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Far Away
Non classifié
174
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205
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107
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82
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39
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27
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19
Piano grosses notes
5
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2
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2
2 Pianos, 4 mains
2
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2
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1
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31
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21
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18
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12
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10
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2
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1
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1
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1
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81
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1
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1
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17
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16
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12
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12
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10
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9
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8
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7
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6
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5
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4
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3
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2
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2
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2
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2
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2
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2
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1
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1
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1
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1
Hautbois, Clarinette (duo)
1
2 Saxophones, Piano
1
Hautbois, Guitare (duo)
1
Clarinette et Alto
1
Hautbois, Basson (duo)
1
Flûte à bec Alto, Piano
1
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1
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1
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1
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1
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1
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13
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13
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10
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7
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6
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6
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6
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6
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3
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3
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3
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3
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2
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2
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2
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2
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1
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1
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1
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1
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1
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1
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23
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20
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15
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12
Harpe
9
Alto seul
7
Violoncelle, Piano
7
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6
2 Violons (duo)
4
2 Altos (duo)
3
Harpe, Voix
2
Violon, Violoncelle (duo)
2
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2
Violoncelle , Guitare (duo)
2
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2
Violon (partie séparée)
2
Quatuor à cordes: 4 violons
1
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1
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1
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1
Trio à Cordes: 2 violons, violoncelle
1
Piano Trio: Violon, Alto, Piano
1
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1
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1
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1
4 Violoncelles
1
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1 398
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86
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20
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11
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5
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5
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4
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3
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2
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Vous avez sélectionné:
Far Away
Orchestre de chambre
Partitions à imprimer
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Far and Away: Concerto for Oboe and String Orchestra in A flat Major (9x12)
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Orchestre de chambre
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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Jamey Aston
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Far and Away: Concerto for Obo
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Montana Knites Publishing
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SheetMusicPlus
Chamber Orchestra - Level 4 - SKU: A0.1025353 Composed by Jamey Aston. 20th Century,Contemporary. Score and parts. 77 pages. Montana Knites Publishing #...
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Chamber Orchestra - Level 4 - SKU: A0.1025353 Composed by Jamey Aston. 20th Century,Contemporary. Score and parts. 77 pages. Montana Knites Publishing #5802253. Published by Montana Knites Publishing (A0.1025353). Concerto for Oboe and String Orchestra: Far and AwayOboe, Violin I & II, Solo Violin, Viola, Cello, Contrabass*Optimized for 9 x 12 in paperAn intermediate level piece suitable for college level or advanced high school orchestras. Far and Away is a semi-thematic piece. The first movement is pastoral in nature with a gentle melody and strong call and response between the oboe and the orchestra. The driving second movement, The Adventure, is true to its name with a constant string ostinato keeping the listener on the edge of their seat. The Journey Home, the third movement, is light and jovial with some emotional surprises for the audience. Duration: 19 minutes. First movement 9 minutes. Second and third movements each approximately 5 minutes.Publisher: Montana Knites Publishing ASCAPFacebook: @jameyastonTwitter: @JameyAstonwww.montanaknites.comI would love to hear you play this! If you do, please contact me at jamey.aston@montanaknites.com and let me know where I can see your performance!
$34.95
Far and Away: Concerto for Oboe and String Orchestra in A flat Major (8 1/2 x 11)
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Orchestre de chambre
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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Jamey Aston
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Far and Away: Concerto for Obo
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Montana Knites Publishing
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SheetMusicPlus
Chamber Orchestra - Level 4 - SKU: A0.1025352 Composed by Jamey Aston. 20th Century,Contemporary. Score and parts. 82 pages. Montana Knites Publishing #...
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Chamber Orchestra - Level 4 - SKU: A0.1025352 Composed by Jamey Aston. 20th Century,Contemporary. Score and parts. 82 pages. Montana Knites Publishing #5294211. Published by Montana Knites Publishing (A0.1025352). Concerto for Oboe and String Orchestra: Far and AwayOboe, Violin I & II, Solo Violin, Viola, Cello, Contrabass*Optimized for 8 1/2 x 11 in paperAn intermediate level piece suitable for college level or advanced high school orchestras. Far and Away is a semi-thematic piece. The first movement is pastoral in nature with a gentle melody and strong call and response between the oboe and the orchestra. The driving second movement, The Adventure, is true to its name with a constant string ostinato keeping the listener on the edge of their seat. The Journey Home, the third movement, is light and jovial with some emotional surprises for the audience. Duration: 19 minutes. First movement 9 minutes. Second and third movements each approximately 5 minutes.Publisher: Montana Knites Publishing ASCAPFacebook: @jameyastonTwitter: @JameyAstonwww.montanaknites.comI would love to hear you play this! If you do, please contact me at jamey.aston@montanaknites.com and let me know where I can see your performance!
$34.95
Almapu - for Guitar and String Quintet
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Orchestre de chambre
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INTERMÉDIAIRE/AVANCÉ
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Rodrigo Guzmán
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Almapu - for Guitar and String
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Rodrigo Guzmán
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SheetMusicPlus
Chamber Orchestra - Level 4 - SKU: A0.897892 Composed by Rodrigo Guzmán. Folk,World. Score and parts. 34 pages. Rodrigo Guzmán #6403165. Published...
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Chamber Orchestra - Level 4 - SKU: A0.897892 Composed by Rodrigo Guzmán. Folk,World. Score and parts. 34 pages. Rodrigo Guzmán #6403165. Published by Rodrigo Guzmán (A0.897892). Almapu means in mapudungún, the mapuche language, far away frontier.
$12.00
MY DEAR PARENTS
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Orchestre de chambre
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INTERMÉDIAIRE
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Do Kien Cuong
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MY DEAR PARENTS
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Do Kien Cuong
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SheetMusicPlus
Chamber Orchestra - Level 3 - SKU: A0.1024504 Composed by Do Kien Cuong. Holiday,World. Score and parts. 23 pages. Do Kien Cuong #3394943. Published by ...
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Chamber Orchestra - Level 3 - SKU: A0.1024504 Composed by Do Kien Cuong. Holiday,World. Score and parts. 23 pages. Do Kien Cuong #3394943. Published by Do Kien Cuong (A0.1024504). I composed this composition MY DEAR PARENTS when I was far away from home for continuing my study at Brooklyn College - Conservatory of Music. The composition, is a letter to MY DEAR PARENTS, contains my emotions toward my parents.The duration is about 4 minutes.I think on the time of Mother's Day and Father's Day and Holidays can be a good reason to play this composition.The pdf file includes a full score and all parts.
$10.00
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
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Far Away
