter
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FLUTE A BEC
FLUTE A DIX…
FLUTE DE PA…
FORMATION M…
GUITARE
GUITARE PED…
HARMONICA
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LUTH, THEOR…
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MARIMBA
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PERCU. ORCH…
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SAXOPHONE
SYNTHE
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VIOLON
VIOLONCELLE
XYLOPHONE
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TRI ET FILTRES
TRI ET FILTRES
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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
style (tous)
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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…
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Vous avez sélectionné:
Faith's Song
Orchestre de chambre
Partitions à imprimer
3 partitions trouvées
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God's Grandeur (2012, rev. 2019) for chorus and 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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God's Grandeur
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Thomas Oboe Lee
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SheetMusicPlus
Chamber Orchestra - Level 4 - SKU: A0.869215 Composed by Thomas Oboe Lee. 20th Century,Contemporary,Sacred. Score and parts. 94 pages. Thomas Oboe Lee #...
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Chamber Orchestra - Level 4 - SKU: A0.869215 Composed by Thomas Oboe Lee. 20th Century,Contemporary,Sacred. Score and parts. 94 pages. Thomas Oboe Lee #2016287. Published by Thomas Oboe Lee (A0.869215). During the spring of the Millennial year 2000, music director John Finney and the Boston College University Chorale premiered my Mass for the Holy Year 2000 for chorus and orchestra in Trinity Chapel at Boston College. It was a large work, close to an hour long in duration. It was a momentous occasion and I was extremely pleased with the performance by John and the BC University Chorale. Ten years later in anticipation of the 150th Anniversary of the founding of Boston College, I decided that I wanted to write another choral work for the BC Chorale. This time the subject would be something directly connected to the Jesuit identity of Boston College. I chose for text the poems of Gerard Manley Hopkins, S.J. (1844-1889). This Manley Hopkins project would come in two parts. Part One would be a private uttering of faith in God, and Part Two would be a public declamation of the same topic. The private utterance would be in a chamber setting. I decided on a song cycle setting for soprano and piano. The public declamation would be the choral work with orchestra for the Boston College University Chorale. 1. Part The First … THOU mastering me God! (2010) for soprano and piano The ten poems for this song cycle came from GMH's The Wreck of the Deutschland, Part the First. This 30-minute song cycle was premiered in Bapst Library on March 31, 2011. The performers were Megan Stapleton, soprano, and Diane Braun, piano. 2. God's Grandeur (2012) for SATB chorus and chamber orchestra. For this work I chose five poems by GMH. Pied Beauty God's Grandeur The Habit of Perfection Thou Art Indeed Just, Lord. Inversnaid Why did I choose GMH's work besides the fact that he was a Jesuit? I was very surprised and thrilled that his poems are so fanciful, imaginative and abstract in form and content for someone who lived in the 19th century. These abstract poetic qualities are the very things that a composer in the 20th and 21st centuries would find inspiring when they are seeking texts for musical settings. I did indeed find the sound and silences of GMH's words quite inspirational. Hearing music in those words came directly and quickly as I was working on the piece. I hope the audience will enjoy the work as much as I did when I was creating it.
$9.99
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
#
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
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
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Faith's Song
