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24
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11
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9
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8
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7
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28
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23
Trompette
19
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Cor
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2 Trompettes (duo)
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2 Trombones (duo)
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Euphonium, Piano (duo)
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Trio de Cuivres
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Cor (partie séparée)
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2 Tubas (duo)
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Ensemble de Trombones
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Quatuor de cuivres: 4 cors
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Trombone basse
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Violon
204
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Violoncelle, Piano
14
2 Violons (duo)
11
2 Violoncelles (duo)
9
Harpe
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Violon (partie séparée)
5
Contre Basse
5
Contrebasse (partie séparée)
4
4 Violoncelles
3
Trio à cordes: 3 violins
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Trio à Cordes: 3 violoncelles
3
Violoncelle (partie séparée)
2
Harpe (partie séparée)
2
Contrebasse, Piano (duo)
2
Quatuor à cordes: 4 violons
2
3 Harpes
1
Violoncelle , Guitare (duo)
1
Trio à Cordes: 2 violons, violoncelle
1
Harpe, Violon, Violoncelle
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Quatuor à cordes: 2 violons, alto, violoncelle
1
Harpe, Flûte (duo)
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PERCUSSIONS & ORCHESTRES
Ensemble Jazz
94
Orchestre d'harmonie
39
Orchestre
36
Orchestre à Cordes
16
Jazz combo
14
Ensemble de cuivres
13
Orchestre de chambre
13
Cloches
9
Ensemble de Percussions
3
Fanfare
3
Percussion (partie séparée)
2
Batterie (partie séparée)
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Big band
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Instrumentation Flexible
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Batterie
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AUTRES
Vous avez sélectionné:
Follow Me - Viola
Orchestre de chambre
Partitions à imprimer
13 partitions trouvées
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1
When She Loved Me
Orchestre de chambre
Chamber Orchestra - Level 4 - Digital Download SKU: A0.1430293 By Sarah McLachlan. …
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Chamber Orchestra - Level 4 - Digital Download SKU: A0.1430293 By Sarah McLachlan. By Randy Newman. Arranged by John Langley / Studio Orchestrations. Broadway,Children,Contemporary,Film/TV,Musical/Show,Singer/Songwriter. 28 pages. Www.studio-orchestrations.com #1010934. Published by www.studio-orchestrations.com (A0.1430293). What a privilege to share an arrangement of this perfect song, sung by Sarah McLachlan in Toy Story 2 in 1999. If Toy Story and Toy Story 2 hadn't already entirely induced a nostalgic empathy from its audience for the life of old toys we used to play with, Jessie's heartfelt song of her memories with 'Emily' tugs the heart strings to make grown men cry. Randy Newman wrote a perfect little gem in this short but iconic moment in movie history. In the most respectful way the write and the song do so little SO well. The orchestration is sparse but completely appropriate and supportive. This arrangement follows the original soundtrack as closely as possible and would make a wonderful addition to a kids or education concert or an evening of film, musicals or just a celebration of great song writers. Thank you Randy Newman for your wonderful understated genius for using musical simplicity to unpack human complexity.
$140.00
125.47 €
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Orchestre de chambre
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Sarah McLachlan
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When She Loved Me
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www.studio-orchestrations.com
#
SheetMusicPlus
Fantasy for Flute and Strings
Orchestre de chambre
Chamber Orchestra - Level 5 - Digital Download SKU: A0.817949 Composed by Adrian De…
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Chamber Orchestra - Level 5 - Digital Download SKU: A0.817949 Composed by Adrian Dee. 21st Century,Chamber,Classical,Contemporary. Score and Parts. 97 pages. Adrian Dee #6682479. Published by Adrian Dee (A0.817949). I wrote Fantasy in the late spring of 2019. Before I could arrange a premier, the COVID-19 pandemic set in and everything stopped. I finally had the joy of premiering the piece on December 8, 2021, with my home team the Newport Symphony in Newport, Oregon, with Adam Flatt conducting. The audience was on their feet for both the matinee and the evening performances, so I guess they liked it! The piece is melodic, rhythmic, tonal, and just plain fun to play. It goes together easily. Each movement is about five and a half minutes, total play time about 17 minutes. It is appropriate for advanced student groups as well as professional groups. The first movement, Busy Day (Presto), makes repeated use of a four-note motif (G-F-A-D) and is a driving non-stop articulated melody. The second movement, Lullabye (Andante), opens and closes with the flute playing a brief cadenza, floating above an ambiguous chord in the strings. The bulk of the movement is a dovetailed hypnotic ostinato in the strings with a gentle rocking motion, and the simple flute melody above. The third movement, Wild Dreams (Presto), should be exactly that, wild and raucous, with heavy aggressive accents as indicated.For additional notes, see p. 2 of the PDF.The Youtube link above (Watch) is a recording I made at home in 2020 with my computer playing the string parts. This is the first movement, the second and third follow. It is my sincere hope that this piece will bring joy and exuberance for both the performers and the audience. Let me know if you schedule a performance; I’d love to hear what someone else does with it.adriandeeflute@gmail.com adriandee.com
$39.95
35.8 €
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Orchestre de chambre
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Adrian Dee
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Fantasy for Flute and Strings
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Adrian Dee
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SheetMusicPlus
Piano Concerto No. 1 - FIRST movement [score and parts]
Orchestre de chambre
Chamber Orchestra - Level 3 - Digital Download SKU: A0.1197728 By Juan MarÃa Sol…
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Chamber Orchestra - Level 3 - Digital Download SKU: A0.1197728 By Juan MarÃa Solare. By Juan MarÃa Solare. 20th Century,Classical,Contemporary. Score and parts. 74 pages. Juan Maria Solare #796909. Published by Juan Maria Solare (A0.1197728). Juan MarÃa Solare: Piano Concerto No. 1 - FIRST movement [score and parts]Please find the other two movements - also in this platformThe full score (of the three movements) is also available independently HERE:https://www.sheetmusicplus.com/title/piano-concerto-no-1-score-only-digital-sheet-music/22468631?aff_id=565049Video in YouTube (score follower)Aesthetic reflections on the piano concertoDuring the eras of classicism and romanticism, a concerto was often conceived as a confrontation between a soloist, symbolising the individual, and the orchestra, representing society. Seen in this way, a concert reflects a value system that pits the individual against the group and poses a struggle of I against you. Surely this vehemence could be explained in a Beethovenian era when the concepts of human rights and individual freedom were fragile ideals.However, it is a different scale of values that my piano concerto tries to reflect: the idea of cooperation, of teamwork and of an orchestra as a living organism whose organs are not superior to one another, more vital than others, but fulfil different functions, qualitatively speaking.Every soloist plays a leading role, but this does not imply either subordination to the rest or denigration or subjugation of the rest. The fact that the soloist is sometimes in the foreground does not imply a victory over the others. The very concept of victory is meaningless here.At times, the soloist will fulfil a leadership role, at others he or she will underpin from passivity what is happening in the orchestra, intentionally from the shadows, as a grey eminence. And at other times - why not - he will question what the majority is doing.It is not a rough relationship of me against you, but there is also a we.The composition and orchestration of this piano concerto was made possible by a grant from the Senator for Culture of the Free Hanseatic City of Bremen. This work was funded by an artist's grant as part of the Bremen-Corona-Hilfen programme.The premiere by the orchestra of the Bremer Orchestergemeinschaft is scheduled for the beginning of 2024. Duration: 17 to 20 minutes.
$33.00
29.58 €
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Orchestre de chambre
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Juan MarÃa Solare
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Piano Concerto No. 1 - FIRST movement [score and parts]
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Juan Maria Solare
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SheetMusicPlus
Piano Concerto No. 1 - SECOND movement [score and parts]
Orchestre de chambre
Chamber Orchestra - Level 3 - Digital Download SKU: A0.1197730 By Juan MarÃa Sol…
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Chamber Orchestra - Level 3 - Digital Download SKU: A0.1197730 By Juan MarÃa Solare. By Juan MarÃa Solare. Arranged by Juan MarÃa Solare. 20th Century,Classical,Contemporary. Score and parts. 64 pages. Juan Maria Solare #796911. Published by Juan Maria Solare (A0.1197730). Piano Concerto No. 1 - SECOND movement [score and parts]Please find the other two movements - also in this platformThe full score (of the three movements) is also available independently HERE:https://www.sheetmusicplus.com/title/piano-concerto-no-1-score-only-digital-sheet-music/22468631?aff_id=565049Video in YouTube (score follower)Aesthetic reflections on the piano concerto (by Juan MarÃa Solare)During the eras of classicism and romanticism, a concerto was often conceived as a confrontation between a soloist, symbolising the individual, and the orchestra, representing society. Seen in this way, a concert reflects a value system that pits the individual against the group and poses a struggle of I against you. Surely this vehemence could be explained in a Beethovenian era when the concepts of human rights and individual freedom were fragile ideals.However, it is a different scale of values that my piano concerto tries to reflect: the idea of cooperation, of teamwork and of an orchestra as a living organism whose organs are not superior to one another, more vital than others, but fulfil different functions, qualitatively speaking.Every soloist plays a leading role, but this does not imply either subordination to the rest or denigration or subjugation of the rest. The fact that the soloist is sometimes in the foreground does not imply a victory over the others. The very concept of victory is meaningless here.At times, the soloist will fulfil a leadership role, at others he or she will underpin from passivity what is happening in the orchestra, intentionally from the shadows, as a grey eminence. And at other times - why not - he will question what the majority is doing.It is not a rough relationship of me against you, but there is also a we.The composition and orchestration of this piano concerto was made possible by a grant from the Senator for Culture of the Free Hanseatic City of Bremen. This work was funded by an artist's grant as part of the Bremen-Corona-Hilfen programme.The premiere by the orchestra of the Bremer Orchestergemeinschaft is scheduled for the beginning of 2024. Duration: 17 to 20 minutes.
$33.00
29.58 €
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Orchestre de chambre
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Juan MarÃa Solare
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Juan MarÃa Solare
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Piano Concerto No. 1 - SECOND movement [score and parts]
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Juan Maria Solare
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SheetMusicPlus
Piano Concerto No. 1 - THIRD movement [score and parts]
Orchestre de chambre
Chamber Orchestra - Level 3 - Digital Download SKU: A0.1197732 Composed by Juan Mar…
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Chamber Orchestra - Level 3 - Digital Download SKU: A0.1197732 Composed by Juan MarÃa Solare. 20th Century,Classical,Contemporary. Score and parts. 53 pages. Juan Maria Solare #796913. Published by Juan Maria Solare (A0.1197732). Piano Concerto No. 1 - THIRD movement [score and parts]Please find the other two movements - also in this platformThe full score (of the three movements) is also available independently HEREavailable HERE:(https://www.sheetmusicplus.com/title/piano-concerto-no-1-score-only-digital-sheet-music/22468631?aff_id=565049).Video in YouTube (score follower)Aesthetic reflections on the piano concerto (by Juan MarÃa Solare)During the eras of classicism and romanticism, a concerto was often conceived as a confrontation between a soloist, symbolising the individual, and the orchestra, representing society. Seen in this way, a concert reflects a value system that pits the individual against the group and poses a struggle of I against you. Surely this vehemence could be explained in a Beethovenian era when the concepts of human rights and individual freedom were fragile ideals.However, it is a different scale of values that my piano concerto tries to reflect: the idea of cooperation, of teamwork and of an orchestra as a living organism whose organs are not superior to one another, more vital than others, but fulfil different functions, qualitatively speaking.Every soloist plays a leading role, but this does not imply either subordination to the rest or denigration or subjugation of the rest. The fact that the soloist is sometimes in the foreground does not imply a victory over the others. The very concept of victory is meaningless here.At times, the soloist will fulfil a leadership role, at others he or she will underpin from passivity what is happening in the orchestra, intentionally from the shadows, as a grey eminence. And at other times - why not - he will question what the majority is doing.It is not a rough relationship of me against you, but there is also a we.The composition and orchestration of this piano concerto was made possible by a grant from the Senator for Culture of the Free Hanseatic City of Bremen. This work was funded by an artist's grant as part of the Bremen-Corona-Hilfen programme.The premiere by the orchestra of the Bremer Orchestergemeinschaft is scheduled for the beginning of 2024. Duration: 17 to 20 minutes.Full score available here
$33.00
29.58 €
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Orchestre de chambre
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Juan MarÃa Solare
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Piano Concerto No. 1 - THIRD movement [score and parts]
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Juan Maria Solare
#
SheetMusicPlus
Homage to Sibelius
Orchestre de chambre
Chamber Orchestra - Level 4 - Digital Download SKU: A0.1308171 Composed by Stanley …
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Chamber Orchestra - Level 4 - Digital Download SKU: A0.1308171 Composed by Stanley M Hoffman. 21st Century,Classical. Score and Parts. 207 pages. Stanleymhoffman.com #897424. Published by stanleymhoffman.com (A0.1308171). I have long wanted to compose an homage to Jean Sibelius. However, his music is copyright protected in the EU for another five years or so. Thus, I struggled with how to compose a work without any direct musical quotations, and yet which in some way captures the essence of his symphonic music. I had a breakthrough in recent weeks, and the result is an eleven-minute orchestral composition which manages to invoke his music without directly quoting it. The opening passage on which the piece is based invokes the opening of Symphony No. 6 without quoting it; also, my homage is in the key of A Minor whereas the symphony is in the key of D minor. The piece also invokes the orchestral colors of one of my other favorite pieces of Sibelius, The Swan of Tuonela. My composition is scored very closely to that one, but I ended up using two oboes; I never needed an English Horn, and I added two flutes to that scoring. Thus, the instrumentation is as follows: 2fl-2ob-1cl/bcl-2bn-4hn-3tbn-timp-bd-str; the duration is ca. 11:30. My homage also invokes the more youthful compositions of the great master, and of course features his biggest personal influence, the sounds of nature. Sibelius was a master of musical forms. He managed to create entirely original forms such as the one for Symphony No. 7. While I do not pretend to be in his league in any way, I did manage to compose a work in a four-part form, which is unusual, and not the least of which for me. The piece contains all kinds of indirect references to the music of Sibelius through the use of motifs, melodies, harmonies, ornamentation, and orchestration.While not the most original piece of music I have ever composed (that would be The City In the Sea: Choral Tone Poem), my Homage to Sibelius is among the most subtle of my works in that it contains a good deal of variation technique, and a lot of attention to detail. Like my Homage to Vaughan Williams for string orchestra, the idea was not to break new stylistic ground, but rather to pay homage to the ground broken by the master. More so than anything, my Homage to Sibelius invokes how the symphonic music of Sibelius makes me feel when I am listening to it. I hope you enjoy it.---HOMAGE TO SIBELIUS for Chamber OrchestraMusic by  Stanley M. Hoffman (b. 1959 [BMI]) Inspired by the Music of Jean Sibelius (1865–1957)NotePerformer 4 Audio and Scrolling Score Video Seeking Live PerformancesMusic:© Copyright 2023 by Stanley M. Hoffman. www(dot)stanleymhoffman(dot)comAll rights reserved.  The sheet music is available from the composer and from Sheet Music Plus.
$103.50
92.76 €
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Orchestre de chambre
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Stanley M Hoffman
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Homage to Sibelius
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stanleymhoffman.com
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SheetMusicPlus
Gymnopedie No. 1 (for small chamber orchestra and solo violin)
Orchestre de chambre
Chamber Orchestra - Level 3 - Digital Download SKU: A0.923580 Composed by Erik Sati…
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Chamber Orchestra - Level 3 - Digital Download SKU: A0.923580 Composed by Erik Satie. Arranged by CJ Darnieder. Romantic Period. Score and parts. 15 pages. CJ Darnieder #3475075. Published by CJ Darnieder (A0.923580). Set of parts, for full score: https://www.sheetmusicplus.com/title/gymnopedie-no-1-for-small-chamber-orchestra-and-solo-violin-dig...Satie's famous and gorgeous Gymnopedie No.1 in a unique arrangement by CJ Darnieder. Instrumentation is as follows:1 flute, 1 oboe, 1 clarinet, 1 bassoon, 2 horns, harp, solo violin, and strings*For younger ensembles, doubling woodwinds is an option. *Piano may also be substituted for harp if harmonics are omitted or performed up the octave.*For more professional ensembles, the smaller the string section, the better.If you have any questions or would like to perform this arrangement, please do not hesitate to contact me! composercjdarnieder@gmail.com.
$6.00
5.38 €
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Orchestre de chambre
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Erik Satie
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CJ Darnieder
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Gymnopedie No. 1
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CJ Darnieder
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SheetMusicPlus
Be Thou My Vision
Orchestre de chambre
Chamber Orchestra - Level 2 - Digital Download SKU: A0.1342596 Composed by Traditio…
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Chamber Orchestra - Level 2 - Digital Download SKU: A0.1342596 Composed by Traditional Irish Folk Tune. Arranged by Robert Myers. Celtic,Irish,Sacred,Traditional. 60 pages. WheatMyer Music #928096. Published by WheatMyer Music (A0.1342596). From hymnary.org: SLANE is an old Irish folk tune associated with the ballad With My Love on the Road in Patrick W. Joyce's Old Irish Folk Music and Songs (1909). It became a hymn tune when it was arranged by David Evans (PHH 285) and set to the Irish hymn Be Thou My Vision published in the Church Hymnary (1927). SLANE is named for a hill in County Meath, Ireland, where St. Patrick's lighting of an Easter fire–an act of defiance against the pagan king Loegaire (fifth century)–led to his unlimited freedom to preach the gospel in Ireland.This setting of SLANE takes a variations approach to the tune with three recognizable but distinct interpretations. The first is an intimate and contemplative interpretation, followed by a jig, which is fitting for the tune's Irish background, and the third is a majestic chorale. Snippets of Guide Me, O Thou Great Jehovah (CWM RHONDDA) appear during interludes.This arrangement was written for a smaller ensemble, recognizing that few church orchestras have a symphonic size string section. It features alto flute and solo violin carrying the melody or providing colorful counterpoint.  Other than these featured players other instruments are hardly asked to carry an independent line. Doubling is prevalent allowing for a lot of flexibility in instrumentation and coverage of missing parts or the director may specify strategic tacets to present additional color and texture. Optional doubling parts are provided for alto (dbls. alto flt.) and tenor saxophone (dbls. Cl. 3).
$75.00
67.22 €
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Orchestre de chambre
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Traditional Irish Folk Tune
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Robert Myers
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Be Thou My Vision
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WheatMyer Music
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SheetMusicPlus
Claude Debussy: Sérénade for violin and 17 instrments, full score and solo part only (parts on ren
Orchestre de chambre
Chamber Orchestra - Level 4 - Digital Download SKU: A0.1080705 Composed by Claude D…
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Chamber Orchestra - Level 4 - Digital Download SKU: A0.1080705 Composed by Claude Debussy/Robert Orledge. 20th Century,Romantic Period,Standards. Score and parts. 30 pages. Musik Fabrik Music Publishing #4727447. Published by Musik Fabrik Music Publishing (A0.1080705). Instrumentation2 flûtes/2 flutescor anglais (doublant hautbois/doubling oboe)clarinette en La/clarinet in Abasson/bassooncor en Fa/horn in Fpercission (1 éxecutant - timbales (3)/cymbale suspendue, tambour de basque)/percussion (1 performer - timpani (3)/suspended cymbal, tambourine)harpe/harp9 cordes/9 strings (2.2.2.2.1)durée/duration: 5 minutes 30 secconds (environ/approx.) Une versions pour violon et piano ainsi qu’une version pour violon et orchestre (31CA(hb)23/2100/timb/perc/hpe/cordes)est également disponibile/A version for violin and piano as well as a version for violin and orchestra (31EH(ob)23/2100/timp/perc/strings) is also available.______________________Prmière: Edmond Agapian, violin with the Calagray (CA) Youth orchestra, cond. Gareth Jones, University of Calgary, 28 Janaury, 2011Première of the version for violin and 17 instruments: Frédéric Moisan, violin Orchestre 21 cond. Paolo Bellomio, Unveristy of Montreal, Canada, 2 March 2012Preface:In the early 1890s, Debussy composed the opening of a lyrical piece in E major for violin and piano, perhaps as a shorter companion piece for the violin Nocturne he was planning for the Belgian violinist Eugène Ysaÿe. After Debussy’s death in 1918, his second wife Emma often gave away sketch pages to performers or composers as memorials to her beloved husband , and this particular page was given to the Cuban born pianist and composer Joaquin Nin (1879-1949). It came up for sale in the catalogue of the British antiquarian dealer Lisa Cox in 2010 and although it might possibly be an early song for contralto and piano, the more dynamic idea in bar 12 strongly suggests the violin, especially as it begins on an open D string. Moreover, there is no text and in pieces of this length, Debussy usually wrote at least one word in, if only to remind himself where he had got to in any song. So my starting point was a complete 12-bar melody gently undulating in the violin’s lowest register over a sensual accompaniment, rising to a climax in bar 12 and giving me a contrasting idea that I could use as a link between sections and in the cadenza. As the B section (bars 14-26) derives directly from Debussy’s opening theme by metamorphosis, my own additions were restricted to the central section (bars 27-57) - comprising a new scherzando idea (C) and the more lyrical D (bars 36-46). C returns at bar 47, followed by the opening sections in reverse order, so that the Sérénade begins and ends with Debussy’s material and is cast in arch form (ABCDCBA). Robert OrledgeBrighton, 19 June 2019Robert Orledge was born in Bath in 1948 and educated at Clare College, Cambridge, where he gained his doctorate for his study of the composer Charles Kœchlin in 1973. Between 1971 and 1991 He rose from Lecturer to Professor in the Music Department of the University of Liverpool, publishing books on Gabriel Fauré, Claude Debussy, Charles Kœchlin and Erik Satie, as well as numerous articles, editions and reviews. As a historical musicologist, Professor Orledge specialized in the way composers composed, ,and since taking early retirement in 2004, he has concentrated on completing and orchestrating Debussy’s unfinished works, and especially his theatre projects. His completion of Debussy’s opera The Fall of the House of Usher (1908-17) was successfully premiered at the Bregenz Opera Festival in Austria in August 2006 and has since been performed in America, Portugal Germany and Holland, as well as being broadcast throughout Europe. A DVD of the Bregenz premier is available on Capriccio 93517, produced by Phylida Lloyd and conducted by Lawrence Foster. His completion of the Chinese ballet No-ja-li ou Le Palais du Silence (1914) was also premiered in 2006 in Los Angeles and ot.
$16.95
15.19 €
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Orchestre de chambre
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Claude Debussy/Robert Orledge
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Claude Debussy: Sérénade for violin and 17 instrments, full score and solo part only
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Musik Fabrik Music Publishing
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SheetMusicPlus
Sauterelle
Orchestre de chambre
Chamber Orchestra - Digital Download SKU: A0.1022716 Composed by Andy Fielman. Cont…
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Chamber Orchestra - Digital Download SKU: A0.1022716 Composed by Andy Fielman. Contemporary. Score and parts. 8 pages. Gisela August Publishing #3000413. Published by Gisela August Publishing (A0.1022716). Sauterelle, a playful grasshopper once came inside to spend an evening or three. It subsisted on bell pepper strips and a bottle cap of water. Our time together was joyful and is represented in this buoyant and playful tune. Sauterelle eventually hopped back outside to resume the life of a grasshopper leaving me with a smile and this song clocking in at 2:48. The music can be previewed at the following link: https://www.youtube.com/watch?v=8OXWCMoAC18&t=3s Enjoy!
$8.95
8.02 €
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Orchestre de chambre
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Andy Fielman
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Sauterelle
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Gisela August Publishing
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SheetMusicPlus
Mountains Of The Moon
Orchestre de chambre
Chamber Orchestra - Level 3 - Digital Download SKU: A0.1181592 By The Grateful Dead…
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Chamber Orchestra - Level 3 - Digital Download SKU: A0.1181592 By The Grateful Dead. By Jerry Garcia and Robert Hunter. Arranged by Lee Johnson. 20th Century,Chamber,Contemporary,Contest,Festival,Folk. Score and Parts. 40 pages. Lee Johnson Music #781381. Published by Lee Johnson Music (A0.1181592). MOUNTAINS of the MOON - for string orchestra and harp - is inspired by and written in tribute to the music of the Grateful Dead and comes from the world-renowned Dead Symphony no. 6 by composer and arranger Lee Johnson. It is a modern cross-over symphony recorded by the Russian National Orchestra and conducted by Lee Johnson that charted at #20 on Billboard’s Best Classical Albums. Dead Symphony no. 6 has been performed by the Baltimore Symphony Orchestra, The Cabrillo Festival Orchestra, The Indianapolis Symphony Orchestra, The California Symphony Orchestra, and many others both professional and academic. It has been broadcast on Sirius/XM, WNYC, NPR, and dozens of syndicated radio programs and stations. Each movement may be purchased and performed separately.If your orchestra would like to do a complete performance of Dead Symphony no. 6, simply use the following order:If I Had the World To GiveSt. StephenHere Comes SunshineMountains of the MoonBlues for AllahSugar MagnoliaTo Lay Me DownBird SongChina DollDead Overture and FinaleFor more information on composer Lee Johnson please visit: www.leejohnsonmusic.comKings Bishop Productions YouTube Channel Â
$49.99
44.8 €
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Orchestre de chambre
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The Grateful Dead
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Lee Johnson
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Mountains Of The Moon
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Lee Johnson Music
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SheetMusicPlus
Concertino - for clarinet, mandolin and symphony orchestra
Orchestre de chambre
Chamber Orchestra - Digital Download SKU: A0.944032 Composed by Ofer Ben-Amots. Con…
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Chamber Orchestra - Digital Download SKU: A0.944032 Composed by Ofer Ben-Amots. Contemporary,Jewish,World. Score and parts. 118 pages. The Composer's Own Press #4610029. Published by The Composer's Own Press (A0.944032). CONCERTINO, for Clarinet, Mandolin, and Orchestra CONCERTINO was officially commissioned in 2011 by the Geneva Chamber Orchestra. The composition explores the sound combination of two, seemingly opposing, instruments and sound characters: the clarinet and the mandolin. Thus, the three-movement work is a short double-concerto for clarinet and mandolin, accompanied by a chamber orchestra. The first movement, titled Psalm 148 and is a mixture of a coronation fanfare and a wild improvisatory-like dance. The music is based on the structure and ideas expressed in the 148th Psalm. For the transformation of this Psalmodic text into music I was concerned with two elements: first, the linguistic pulse of the ancient Biblical Hebrew gives the music its ever-changing meters and vibrant rhythms. The second element was the poetic concept presented in the text: Heaven vs. Earth, Universe vs. Planet, or Heights vs. Depths. The contrasting nature of these elements is described in the following verses: Hallelujah, Praise ye the LORD from the heavens; praise Him in the heights. (Psalm 148, verse 1) Praise the LORD from the earth, ye sea-monsters, and all deeps. (Psalm 148, verse 7) Finally, both Heaven and Earth join in praise together: Let them praise the name of the LORD, for His name alone is exalted; His glory is above the earth and heaven. (Psalm 148, verse 13) The musical expression of these contraries is reflected and the use of high-range and soprano instruments (flutes, clarinet, trumpets, violins) versus low-range instruments (trombone, bassoons, cellos and basses.) The second movement, Romacero Viejo (and old love song) is a slow, lyrical dirge-like melody in a Sephardic Judeo-spanish style. In this movement the mandolin plays in the manner of an Oud – a traditional pear-shaped Arabic lute. The harmony sits mostly on a single pedal note while the clarinet imitates the chant with rhythmically free ornatmental patterns. The third and final movement, Allegro con brio, is a festive klezmer dance with a traditional Bulgar (or Freylech) rhythm, where the regular 8/8 meter is constantly divided into the irregular count of: 3+3+2. In the middle of this movement the two soloists play a cadenza, which allows them to present their contrasting yet complementary instrumental characters. The movement is titled The Geneva Bulgar in honor of the City of Geneva and the wonderful memories I have been carrying with me ever since my time there as a young student at the Conservatoire de Musique. Total duration: ca. 23 min.Performance material by rental only! For demo recording, questions, or any additional information please e-mail Ofer Ben-Amots at: thecomposerspress@gmail.com
$54.00
48.4 €
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Orchestre de chambre
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Ofer Ben-Amots
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praise Him in the heights
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Concertino - for clarinet, mandolin and symphony orchestra
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The Composer's Own Press
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SheetMusicPlus
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