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804
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355
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20
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Piano Quatuor: piano, violon, alto, violoncelle
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2 Pianos, 4 mains
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Piano Quatuor: piano, 2 violons, violoncelle
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43
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Dulcimer
5
Piano, Guitare (duo)
4
3 Guitares (trio)
2
Basse électrique (partie séparée)
1
Guitare Pedal Steel
1
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VOIX
Chorale SATB
419
Chorale 3 parties
124
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71
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68
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48
Chorale SSAA
44
Voix duo, Piano
26
Voix Tenor, Piano
20
Voix Soprano, Piano
20
Voix Alto, Piano
11
Voix duo
7
Voix haute
6
Voix seule
6
Voix Tenor
5
Voix Mezzo-Soprano, Piano
4
Voix moyenne, Piano
3
Voix basse
2
Voix Soprano
2
Chorale SSATB
1
Soli, choeur mixte et accompagnement
1
Voix Baryton, Piano
1
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VENTS
Quatuor de Saxophones: 4 saxophones
107
Hautbois, Piano (duo)
76
Clarinette
73
Flûte, Hautbois, Clarinette, Basson
73
Flûte traversière et Piano
65
Flûte traversière
65
Saxophone (partie séparée)
62
Clarinette et Piano
62
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
55
2 Saxophones (duo)
52
2 Flûtes traversières (duo)
52
Hautbois (partie séparée)
52
Saxophone Alto
47
Saxophone Alto et Piano
39
2 Clarinettes (duo)
36
Quintette de Saxophone: 5 saxophones
36
Saxophone Tenor et Piano
33
Quatuor de Clarinettes: 4 clarinettes
30
2 Hautbois (duo)
22
Saxophone Soprano et Piano
16
3 Saxophones (trio)
15
Saxophone Baryton, Piano
14
Saxophone Tenor
12
Flûte, Clarinette (duo)
11
Quatuor de Flûtes : 4 flûtes
10
Clarinette (partie séparée)
9
Hautbois, Clarinette (duo)
9
Ensemble de saxophones
9
Hautbois
9
Flûte à Bec
9
Ensemble de Flûtes
8
Flûte à bec Soprano
7
Ensemble de Clarinettes
7
Flûte, Hautbois (duo)
7
Hautbois, Basson (duo)
7
Clarinette, Basson (duo)
7
Clarinette, Violon (duo)
7
Cor anglais, Piano
6
Clarinette Basse, Piano
6
Saxophone Soprano
6
Flûte, Alto (duo)
4
Flûte, Violon
4
3 Clarinettes (trio)
4
Ensemble De Flûte à bec
4
Hautbois, violon (duo)
4
Clarinette et Alto
4
Flûte et Guitare
4
Saxophone, Clarinette (duo)
4
Hautbois, Violoncelle
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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Ocarina
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5 Flûtes à bec
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3 Hautbois
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Quatuor de Flûtes à bec
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CUIVRES
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
66
Trompette
51
Trombone
48
Cor
46
Cor et Piano
41
Trombone et Piano
39
Quatuor de Cuivres : 2 trompettes, trombone, tuba
34
Tuba
33
Trompette, Piano
29
2 Cors (duo)
24
2 Trombones (duo)
24
2 Trompettes (duo)
23
Quatuor de Cuivres: 2 trompettes, Cor, trombone
23
Tuba et Piano
19
Trompette (partie séparée)
18
Quatuor de Cuivres
16
2 Tubas (duo)
14
Cor (partie séparée)
10
Trompette, Trombone (duo)
9
Trombone (partie séparée)
9
Euphonium, Piano (duo)
7
Cor anglais, Piano
6
Tuba et Orgue
4
Ensemble de Trombones
4
Quatuor de cuivres: 4 trompettes
4
Ensemble de Cors
3
Trompette, Cor (duo)
3
Euphonium
3
Trompette, Tuba (duo)
3
Cor Anglais
3
Quatuor de cuivres: 4 trombones
3
Trompette, Saxophone (duo)
3
Tuba (partie séparée)
2
Trombone, Violon (duo)
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Trombone, Tuba (duo)
2
Quatuor de cuivres: 4 cors
2
Trompette, Violoncelle (duo)
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2 Cors, Piano
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Trio de Cuivres
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Euphonium, Tuba (duo)
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Bass Clef Instruments
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4 Euphoniums
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Trompette, violon (duo)
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2 Euphoniums et 2 Tubas
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CORDES
Quatuor à cordes: 2 violons, alto, violoncelle
197
Violon et Piano
118
Violon
89
Alto, Piano
74
Violoncelle, Piano
63
Harpe
51
Violoncelle (partie séparée)
46
2 Violons (duo)
39
Alto seul
39
Quintette à cordes: 2 violons, alto, violoncelle, basse
32
Violon, Violoncelle (duo)
30
2 Violoncelles (duo)
29
2 Altos (duo)
23
Trio à Cordes: violon, alto, violoncelle
23
Contre Basse
23
Violoncelle
20
Contrebasse, Piano (duo)
19
Alto (partie séparée)
17
Violon (partie séparée)
15
Violon, Alto (duo)
15
Trio à Cordes: 2 violons, violoncelle
10
Alto, Violoncelle (duo)
10
2 Contrebasses (duo)
10
4 Violoncelles
7
2 Harpes (duo)
6
Contrebasse (partie séparée)
3
Harpe, Voix
3
Violon, Basson (duo)
3
Harpe, Flûte (duo)
3
Trio à Cordes: 3 violoncelles
2
Alto et Basson
2
Violon, Tuba (duo)
2
Violoncelle, Contrebasse (duo)
2
4 Contrebasses
2
Trio à Cordes: 2 violons, alto
2
Violoncelle , Guitare (duo)
2
4 Harpes
2
Violon, Guitare (duo)
2
Flûte, Contrebasse (duo)
2
Piano Trio: Violon, Alto, Piano
2
Quintette à cordes: 2 violons, 2 altos, violoncelle
2
Quatuor à cordes: 4 violons
1
Trio à cordes: 3 violins
1
Autoharp
1
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PERCUSSIONS & ORCHESTRES
Orchestre d'harmonie
137
Orchestre à Cordes
65
Orchestre
52
Ensemble Jazz
24
Orchestre de chambre
19
Ensemble de cuivres
19
Batterie
18
Cloches
13
Fanfare
8
Batterie (partie séparée)
5
Percussion (partie séparée)
5
Xylophone, Piano
4
Ensemble de Percussions
4
Marimba
3
Quintette à cordes : 2 Violons, Alto, Violoncelle, Contrebasse, Clavier
3
Instrumentation Flexible
2
Jazz combo
2
Marimba, Piano (duo)
1
Vibraphone
1
Quintette à Vent
1
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AUTRES
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From The Heart
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Carson Cooman: The Acts of the Apostles (2009), an oratorio for baritone, chorus, congregation/audie
Orchestre de chambre
Chamber Orchestra - Level 5 - Digital Download SKU: A0.533578 Composed by Carson Co…
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Chamber Orchestra - Level 5 - Digital Download 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
24.22 €
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Orchestre de chambre
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Carson Cooman
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Carson Cooman: The Acts of the Apostles
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Musik Fabrik Music Publishing
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SheetMusicPlus
Songs from the Pomegranate Garden (Kantes del Verdjel de Granadas)
Orchestre de chambre
Chamber Orchestra - Digital Download SKU: A0.944036 Composed by Ofer Ben-Amots. Con…
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Chamber Orchestra - Digital Download SKU: A0.944036 Composed by Ofer Ben-Amots. Contemporary,Jewish,World. Score and parts. 124 pages. The Composer's Own Press #4627681. Published by The Composer's Own Press (A0.944036). Kantes del verdgel de granadas – Songs from the Pomegranate Garden A Judeo-Spanish song cycle for solo voice and chamber symphony orchestra Composer’s notes: Kantes del verdgel de granadas, or in its English translation: Songs from the Pomegranate Garden, is a cycle of five songs in the Judeo-Spanish dialect, also known as Ladino. The texts, based on folk-poetry, are magical, passionate, and encompass a wide range of human emotions and experiences. We can find in them love and longing, sorrow and death, lightheartedness and folly, as well as burning love and even sexual innuendo. The vocal part portrays different stories and a variety of human characters in each of the five songs. It, thus, ranges in expression from parlando secco to lirico espressivo. The role of the orchestra in this cycle is more than just an accompaniment; it converses with the voice, adds colors and ambience, and serves as a commentary over the sung text. Thus, the orchestral part is equal to, or at times even more predominant than the voice itself. The initiative to write this composition came in response to a specific cultural approach by which creativity based on traditional Judaic material should correspond to four stages in the artistic process: Exploration, Preservation, Interpretation, and Innovation (as translated by the Hebrew terms: חידוש – פירוש – שימור – חיפוש). The main idea behind this initiative was to conserve crucial elements within traditional Jewish folk music, and then, bring about their revival as art music through new contemporary interpretations. Thus, the musical arrangement is partially based on the traditional Ladino tunes and partially original. However, phrases based on old Ladino melodies are starkly modified and composed in such way to completely evoke personal imagery and interpretation. The songs I selected for the cycle were taken from the four-volume collection: Chants judéo-espagnols by Isaac Levy. My criteria for the selection was finding lesser-known melodies, yet most intriguing ones and with a strong Judeo-Spanish character. The five songs have various degrees of arrangement vs. original composition: songs 2 and 3, Mi korason and Entre las huertas, for example, are almost unchanged, while songs 1 and 4, Dos amantes and Malato ‘sta el hijo del rey, heavily combine the old Ladino romancero melodies with originally composed material. The concluding song (Nr. 5) is entirely original, but correspond stylistically to the Judeo-Spanish musical language. While all five songs are secular in nature, the ballad Malato ‘sta el hijo del rey (The King’s Son is Ill) has been traditionally sung - according to Isaac Levy - on the night of Tisha B’Av along the scroll of Eicha to bemoan the destruction of the Holy Temple in Jerusalem. The Judeo-Spanish text of the songs can be found below along with its English translation. Duration: ca. 24 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
50.4 €
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Orchestre de chambre
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Ofer Ben-Amots
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Songs from the Pomegranate Garden
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The Composer's Own Press
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SheetMusicPlus
The Joyce Cycle, for voice and orchestra
Orchestre de chambre
Chamber Orchestra - Level 4 - Digital Download SKU: A0.944034 Composed by Music and…
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Chamber Orchestra - Level 4 - Digital Download SKU: A0.944034 Composed by Music and James Joyce, Ofer Ben-Amots, and Poetry (our of Chamber Music). Contemporary. Score and parts. 127 pages. The Composer's Own Press #4615369. Published by The Composer's Own Press (A0.944034). Ben-Amots: The Joyce Cycle (1986) James Joyce's collection of 36 love poems titled Chamber Music has been a source of inspiration to many composers. From these, Ben-Amots has set nine for medium voice and piano (later orchestrated--see below), in a style he characterizes as neo-romantic to match the deliberate archaicism of Joyce's language. The songs are meant to be sung as a complete cycle, but these complex and beautiful settings may be performed independently. Shortly after composing the cycle, Ben-Amots orchestrated it, and he now considers the orchestral version to have priority. Deftly and lightly scored (winds in pairs, no heavy brass), this version sounds strikingly Mahlerian in places. 1. O Sweetheart... The lover finds solace in love when friends him fail. 2. My love is in a light attire... He admires the sight of his love walking through an orchard. 3. My dove my beautiful one... In language reminiscent of the Song of Songs, he bids her arise. 4. Rain has fallen... They seek shelter on a rainy day. 5. Sleep Now, O Sleep Now... The lover's unquiet heart is calmed with a kiss. 6. It was out by Donnycarney... A cheerful folksong, sealed with another kiss. 7. Winds of May... By the turbulent sea, the loved one has disappeared. 8. I Hear an Army... Giving way to despair the lover dreams of an army ferociously charging up out of the depths. But... 9. From Dewy dreams... It was just a dream, after all. For part and performance materials please contact thecomposerspress@gmail.com * The poems, out of James Joyce’s Chamber Music, are in the public domain.Duration: ~ 25 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
50.4 €
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Orchestre de chambre
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the turbulent sea, the loved one has disappeared
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Music and James Joyce, Ofer Ben-Amots, and Poetry
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The Joyce Cycle, for voice and orchestra
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The Composer's Own Press
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SheetMusicPlus
TELEMANN – VIOLIN CONCERTO IN A MAJOR "THE FROGS", TWV 51:A4 (Score and parts in PDF)
Orchestre de chambre
Chamber Orchestra - Level 5 - Digital Download SKU: A0.890767 Composed by Georg Phi…
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Chamber Orchestra - Level 5 - Digital Download SKU: A0.890767 Composed by Georg Philipp Telemann. Arranged by Sneakwood Editions. Baroque,Classical. Score and parts. 41 pages. Sneakwood Editions #4781035. Published by Sneakwood Editions (A0.890767). Edition based on Ms. D MÜu, ms. 775Score (20 pages) and Parts (friendly performance edition): Violino principale, Violin I, Violin II, Violin III, Viola, Violoncello and Harpsichord.The Violin Concerto in A major (TWV 51:A4), which has come to light only fairly recently, does not take as its musical model the song of the nightingale (as in ‘La Bizarre’ [TWV 55:G2]) or of the goldfinch (Vivaldi), but the croaking of the common frog, also called ‘Reling’ in certain regions of Germany, whence the concerto’s subtitle. Nothing better could be expected of a composer who found inspiration even in crows and in the out-of-tune playing of village musicians! Although this concerto, which the manuscript attributes to Telemann, bears traces of his personal style, other features, such as the exceptionally high solo part, leave room for doubt. At a structurally important point in the first movement the soloist produces no more than a succession of repeated notes, ‘a-a, a-a’, which infect the other parts as well. Of course, this is the vowel that the frog croaks, given a distinctive tone-colour by use of the open A string and stopped D string. But worse is to come. In the second ritornello the orchestral violins ‘forget’ the beginning of their theme, whilst the cello inappropriately pushes its way into the foreground. The setting of the second movement (Adagio), probably a moonlit stretch of shallow water, then audibly inspires a pair of courting frogs to make sweet music together. We are given the opportunity to rejoice in their croaking offspring in the concluding Menuet and its rapid Double. This movement entirely dispenses with concertante sounds of nature and thereby betrays its origins in the suite, where it always takes its accustomed place in Telemann’s music. If we knew that a satirist was at work in this ‘Relinge’ Concerto, someone who was deliberately exhibiting all these deviations from good taste, then we could infer with some certainty that the composer is indeed Telemann. Since his own concertos ‘smack of France’ (as he puts it in his autobiography of 1718), we may most likely credit him with permitting his not at all ‘sullen old heart’ a little joke at the expense of the relevant concertos of a certain Italian composer… – Peter Huth (trans. Charles Johnston)www.snakewoodeditions.com
$18.00
16.8 €
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Orchestre de chambre
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Georg Philipp Telemann
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Sneakwood Editions
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TELEMANN – VIOLIN CONCERTO IN A MAJOR "THE FROGS", TWV 51:A4
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Sneakwood Editions
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SheetMusicPlus
Variations on a Rossini Theme op.Posth
Orchestre de chambre
Chamber Orchestra - Digital Download SKU: A0.1035224 Composed by Frederik Franço…
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Chamber Orchestra - Digital Download SKU: A0.1035224 Composed by Frederik François Chopin (1810-1949). Arranged by James Strauss. Romantic Period. Score and parts. 33 pages. James Strauss #5806027. Published by James Strauss (A0.1035224). Unless your name is Mozart, Mendelssohn or Korngold, the first compositional steps are always the hardest. Chopin was probably no older than 14 when he set to work on a set of variations for piano and flute. Already in love with opera, he decided on the happy- ending aria, Non più mesta (No longer sad) from Rossini’s opera Cinderella. As the curtain comes down, Cinderella gleefully warbles, No longer sad beside the fire shall I sit alone, singing; my long years of heartache were but a streak of lightning, a dream, a game. We are unsure what actually prompted Chopin to select this for his unique combination of flute and piano, but it was most likely written for the composer’s father who was a capable amateur flute player. In the end, the piece was probably dedicated to Józef Cichowski, a close friend of his fathers and an amateur flautist as well. We are indeed fortunate that this early piece of Chopin juvenilia has actually survived, as Jozef Nowakowski, one of the composer’s friends, kept the single manuscript copy as a memento. For one reason or another, the work did not appear in print until 1953. This charming and fluent set of variations presents the theme and four decorated versions of the original tune. Added triplet figuration enlivens the first variation, while the second relies on a florid bel canto style to embellish the theme. Rapid downward arpeggios propel variation three, and the concluding variant displays rapid staccato figuration. Stylistically, there is nothing in this composition to suggest Chopin’s hand. You certainly won’t hear Chopin’s fingerprint in the piano part, as all the interesting bits are given to the flute. In addition, it’s the only Chopin piano part that can comfortably be played by most amateurs. Clearly, the future poet of the piano had a long way to go! Here in a Flute and orchestra version.
$29.99
27.99 €
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Orchestre de chambre
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Frederik François Chopin
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James Strauss
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Variations on a Rossini Theme op.Posth
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James Strauss
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SheetMusicPlus
The Unknown Heart's Song
Orchestre de chambre
Chamber Orchestra - Level 3 - Digital Download SKU: A0.999305 Composed by Joshua A.…
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Chamber Orchestra - Level 3 - Digital Download SKU: A0.999305 Composed by Joshua A. Idio. 20th Century,Classical,Romantic Period,Standards. Score and parts. 65 pages. Joshua A Idio #6453741. Published by Joshua A Idio (A0.999305). Composed by Joshua A. Idio. (ASCAP Licensed) Symphonic Orchestra Music. Full score and parts.For Symphonic OrchestraComposed in the style of Nimrod from Edward Elgar's Enigma Variations, this musical poem captures the human feeling of sacrificial love and devotion to one another and the yearning to seek more than just happiness, not just for oneself, but for others.
$85.00
79.33 €
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Orchestre de chambre
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Joshua A
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The Unknown Heart's Song
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Joshua A Idio
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SheetMusicPlus
Bach: Aria 'Mache dich, mein Herze, rein' for Bass Solo and Chamber Baroque Orchestra
Orchestre de chambre
Chamber Orchestra - Level 4 - Digital Download SKU: A0.1283479 By Johann Sebastian …
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Chamber Orchestra - Level 4 - Digital Download SKU: A0.1283479 By Johann Sebastian Bach and Netherlands Bach Society. By Johann Sebastian Bach. Arranged by Flavio Regis Cunha. Baroque,Contest,Easter,Festival,Instructional,Sacred. Score and Parts. 51 pages. Flavio Regis Cunha #874665. Published by Flavio Regis Cunha (A0.1283479). Bach: Aria 'Mache dich, mein Herze, rein' for Bass Solo and Chamber Baroque Orchestra from the St Matthew Passion (BWV 244).Discover timeless music with the Bach classic - 'Mache dich, mein Herze, Rein'! Enjoy the intricate and vibrant performance of the piece from the renowned Netherlands Bach Society. Perfect for both professional orchestras and soloists – as well for the joy of schools performing the revered composer's masterpiece. Get the perfect accompaniment for your performance with the authentic sheet music available now!The aria 'Mache dich, mein Herze, rein' from the St Matthew Passion (BWV 244), performed here by the Netherlands Bach Society and conducted by Jos van Veldhoven for All of Bach. The St Matthew Passion tells the story of the last days of Jesus. He is betrayed, tried, crucified and buried. The lyrics were compiled by Picander (the pseudonym of Christian Friedrich Henrici), probably in close consultation with Bach himself. For their theme, they took the story as told by St Matthew the Evangelist. As different groups or people have their say, the singers get different roles – Christ, Judas, Peter, a slave girl, the pupils, the high priests, the people and the soldiers, etc. At key moments in the story, Bach and Picander added chorales and arias as a reflection of the biblical story. The action is suspended and the events are placed in the theological context of Bach’s day. The chorale lyrics and melodies come from the Lutheran hymn book, and were well known to the congregation in Leipzig. Even though Bach’s harmonies were new, everyone would have recognised the melody and the words. The lyrics for the opening and closing choruses and the arias were brand new, however. Both the arias and the chorales often link up seamlessly with the evangelical words. Advanced IntermediateFormat: Concert, 9 x 12 inches51 pagesProgram NotesMache dich, mein Herze, rein is a deeply poignant and emotional piece from the renowned work by Johann Sebastian Bach, St Matthew Passion (BWV 244). Written as a part of the 16th passion oratorio as a love song sung by Jesus to his disciples, this piece brilliantly conveys the struggle of redemption and longing for peace.Accompanied by a chamber baroque orchestra, the stark vocal line is delivered with an intense intricacy by the bass solo. Each note is carefully laden with sincere emotion, imbuing within the words a sense of longing and deep sorrow. As the piece progresses, the reprise of the chorus adds a layer of reflection to the message, driving home the power of the connection between Christ and his disciples.Mache dich, mein Herze, rein is a highly moving and truly remarkable piece of music that has rightly earned a place amongst Bach's most renowned works. Mache dich, mein Herze, rein is one of the most stunningly tender and moving chorales from Johann Sebastian Bach's monumental oratorio the St Matthew Passion (BWV 244). Originally written with a full choral accompaniment for the Easter Week Vespers of 1729, Bach's skilful reworking of the melody for bass and chamber baroque orchestra in the St Matthew Passion gives the solo voice a unique poignancy and fragility. The Lutheran chorale on which Bach based his composition speaks of hearts needing to be cleansed of sin and sorrow as they prepare to meet the Savior - an idea timeless in its poignancy and universality. Bach's arrangement is akin to a prayer of reflection and contemplation, the music's restrained dynamics and sighing counterpoint creating an atmosphere of resignation and acceptance. Mache dich, mein Herze, rein is a sublime masterpiece of sacred music, truly embodying the spirit of Easter.
$18.99
17.72 €
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Orchestre de chambre
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Johann Sebastian Bach and Netherlands Bach Society
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Flavio Regis Cunha
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Bach: Aria 'Mache dich, mein Herze, rein' for Bass Solo and Chamber Baroque Orchestra
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Flavio Regis Cunha
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SheetMusicPlus
In the Language of Meditation - Solo with Chamber Orchestra - PARTS
Orchestre de chambre
Chamber Orchestra - Level 4 - Digital Download SKU: A0.787359 Composed by Greg Bart…
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Chamber Orchestra - Level 4 - Digital Download SKU: A0.787359 Composed by Greg Bartholomew. 20th Century,Concert,Contemporary,Standards. Score and parts. 77 pages. Burke & Bagley #3484367. Published by Burke & Bagley (A0.787359). In the Language of Mediation was composed in 2013 for viola & piano in memory of Ingrid Buschmann (1954 - 2013). For this arrangement for chamber orchestra the solo may be played on viola, clarinet or alto saxophone. The work takes on a simple, heartfelt aesthetic, reflecting Buschmann's brand of gentle kindness and her love of the natural world with singing clarinet lines and sparkling piano textures. - Andrew FriedmanIn three movements: 1. Observations from a Rooftop Garden (ca. 5'15)2. Contemplating a Mountain with Love (ca. 5')3. Reflecting on a Visit with Birds (ca. 3'30)This is a set of parts only. The score is available separately here: https://www.sheetmusicplus.com/title/20717179?aff_id=481336. Video: https://youtu.be/SEeWuBhO6vw?list=PLC467B58A453D766A .
$49.99
46.65 €
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Orchestre de chambre
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Greg Bartholomew
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In the Language of Meditation - Solo with Chamber Orchestra - PARTS
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Burke & Bagley
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SheetMusicPlus
PEACE, MY HEART, from "Across the Wide" for soprano and string ensemble with piano
Orchestre de chambre
Chamber Orchestra - Level 3 - Digital Download SKU: A0.893968 Composed by Gabriel R…
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Chamber Orchestra - Level 3 - Digital Download SKU: A0.893968 Composed by Gabriel Ruiz-Bernal. Contemporary,Musical/Show. Score and parts. 33 pages. Gabriel Ruiz-Bernal #6328079. Published by Gabriel Ruiz-Bernal (A0.893968). PEACE, MY HEART. For soprano and string ensemble with piano. Also available for soprano and piano.(from song cycle Across the Wide: Songs of Farewell)Text by Rabindranath TagoreLevel of difficulty for the voice: IntermediateLevel of difficulty for the pianist: Low intermediateLevel of difficulty for the string ensemble: Low intermediateApproximate length: 3 minutes, 46 secondsPeace, my heart, let the time for the parting be sweet.Let it not be a death but completeness.Let love melt into memory and pain into songs.Let the flight through the sky end in the folding of the wings over the nest.Let the last touch of your hands be gentle like the flower of the night.Stand still, O Beautiful End, for a moment, and say your last words in silence.I bow to you and hold up my lamp to light you on your way.
$40.00
37.33 €
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Orchestre de chambre
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Gabriel Ruiz-Bernal
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PEACE, MY HEART, from "Across the Wide" for soprano and string ensemble with piano
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Gabriel Ruiz-Bernal
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SheetMusicPlus
A Dream Is A Wish Your Heart Makes
Orchestre de chambre
Chamber Orchestra - Level 3 - Digital Download SKU: A0.1210954 By Linda Ronstadt. B…
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Chamber Orchestra - Level 3 - Digital Download SKU: A0.1210954 By Linda Ronstadt. By Al Hoffman, Jerry Livingston, and Mack David. Arranged by Bryson Merkley. Broadway,Film/TV,Musical/Show. Score and Parts. 17 pages. Voices of the Valley #808645. Published by Voices of the Valley (A0.1210954). A lovely rendition of the timeless classic from Disney's Cinderella. With a simple, placid orchestration, this piece highlights the beauty of the piece, and is accessible to a wide range of ensembles.
$49.99
46.65 €
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Orchestre de chambre
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Linda Ronstadt
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Bryson Merkley
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A Dream Is A Wish Your Heart Makes
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Voices of the Valley
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SheetMusicPlus
MADAMINA ('Catalog Aria' from Don Giovanni, Act I)
Orchestre de chambre
Chamber Orchestra - Level 4 - Digital Download SKU: A0.601816 Composed by Wolfgang …
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Chamber Orchestra - Level 4 - Digital Download SKU: A0.601816 Composed by Wolfgang Amadeus Mozart. Arranged by Flavio Regis Cunha. Classical,Concert,Opera. Score and parts. 83 pages. Flavio Regis Cunha #5314791. Published by Flavio Regis Cunha (A0.601816). Madamina, il catalogo è questo (also known as the Catalogue Aria) is a bass catalogue aria from Mozart's opera Don Giovanni to an Italian libretto by Lorenzo Da Ponte, and is one of Mozart's most famous and popular arias.It is sung by Don Giovanni's servant Leporello to Elvira during act 1 of the opera. Sung to a mostly light-hearted tune, it consists of a description and detailed count of his master's numerous conquests.The aria's two halves reverse the usual order of cavatina followed by cabaletta: in the first, a quick Allegro in 4/4, Leporello has a patter summarizing the number and occupations of Don Giovanni's lovers, while in the second, an Andante con moto in 3/4, in the style of a polonaise (with a melody similar to that of the Larghetto of Mozart's earlier Quintet for Piano and Winds), he describes his approaches and preferences, while Donna Elvira presumably listens in horror.Orquestration: 2.2.0.2 - 2.0.0.0 - Str - Solo Bass
$9.99
9.32 €
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Orchestre de chambre
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Wolfgang Amadeus Mozart
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Flavio Regis Cunha
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MADAMINA
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Flavio Regis Cunha
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SheetMusicPlus
Dreams - Score Only
Orchestre de chambre
Chamber Orchestra - Level 3 - Digital Download SKU: A0.1317400 Composed by Juan Gue…
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Chamber Orchestra - Level 3 - Digital Download SKU: A0.1317400 Composed by Juan Guerra González. 21st Century,Classical. 96 pages. Juan Carlos Guerra Gonzalez #906062. Published by Juan Carlos Guerra Gonzalez (A0.1317400). DREAMS (for Symphony Orchestra)SCORE ONLY Please visit www.juancarlosguerra.com/dreams to buy or rent the parts. Scored for1 Flute1 Oboe1 Clarinet in Bb1 Basoon2 Percussion Players: 1 TimpaniViolin IViolin IIViolaVioloncelloDouble BassAn easy-to-read to read and fascinating piece for a symphony orchestra with a reduced number of winds and no brass. It can be suited ideally in any setting.Program Note“Dreams†is a suite for symphony orchestra in three movements. The work was kindly commissioned by Dr. Luis VÃquez, conductor of the University of Rhode Island’s Symphony Orchestra and to whom this work is being dedicated alongside with his wife Melissa. The titles of the movements come from either an specific dream, or other topics about dreaming that I discovered in the process of writing the work. I. Cherry trees in the morningNature has always inspired me. Every year during spring my family has the tradition to visit the Brooklyn Botanic Garden to experience the cherry blossoms. I usually do not remember many of my dreams but in this particular dream I was in Japan under an esplanade of cherry trees. I remember how amazed I feel and is for sure one of my most memorable dreams. II. DreamcatcherWhile I was writing the initial ideas of for the work I came across a Journal that explored how the use of a particular chord helped reduce nightmares in patients suffering from nightmare disorders. In the study, patients were exposed to the chord C69 (A C Major with the added 6th and 9th) during therapeutic sessions. This chord is used at the beginning of the movement as it moves to explore different sonorities. In this movement you might be able to hear a representation of the “heartbeat†played by the bass drum and timpani, then a more “stressful†section will come to represent a nightmare followed again by another repetition of the C69 chord. If you feel relaxed during the performance, it is on purpose! III. A Dance in the desertDreams, in my case, are usually a mix of different non-related things. For the final movement, I decided to use that idea. I started this dance with a “oriental†style and them throughout the middle of the movement I moved it to a waltz that was influenced by my grandfather. He used to have a small orchestra and he used to play waltzes during events and private parties.I hope the music takes you through a journey of musical emotions.Juan Guerra González
$159.99
149.31 €
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Orchestre de chambre
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Juan Guerra González
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Dreams - Score Only
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Juan Carlos Guerra Gonzalez
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SheetMusicPlus
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
52.25 €
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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
Fauré: Pavane Op. 50 for Piano Sextet
Orchestre de chambre
Chamber Orchestra - Level 3 - Digital Download SKU: A0.550171 Composed by Gabriel F…
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Chamber Orchestra - Level 3 - Digital Download SKU: A0.550171 Composed by Gabriel Faure. Arranged by James M. Guthrie. Holiday,Romantic Period,Standards. 29 pages. Jmsgu3 #4597213. Published by jmsgu3 (A0.550171). Pavane * павана * パヴァーム* Παβάνε * פ×ב×× ×” * Gabriel Fauré, Op. 50. Duration ca. 5:10Gabriel Fauré's Pavane Op. 50 is a short work originally composed for piano in 1887 but is better known in Fauré's version for orchestra and chorus. The piece is a pavane, a slow processional court dance that took hold in Spain in the 16th and 17th centuries and which the aristocracy used as a showcase for fancy ball gowns and ceremonial feasts. The piece's stately pace, which lends the melody its halting grace, has much to do with its frequently cited calming effect. Although Fauré described the report as carefully crafted but not otherwise important, it has become one of his most famous and commonly performed works. The Pavane is a typically frank and straightforward piece of music by Fauré, and it is around seven minutes long. The restrained use of harmony creates a delightful air of subtlety and simplicity. The piece has been reused by other composers, such as Ravel's Pavane pour une infante défunte. The Pavane Op. 50 speaks directly to the heart in its calm and collected manner. Fauré's Pavane has been used in popular culture in various ways. The piece's melody is well-known worldwide for its frequent use in films, advertising, and sporting events like the 1998 FIFA World Cup, which the BBC covered using the Pavane. The piece has also been used in popular music, with pop artists like Eric Clapton and Jon Lord using Pavan-inspired themes in songs and instrumental compositions. The Pavane Op. 50 has been featured in several films, including The Conformist (1970), The Great Beauty (2013), and The King's Speech (2010). The piece has also been used in television shows like The Crown (2016). The Pavane Op. 50 has been arranged for various instruments, including guitar, harp, and cello. The piece's haunting musical qualities that percolate directly from the orchestra through the chorus in a straight line of solemnity and reverence have made it a standard part of the concert repertoire.
$46.95
43.82 €
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Orchestre de chambre
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Gabriel Faure
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James M
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Fauré: Pavane Op. 50 for Piano Sextet
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jmsgu3
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SheetMusicPlus
My Heart Will Go On (love Theme From 'titanic')
Orchestre de chambre
By Page/Maeda. By James Horner (1953-2015) and Will Jennings. Arranged by Marek Czekal…
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By Page/Maeda. By James Horner (1953-2015) and Will Jennings. Arranged by Marek Czekala. Contemporary. Score and parts. 43 pages. Marek Czekala #6865443. Published by Marek Czekala
$20.00
18.67 €
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Orchestre de chambre
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Page/Maeda
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Marek Czekala
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My Heart Will Go On
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Marek Czekala
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SheetMusicPlus
Sonetos del amor oscuro (Set of Parts)
Orchestre de chambre
Chamber Orchestra - Level 5 - Digital Download SKU: A0.1028293 Composed by Josh Arm…
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Chamber Orchestra - Level 5 - Digital Download SKU: A0.1028293 Composed by Josh Armenta, Federico Garcia-Lorca. Contemporary. Score and parts. 124 pages. NoteTaker Publications #3860241. Published by NoteTaker Publications (A0.1028293). I think of you all the time, and you know this without me having to say it, but silently, and between the lines, you should be able to read the love I feel for you, and the tenderness in my heart… –From the last letter of Federico Garcia-Lorca to Juan RamÃrez de Lucas, circa 1936
$80.00
74.66 €
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Orchestre de chambre
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Josh Armenta, Federico Garcia-Lorca
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Sonetos del amor oscuro
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NoteTaker Publications
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SheetMusicPlus
Sonetos del amor oscuro (Full Score)
Orchestre de chambre
Chamber Orchestra - Level 5 - Digital Download SKU: A0.1028292 Composed by Josh Arm…
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Chamber Orchestra - Level 5 - Digital Download SKU: A0.1028292 Composed by Josh Armenta, Federico Garcia-Lorca. 20th Century,Contemporary. Score and parts. 94 pages. NoteTaker Publications #3860215. Published by NoteTaker Publications (A0.1028292). I think of you all the time, and you know this without me having to say it, but silently, and between the lines, you should be able to read the love I feel for you, and the tenderness in my heart… –From the last letter of Federico Garcia-Lorca to Juan RamÃrez de Lucas, circa 1936
$25.00
23.33 €
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Orchestre de chambre
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Josh Armenta, Federico Garcia-Lorca
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Sonetos del amor oscuro
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NoteTaker Publications
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SheetMusicPlus
Schumann: Träumerei Op. 15 No. 7 for Piano Sextet
Orchestre de chambre
Chamber Orchestra - Level 3 - Digital Download SKU: A0.550196 Composed by Robert Sc…
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Chamber Orchestra - Level 3 - Digital Download SKU: A0.550196 Composed by Robert Schumann. Arranged by James M. Guthrie. Holiday,Romantic Period,Standards. 10 pages. Jmsgu3 #4598499. Published by jmsgu3 (A0.550196). Op. 15 No. 7 Träumerei * Daydreaming * мечтательноÑÑ‚ÑŒ * αφηÏημάδα * snÄ›nà An unexpected and welcome recital encore.Schumann's Träumerei (Dreaming), Op. 15 No. 7, is a solo piano piece that is part of his Scenes from Childhood (Kinderszenen) set, which was his first attempt at writing a piano solo. The piece is significant for several reasons:Emotional Appeal: Träumerei is considered a masterpiece due to its great emotional appeal, combining both haunting sadness and nostalgic tenderness. This emotional depth has allowed the piece to touch many people's hearts and become a beloved piece of music worldwide.Universal Themes: The piece explores themes of childhood, memories, and feelings from a sentimental adult perspective. These themes are universally cherished and can be appreciated by adults and children.Cultural Impact: Träumerei has been used in various cultural contexts, such as in the 1947 Hollywood film Song of Love and the 1944 German biographical film on Schumann. In Russia, a hummed choral, a cappella version that became known as mourning music, was played annually during the Minute of Silence on Victory Day.Influence on Other Artists: The piece has inspired other artists, such as violinist Fenella Humphreys, who released an arrangement of Träumerei for violin in 2021.Schumann's Träumerei is a significant piece of music due to its emotional appeal, universal themes, cultural impact, and influence on other artists. Its timeless beauty and emotional depth continue to resonate with audiences worldwide.
$48.95
45.68 €
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Orchestre de chambre
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Robert Schumann
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James M
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Schumann: Träumerei Op. 15 No. 7 for Piano Sextet
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jmsgu3
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SheetMusicPlus
BH012REC - Recorder Quartet Songs, Book 12 (>70 pages)
Orchestre de chambre
Chamber Orchestra - Level 3 - Digital Download SKU: A0.921173 Composed by Carl Van …
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Chamber Orchestra - Level 3 - Digital Download SKU: A0.921173 Composed by Carl Van Pevenage. Classical,Folk,Pop,Romantic Period. Score and parts. 121 pages. Carl Van Pevenage #3011789. Published by Carl Van Pevenage (A0.921173). The chansonnettes are easy songs of different styles (folk, classical, pop, romantic, Christmas carols, etc). This book contains 10 songs arranged for Recorder or String Quartets, but can be played by any SATB group with 4 the same or mixed instruments.. All sound is computer generated. Playing it, will bring the music to live.Song list:Chansonnette 111 Folk song: Town partyChansonnette 112 Christmas Chorale: A new star is bornChansonnette 113 Awakening from hibernationChansonnette 114 Folk song: chuckle danceChansonnette 115 Romantic song: HeartacheChansonnette 116 Drinking song: Sparkling aleChansonnette 117 Romantic song: NightfallChansonnette 118 The happy swinging ratterChansonnette 119 The movie trailerChansonnette 120 Blessing in disguise
$9.95
9.29 €
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Orchestre de chambre
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Carl Van Pevenage
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BH012REC - Recorder Quartet Songs, Book 12
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Carl Van Pevenage
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SheetMusicPlus
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