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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
XYLOPHONE
Here's How
Non classifié
1 393
Piano & claviers
Piano, Voix
988
Piano seul
740
Piano grosses notes
263
Piano, Voix et Guitare
238
Piano Facile
197
Orgue
120
Instruments en Do
65
Accompagnement Piano
47
1 Piano, 4 mains
20
Piano Trio: piano, violon, violoncelle
15
Piano (partie séparée)
14
2 Pianos, 4 mains
6
Piano Quatuor: piano, violon, alto, violoncelle
3
2 Pianos, 8 mains
3
Ligne De Mélodie, Piano
2
Piano Quatuor: piano, 2 violons, violoncelle
2
Piano Quintette: piano, 2 violons, alto, violoncelle
2
1 Piano, 6 mains
2
Orgue, Trompette (duo)
1
Clavier
1
+ 15 instrumentations
Retracter
Guitares
Guitare
69
Guitare notes et tablatures
54
Ligne De Mélodie, (Paroles) et Accords
31
Guitare (partie séparée)
26
Ukulele
25
Basse electrique
11
4 Guitares (Quatuor)
8
2 Guitares (duo)
6
Banjo
5
Paroles et Accords
3
Mandoline
3
Ensemble de Ukulélés
2
3 Guitares (trio)
2
Guitare, Violon, Violoncelle (trio)
1
Dulcimer
1
Piano, Guitare (duo)
1
Ensemble de guitares
1
+ 12 instrumentations
Retracter
Voix
Chorale SATB
318
Chorale 3 parties
94
Chorale TTBB
82
Chorale SSAA
71
Chorale 2 parties
63
Chorale Unison
48
Pack Instrumental pour Chorale
33
Voix Alto, Piano
31
Voix Soprano, Piano
27
Voix Tenor, Piano
22
Voix Baryton, Piano
19
Voix duo
13
Voix duo, Piano
11
Voix haute
8
Voix Tenor
5
Voix seule
4
Voix Mezzo-Soprano, Piano
2
Voix moyenne, Piano
2
Voix basse, Piano
2
Voix Soprano
2
Chorale
2
Chorale SSATTB
1
Voix Baryton
1
Chorale SSAB a cappella
1
Chorale SSAATTBB
1
Chorale SSAB, Piano
1
+ 21 instrumentations
Retracter
Vents
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
147
Quatuor de Saxophones: 4 saxophones
109
2 Saxophones (duo)
101
Saxophone (partie séparée)
101
Flûte traversière et Piano
80
Quintette de Saxophone: 5 saxophones
74
2 Flûtes traversières (duo)
67
Clarinette et Piano
65
Clarinette
56
Flûte, Hautbois, Clarinette, Basson
55
Flûte traversière
54
Saxophone Alto et Piano
49
Hautbois, Piano (duo)
48
2 Clarinettes (duo)
47
Quatuor de Clarinettes: 4 clarinettes
43
Saxophone Tenor et Piano
38
Hautbois (partie séparée)
36
Saxophone Soprano et Piano
36
Ensemble de saxophones
36
Quintette de Flûte : 5 flûtes
33
Saxophone Baryton, Piano
30
Saxophone, Clarinette (duo)
28
Saxophone Alto
26
Ensemble de Clarinettes
24
Quintette de Clarinettes: 5 clarinettes
22
Cor anglais, Piano
22
Clarinette, Violon (duo)
21
Saxophone Tenor
21
Quatuor de Flûtes : 4 flûtes
20
Clarinette, Trompette (duo)
19
2 Hautbois (duo)
19
Ensemble de Flûtes
17
Flûte, Clarinette (duo)
16
Clarinette Basse, Piano
15
Flûte, Violon
15
3 Clarinettes (trio)
14
Flûte à bec Soprano
13
2 Flûte à bec (duo)
12
Clarinette et Alto
12
Flûte, Alto (duo)
11
Hautbois, Basson (duo)
10
Hautbois, Clarinette (duo)
10
Flute (partie séparée)
10
Flûte, Saxophone (duo)
9
Hautbois, Flûte
9
3 Saxophones (trio)
9
Harmonica
8
Flûte et Guitare
8
Flûte, Trompette (duo)
8
Trio de Flûtes: 3 flûtes
7
Ocarina
7
Clarinette (partie séparée)
7
Flûte irlandaise
7
Saxophone Soprano
6
Hautbois
6
Flûte à bec Alto, Piano
5
Flûte à bec Alto
5
Saxophone
4
Saxophone Baryton
4
Clarinette, Guitare (duo)
4
Flûte, Hautbois, Clarinette (trio)
3
Flûte, Violoncelle
3
Flûte à bec Soprano, Piano
3
Clarinette, Basson (duo)
3
Flûte, Hautbois (duo)
3
Flûte à Bec
2
Clarinette, Violoncelle (duo)
2
Cor Anglais
2
Hautbois, violon (duo)
2
2 Clarinettes, Piano
2
Flûte à bec Tenor
2
Flûte, Clarinette et Basson
2
Clarinette Basse
2
Clarinette, Trombone (duo)
2
Ensemble de Hautbois
1
Flûte, Clarinette, Piano (trio)
1
Hautbois et alto (duo)
1
2 Flûtes traversières, Harpe
1
Quatuor de Flûtes à bec
1
Flûte, Hautbois, Basson
1
Piccolo, Piano
1
Cor anglais, Guitare (duo)
1
2 Flûtes traversières, Piano
1
Hautbois, Clarinette, Basson (trio d'anches)
1
Saxophone et Orgue
1
Flûte et Trio à cordes
1
Flûte à Bec, Piano
1
Quatuor de Clarinettes: Clarinette, Violon, Alto, Violoncelle
1
Hautbois, Violoncelle
1
+ 84 instrumentations
Retracter
Cuivres
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
101
Quatuor de Cuivres : 2 trompettes, trombone, tuba
78
Trombone (partie séparée)
74
Trompette (partie séparée)
65
Trompette
48
Trombone et Piano
41
Trombone
37
Trompette, Piano
33
Cor et Piano
31
Ensemble de Trombones
29
Quatuor de cuivres: 4 trombones
28
Cor
27
Euphonium, Piano (duo)
26
Tuba
26
2 Trompettes (duo)
24
Cor anglais, Piano
22
Trompette, Saxophone (duo)
21
2 Trombones (duo)
19
Quatuor de Cuivres: 2 trompettes, Cor, trombone
19
Quatuor de Cuivres
19
Trompette, Trombone (duo)
18
Tuba et Piano
16
2 Cors (duo)
10
Cor (partie séparée)
9
Tuba (partie séparée)
8
Ensemble de Trompettes
7
Trio de Cuivres
6
Tuba et Orgue
5
Ensemble de Cors
4
2 Tubas (duo)
4
Euphonium
3
Quatuor de cuivres: 4 cors
3
Cor Anglais
2
2 Euphoniums (duo)
1
Cor anglais, Guitare (duo)
1
3 Trombones (trio)
1
Trompette, Tuba (duo)
1
2 Euphoniums et 2 Tubas
1
Ensemble de Tubas
1
Trombone basse et Piano
1
3 Euphoniums
1
Quatuor de cuivres: 4 trompettes
1
Trompette, Violoncelle (duo)
1
+ 38 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
399
Violon, Violoncelle (duo)
204
Violon
176
Trio à Cordes: violon, alto, violoncelle
144
Violon et Piano
70
Violoncelle
67
Violoncelle, Piano
54
Harpe
44
2 Violons (duo)
41
Alto, Piano
40
Quintette à cordes: 2 violons, alto, violoncelle, basse
38
2 Violoncelles (duo)
27
Violon, Alto (duo)
26
2 Altos (duo)
25
Trio à Cordes: 2 violons, violoncelle
24
Alto seul
23
Contrebasse (partie séparée)
18
Contre Basse
17
Alto (partie séparée)
16
Contrebasse, Piano (duo)
11
Violon (partie séparée)
9
2 Harpes (duo)
7
Ensemble de Violons
6
Quintette à cordes: 2 violons, 2 altos, violoncelle
6
4 Violoncelles
6
Ensemble d'Altos
6
2 Contrebasses (duo)
5
Harpe, Voix
4
Alto, Violoncelle (duo)
3
Harpe, Flûte (duo)
2
Violoncelle , Guitare (duo)
2
Trio à Cordes: 2 violons, alto
2
Alto et Basson
2
Violoncelle (partie séparée)
2
Violoncelle, Contrebasse (duo)
1
Violon, Basson (duo)
1
Trio à cordes: 3 violins
1
Trio à Cordes: 3 violoncelles
1
Violoncelle, Orgue
1
Harpe, Violon (duo)
1
Violon, Clarinette, Piano (trio)
1
Violon, Guitare (duo)
1
+ 37 instrumentations
Retracter
Orchestre & Percussions
Orchestre d'harmonie
213
Orchestre à Cordes
169
Orchestre
114
Ensemble Jazz
88
Orchestre de chambre
52
Ensemble de cuivres
49
Jazz combo
27
Cloches
23
Fanfare
22
Batterie (partie séparée)
14
Marimba
11
Batterie
8
Percussion (partie séparée)
7
Ensemble de Percussions
7
2 Xylophones
5
Xylophone
4
Xylophone, Piano
2
Piano et Orchestre
1
Timbales (partie séparée)
1
2 Marimbas
1
Bodhran
1
+ 16 instrumentations
Retracter
Autres
Théorie de la musique
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Instruments
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CLARINETTE
CLAVECIN
CLOCHES
CONTREBASSE
COR
COR ANGLAIS
CORNEMUSE
CORNET
DOBRO - GUI…
DULCIMER
EUPHONIUM
FANFARE - B…
FLUTE
FLUTE A BEC
FLUTE A DIX…
FLUTE DE PA…
FORMATION M…
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HARMONICA
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LUTH, THEOR…
MANDOLINE
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OUD
PARTITIONS …
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PERCU. ORCH…
PERCUSSION
PIANO
SAXOPHONE
SYNTHE
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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
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Orchestre de chambre
Partitions à imprimer
52 partitions trouvées
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51
Overture and Minuet in C major, based on Beethoven's sketches, op. 83
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Orchestre de chambre
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Ludwig van Beethoven
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Adrian Gagiu
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Overture and Minuet in C major
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Adrian Gagiu
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SheetMusicPlus
Chamber Orchestra - Level 4 - SKU: A0.1415801 Composed by Ludwig van Beethoven. Arranged by Adrian Gagiu. Classical. 190 pages. Adrian Gagiu #997496. Pu...
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Chamber Orchestra - Level 4 - SKU: A0.1415801 Composed by Ludwig van Beethoven. Arranged by Adrian Gagiu. Classical. 190 pages. Adrian Gagiu #997496. Published by Adrian Gagiu (A0.1415801). Score and parts of a premiere realization of some of Beethoven's sketches for the first movement of another Symphony in C major before the First, dubbed 'No. 0' or Unv. 2 by some: 1. 'Overture' (Andante con moto - Allegro con brio), 2. Tempo di menuetto. Useful for people interested in Beethoven's sketches and for students of the Classical style. In 1794-1796, Beethoven made extensive concept sketches mostly for the first movement of this abortive symphony. The material is abundant and sometimes contradictory, as usual with his preliminary work, and he recycled later from this one only the main theme of the Finale of the completed Symphony No. 1. For this speculative realization, suggested by Mr. Armando Orlandi at the Centro Ricerche Musicali and dedicated to them, only the more promising sketches were utilized, and the slow introduction was assembled from the ones in cut time, while those in triple time make up now a Minuet. Virtually every bar of music here includes the sketches, also in the elaboration and coda of the 'overture', only with a few transpositions needed for assembling the sonata form and for the repeats in the Minuet. Obviously, Beethoven would have done it much differently, had he decided to continue working on this symphony, and the question remains regarding the utility of recycling material abandoned by some classical composer. However, this gives one an approximate idea of one of the many possibilities implied by the preliminary sketches for his Symphony 'No. 0'. Total duration 15 minutes. The mp3 audio clip is the first movement. Performing Rights Organization: SOCAN.
$100.00
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
The Hunt
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Orchestre de chambre
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AVANCÉ
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Franco Esteve
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The Hunt
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Franco Esteve
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SheetMusicPlus
Chamber Orchestra - Level 5 - SKU: A0.1011208 Composed by Franco Esteve. Contemporary,Film/TV. Score and parts. 17 pages. Franco Esteve #4601475. Publis...
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Chamber Orchestra - Level 5 - SKU: A0.1011208 Composed by Franco Esteve. Contemporary,Film/TV. Score and parts. 17 pages. Franco Esteve #4601475. Published by Franco Esteve (A0.1011208). The Hunt is the title track to my modern, classical crossover, concept album, The Hunt. The Hunt is the hunt of life, hunting for health, for life, for happiness, for love, for ideas, for creativity, for success. The song represents the drive, the moving, the launch, that hope, that happiness, when you set out to do something in your life.From the album booklet (as it's a concept album, each song, though independent, has an overarching story):The effort has paid off. The day is here.The mood is happy. Success awaits. Let's go.Let's do it. It's sitting there for the taking.I'm in the zone. I'm in the flow. The huntress has shown me the bounty,and I'm ready to take it, to receive it, to enjoy it. I deserve it.Though it was written with larger groups in mind or small orchestras, keeping it in a way quite simple, it can most likely be played with 2 clarinets, a cello, and a trumpet. I can imagine it can work quite nicely with a school orchestra or any small ensemble, even if some might need to make some minor adjustments to how it's played. It's meant to be played in an upbeat and happy fashion, and the trumpet should be sexy and fun. It'll be fun to hear how others interpret it.The PDF includes the full score and all 4 individual parts (Clarinet, Clarinet Section in Bb, Cellos, Trumpet Section in Bb). The music is 2 minutes and 41 seconds (2:41).Thank you for your interest in my music. I hope y’all enjoy playing it as much as I did composing it.Don’t forget to keep up to date with everything Franco Esteve:Website: http://www.francoesteve.com/Facebook: https://www.facebook.com/seefrancoesteveTwitter: https://www.twitter.com/FrancoEsteveInstagram: https://www.instagram.com/seefrancoesteveSpotify: https://open.spotify.com/artist/4VMSPHtolbzozjH4OY0I6BMy music is also available on all major, online music stores and streaming services, including:Bandcamp: https://francoesteve.bandcamp.comCDBaby: https://store.cdbaby.com/Artist/FrancoEsteveSpotify: https://open.spotify.com/artist/4VMSPHtolbzozjH4OY0I6BiTunes/Apple Music: https://itunes.apple.com/us/artist/franco-esteve/894690746I'm a BMI affiliated artist and you can contact me using the contact form at:http://www.francoesteve.com or through Facebook or Twitter. Thank you again and enjoy! :)
$9.99
Concerto For Clarinet
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Orchestre de chambre
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AVANCÉ
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Jazz
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Artie Shaw
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Edited Robert C
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Concerto For Clarinet
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Robert C. Olivia
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SheetMusicPlus
Chamber Orchestra - Level 5 - SKU: A0.1433339 By Artie Shaw. By Artie Shaw. Arranged by Edited Robert C. Olivia. Jazz. 176 pages. Robert C. Olivia #1013...
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Chamber Orchestra - Level 5 - SKU: A0.1433339 By Artie Shaw. By Artie Shaw. Arranged by Edited Robert C. Olivia. Jazz. 176 pages. Robert C. Olivia #1013630. Published by Robert C. Olivia (A0.1433339). This edition of the Artie Shaw Concerto for Clarinet is a note for note transcription of what Shaw recorded on the record version and in the motion picture. These are the parts for the big band and strings. Shaw’s solos as played in both the motion picture and record version are represented in great detail with the film solo shown as ossia so the player can view and choose which they might prefer to play. Techniques are carefully detailed to show ornaments, slurs, accents etc. This edition restores many elements missing in other versions available. The strings here are restored to the original voicings so important to the style of the classic sound of the period.The solos are transcribed note for note as played by greats such as Billy Butterfield on Trumpet, Johnny Guarnieri on Piano, Les Robinson on Alto Sax, Jerry Jerome on Tenor Sax, Vernon “Brownie” Brown on Trombone.There is an entire sax riff that was extemporaneously improvised during the session that is missing entirely in other published versions. The instrumentation is also restored to only the instruments that were used in Shaw’s recordings. There are many details that help the ease of performability of the genre and gesture of jazz idiom. Lastly, the intention is that this should be performed with saxophones. However, there are optional parts for clarinets and bassoons that can be used only if saxes are not available.
$200.00
Concerto For Clarinet - Score Only
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Orchestre de chambre
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AVANCÉ
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Jazz
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Artie Shaw
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Edited Robert C
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Concerto For Clarinet - Score
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Robert C. Olivia
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SheetMusicPlus
Chamber Orchestra - Level 5 - SKU: A0.1403494 By Artie Shaw. By Artie Shaw. Arranged by Edited Robert C. Olivia. Jazz. 68 pages. Robert C. Olivia #98667...
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Chamber Orchestra - Level 5 - SKU: A0.1403494 By Artie Shaw. By Artie Shaw. Arranged by Edited Robert C. Olivia. Jazz. 68 pages. Robert C. Olivia #986671. Published by Robert C. Olivia (A0.1403494). This edition of the Artie Shaw Concerto for Clarinet is a note for note transcription of what Shaw recorded on the record version and in the motion picture. Shaw’s solos as played in both the motion picture and record version are represented in great detail with the film solo shown as ossia so the player can view and choose which they might prefer to play. Techniques are carefully detailed to show ornaments, slurs, accents etc. This edition restores many elements missing in other versions available. The strings here are restored to the original voicings so important to the style of the classic sound of the period.The solos are transcribed note for note as played by greats such as Billy Butterfield on Trumpet, Johnny Guarnieri on Piano, Les Robinson on Alto Sax, Jerry Jerome on Tenor Sax, Vernon “Brownie†Brown on Trombone.There is an entire sax riff that was extemporaneously improvised during the session that is missing entirely in other published versions. The instrumentation is also restored to only the instruments that were used in Shaw’s recordings. There are many details that help the ease of performability of the genre and gesture of jazz idiom. Lastly, the intention is that this should be performed with saxophones. However, there are optional parts for clarinets and bassoons that can be used only if saxes are not available.
$35.00
Good night Ladies
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Orchestre de chambre
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DÉBUTANT
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Folk Song
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Dan Severino
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Good night Ladies
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Piano Teacher Press
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SheetMusicPlus
Chamber Orchestra - Level 1 - SKU: A0.864726 Composed by Folk Song (attributed to Edwin Pearce Christy). Arranged by Dan Severino. Children,Instructiona...
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Chamber Orchestra - Level 1 - SKU: A0.864726 Composed by Folk Song (attributed to Edwin Pearce Christy). Arranged by Dan Severino. Children,Instructional,Standards. Score and parts. 6 pages. Piano Teacher Press #48775. Published by Piano Teacher Press (A0.864726). In my piano studio I encourage my students to play music together with their friends that play in their school bands and orchestras. So, I’ve needed to arrange some music for them so they would have something to play. Here’s an elementary arrangement of a song associated with the minstrel shows of mid 19th century America, Goodnight Ladies.
$3.99
Three Laments of Heloise for Chamber Orchestra
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Orchestre de chambre
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INTERMÉDIAIRE/AVANCÉ
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Dosia McKay
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Three Laments of Heloise for C
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Gavia Music
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SheetMusicPlus
Chamber Orchestra - Level 4 - SKU: A0.876665 Composed by Dosia McKay. 20th Century,Contemporary,Renaissance. Score and parts. 81 pages. Gavia Music #572...
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Chamber Orchestra - Level 4 - SKU: A0.876665 Composed by Dosia McKay. 20th Century,Contemporary,Renaissance. Score and parts. 81 pages. Gavia Music #57229. Published by Gavia Music (A0.876665). Three Laments of Heloise were inspired by the Letters of Abelard and Heloise, especially the character of Heloise, her crushing loss, self-denial, sacrifice, and forced conformity to the standards of medieval society. The first movement entitled Queens Envied Me My Joys is Heloise’s recollection of early days with Abelard. Every wife, every young girl desired you in absence and was on fire in your presence, writes Heloise. The pleasures of lovers which we shared have been too sweet… They are always there before my eyes, bringing with them awakened longings… The second movement If Not With You, My Heart Is Nowhere, expresses Heloise’s sense of abandonment by her lover. She writes to him: My heart was not in me but with you, and now, even more, if it is not with you it is nowhere; truly, without you I cannot exist. The third movement, My Most Wretched Soul, gives voice to Heloise’s continued struggle with her loss and the reality of the convent life. She does not see herself as a servant of God, but rather a hypocrite who remains pious on the outside and rages inwardly. Of all wretched women I am the most wretched, and amongst the unhappy I am unhappiest. How can it be called repentance for sins, however great the mortification of the flesh, if the mind still retains the will to sin and is on fire with its old desires? Modal scales and dance sequences give the Laments a Renaissance feel. Music theory students might appreciate the fact that the unifying element of the three movements is the interval of the 7th which appears very frequently in melodic and harmonic gestures and creates a feeling of ambiguity and of a lack of resolution. For chamber orchestra: Flute (or Piccolo), Oboe, Clarinet, Bassoon, Strings (Quintet, or 4,4,3,2,1, or larger), 2 Percussion: Frame Drum, Tambourine. Total duration 8:00. Possible transcriptions for period Renaissance instruments - please contact the composer. Composed in 2009. Copyright 2009 Dosia McKay / Gavia Music (ASCAP).
$100.00
Piano Concerto No. 1 - THIRD movement [score and parts]
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Orchestre de chambre
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INTERMÉDIAIRE
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Contemporain
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Juan MarÃa Solare
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Piano Concerto No. 1 - THIRD m
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Juan Maria Solare
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SheetMusicPlus
Chamber Orchestra - Level 3 - SKU: A0.1197732 Composed by Juan MarÃa Solare. 20th Century,Classical,Contemporary. Score and parts. 53 pages. Juan Mar...
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Chamber Orchestra - Level 3 - 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
Olga-Polka, Op. 196 (arr. for string orchestra): Optional Percussion
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Orchestre de chambre
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Johann Strauss Jr
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Aaron Meier
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Olga-Polka, Op. 196
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Aaron Meier
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SheetMusicPlus
Chamber Orchestra - Level 4 - SKU: A0.922640 Composed by Johann Strauss Jr. Arranged by Aaron Meier. Romantic Period,World. Score and parts. 1 pages. Aa...
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Chamber Orchestra - Level 4 - SKU: A0.922640 Composed by Johann Strauss Jr. Arranged by Aaron Meier. Romantic Period,World. Score and parts. 1 pages. Aaron Meier #5792381. Published by Aaron Meier (A0.922640). Original by Johann Strauss II Reduction to String Orchestra by Aaron Meier Part: *Optional Percussion (snare drum, triangle, cymbals) True to the original work by Strauss, this reduction for string orchestra features the ornaments and mystical writing that defines Strauss' polkas. There are optional percussion parts to be added at the discretion of the ensemble, however even without percussion the ensemble will sound full (the percussion acts as an ornament). Difficulty: Intermediate-advanced - advanced (best-suited for advanced student ensembles) --- Performance Notes: • Approximate length: 3:30 minutes • 1st Violins: In m. 1, trill a half step from a D♠to a D♮ • 2nd Violins:  - At m. 42, divide players by 3, with 2 players playing line A and the remaining player playing line B  - At m. 72-75, emphasize the E♠in the div. • Snare Drum: The buzz roll needs to be quieter than how it is played in the midi recording (*see YouTube link ↓) History: The Olga-Polka itself owed its creation to a Russian royal wedding which took place in St. Petersburg on 28 August 1857. On that day, amid accompanying splendour, the music-loving Grand Duke Michail Nikolaievich (1832-1909), youngest brother of Tsar Alexander II, married Princess Caecilie of Baden (1839-91), daughter of Archduke Leopold of Baden. Johann Strauss, who at that time was giving a summer season of concerts in nearby Pavlovsk, used the opportunity occasioned by the event to enhance his already enviable popularity with the Russian royal family and composed the Caecilien-Polka in honour of the lovely young bride. Indeed, it is clear from a letter which Johann wrote in late July 1857 to Carl Haslinger, his publisher in Vienna, that the new polka had been prepared well in advance of the wedding (the fair copy of the full orchestral score made for the publisher's engraver is dated 9 August) and was enjoying success even before the royal couple's official engagement on 16August 1857. Sometime after performing the Caecilien-Polka in Pavlovsk, Johann despatched the work to the Austrian capital where his brother Josef conducted its Viennese première, together with that of Johann's waltz Telegraphische Depeschen (op. 195, Volume 28), at his own benefit concert in the Volksgartenon Sunday 18 October 1857. The Wiener Allgemeine Theaterzeitung (16.10.1857) remarked that both works have caused a sensation in St. Petersburg and are truly genial Viennese sounds full of verve and melody. Since tradition demanded that the German Princess Caecilie adopt a Russian name - Olga Feodorovna - before her marriage, so Johann's Caecilien-Polka also underwent a change of identity. On 8 December 1857 Carl Haslinger announced the publication of Strauss's Olga-Polka, on the title page of which is the inscription: Dedicated to her Imperial Highness Grand Duchess Olga, née Princess of Baden. It was under this title, too, that Johann himself first conducted the work in Vienna at a concert in the Volksgarten on 1 November 1857, shortly after his return from Russia. Reporting on this event, the Wiener Allgemeine Theaterzeitung (3.11.1857) observed: The 'Olga-Polka' is a most delightful, fragrant musical bouquet, full of fine, gracious rhythms. [excerpted from NAXOS Records] Kemp, Peter. Program Notes - About this Recording. NAXOS, 1993, www.naxos.com/mainsite/blurbs_reviews.asp?item_code=8.223232&catNum=223232&filetype=About%20.......... Accessed 5 June 2020.
$3.99
ALES STENAR, suite for violin and chamber orchestra - Score Only
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Orchestre de chambre
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AVANCÉ
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Stefano Olcese
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Stefano Olcese
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ALES STENAR, suite for violin
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Stefano Olcese
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SheetMusicPlus
Chamber Orchestra - Level 5 - SKU: A0.1145526 By Stefano Olcese. By Stefano Olcese. Arranged by Stefano Olcese. Chamber,Classical,Contemporary,Film/TV,R...
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Chamber Orchestra - Level 5 - SKU: A0.1145526 By Stefano Olcese. By Stefano Olcese. Arranged by Stefano Olcese. Chamber,Classical,Contemporary,Film/TV,Romantic Period. 28 pages. Stefano Olcese #745768. Published by Stefano Olcese (A0.1145526). ----> IMPORTANT
$19.99
Wesendonck-Lieder
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Orchestre de chambre
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Hans Werner Henze and Richard
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Wesendonck-Lieder
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Schott Music - Digital
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SheetMusicPlus
1 · Altfl. · 1 · Engl. Hr. · 1 · Bassklar. · 1 · Kfg. - 2 · 0 · 0 · 0 - Hfe. - Str. (6 · 4 · 4 · 4 · 2) alto and chamb...
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1 · Altfl. · 1 · Engl. Hr. · 1 · Bassklar. · 1 · Kfg. - 2 · 0 · 0 · 0 - Hfe. - Str. (6 · 4 · 4 · 4 · 2) alto and chamber orchestra - SKU: S9.Q2899 Fünf Lieder für eine Frauenstimme auf Gedichte von Mathilde Wesendonck von Richard Wagner. Composed by Hans Werner Henze and Richard Wagner. This edition: conductor's and study score. Music Of Our Time. Downloadable, Full and study score. Duration 15 minutes. Schott Music - Digital #Q2899. Published by Schott Music - Digital (S9.Q2899). German.During the period in which these arrangements were created, Hans Werner Henze was far from being a Wagnerite. Despite this, he deliberately set out to study Wagner's music. Tristan und Isolde was the opera Henze found most accessible and it was therefore the Wesendonck-Lieder, dating from 1858 with their clear affinity to the harmony of Tristan, which became Henze’s focal point of interest. In his arrangements he was aiming 'to evoke the pre-Tristan state. For this reason, I have selected a small ensemble consisting of seven wind instruments, two horns, harp and small string orchestra to retain the preliminary study character of these Lieder. At the same time however, I am attempting to permit the Tristanesque tone which is already inherent in the piano version to unfold through harmonic separation.' - Hans Werner Henze.
$45.99
Carson Cooman: Symphony No. 3, “Ave Maris Stella” (2005) for chamber orchestra, score only
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Orchestre de chambre
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AVANCÉ
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Christian contemporain
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Musique Sacrée
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Carson Cooman
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Carson Cooman: Symphony No. 3,
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Musik Fabrik Music Publishing
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SheetMusicPlus
Chamber Orchestra - Level 5 - SKU: A0.533672 Composed by Carson Cooman. Contemporary,Sacred. Score and parts. 54 pages. Musik Fabrik Music Publishing #3...
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Chamber Orchestra - Level 5 - SKU: A0.533672 Composed by Carson Cooman. Contemporary,Sacred. Score and parts. 54 pages. Musik Fabrik Music Publishing #3037097. Published by Musik Fabrik Music Publishing (A0.533672). Symphony No. 3, “Ave Maris Stella†(2005) was written for the Duquesne ContemporaryEnsemble and is dedicated to composer David Stock. Throughout his career, Stock has beena tireless and generous advocate on behalf of new music and living composers. This work isdedicated to him in tribute – as both an important American composer and a significantcontributor to America’s contemporary musical life.The work’s basic source material is the plainchant Ave maris stella (“Hail, star of the seaâ€) –appropriate because of Duquesne’s standing and history as a Catholic university. When thecomposition of this work first began, the original plan was for a celebratory and vibrant piece.As the planning progressed, however, personal circumstances intervened and began to changethe work’s tone – becoming substantially bleaker and more obsessive.The title of the first movement, Pentimento, is defined as “an underlying image in a painting,as an earlier painting, that shows through when the top layer of paint has become transparentwith age.†The melodic and harmonic material for the movement is entirely drawn from theplainchant source, although it is completely transformed and covered up – as in a pentimento.At various points, one can begin to hear the original plainchant “peek out†in subtle ways.The opening section of the movement obsesses again and again on what sounds like a“beginning†– as though it is trying to begin again and again. After a brief bassoon cadenza, afast and driving section starts, marked “sinister.†After driving through a series oftransformations on the plainchant material, a bridge passage leads to further attempts at the“beginning†again. Finally, these attempts are given up, and the plainchant material (theunderlying layer) begins to show through quietly – in preparation for the next movement.In the second movement, Interrupted Motet, the plainchant theme is used in a morestraightforward fashion. After the opening declamatory statements, the following sectionsmove between more free developmental techniques, based on the first movement’stransformations, and “motet†sections – using cantus firmus methods and textures fromRenaissance music. The tone and palate is, however, much darker and more obsessive.There is a brooding ponderousness to these contrapuntal developments. The final motetsection ends in a rageful shout, the plainchant material is presented again in full force, and thepent-up energy dissipates to the close.FluteOboeClarinet in BbBass Clarinet in BbBassoonHorn in F/BbTrumpet in CTrombonePercussion (1 player):tubular bells, vibraphone(Percussionist needs one rosined bow for vibraphone.)PianoViolin IViolin IIViolaCelloContrabass(single strings)This is the score only. The complete parts and each seperate part are also available as seperate items.
$25.95
To Idleness for string quartet and guitar
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Orchestre de chambre
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INTERMÉDIAIRE
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Contemporain
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David Warin Solomons
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To Idleness for string quartet
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David Warin Solomons
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SheetMusicPlus
Chamber Orchestra - Level 3 - SKU: A0.576889 Composed by David Warin Solomons. 20th Century,Contemporary. Score and parts. 23 pages. David Warin Solomon...
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Chamber Orchestra - Level 3 - SKU: A0.576889 Composed by David Warin Solomons. 20th Century,Contemporary. Score and parts. 23 pages. David Warin Solomons #485761. Published by David Warin Solomons (A0.576889). Instrumental quintet based on my choral setting of Dave Dunning's poem To Idleness. The pdf file contains score and parts. The sound sample is an electronic preview. These are the words of the original poem: When autumn harvests are full grown and luscious fruits to me are shown, piled plump and rich till stomachs groan when autumn harvests are full grown ripe juices puddle on the tongue, and winter I forget in gurgling song. once when the fresh new spring was here I lavished though to sow the year oh dreaming seasons never interfere with worldly bounty, scorned the prudent song and prayed March winds to buffet time along Soon in the heat of summer haze I floundered on through deep green maize, where heavy herds lowed as they grazed, I saw that I would reap in thought among the rich; and time moved on with busy song, now in the heat of summer Now winter creeps between the sashes and rain upon the window lashes while wild wind moans round rafters dashes and I to annual poverty belong, yet know that spring flows richly on in song When autumn harvests are full grown and luscious fruits to me are shown, piled plump and rich till stomachs groan when autumn harvests are full grown ripe juices puddle on the tongue, and winter I forget in gurgling song.
$12.00
Concerto For Clarinet
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Orchestre de chambre
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AVANCÉ
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Jazz
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Artie Shaw
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Edited Robert C
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Concerto For Clarinet
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Robert C. Olivia
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SheetMusicPlus
Chamber Orchestra - Level 5 - SKU: A0.1403422 By Artie Shaw. By Artie Shaw. Arranged by Edited Robert C. Olivia. Jazz. 214 pages. Robert C. Olivia #9866...
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Chamber Orchestra - Level 5 - SKU: A0.1403422 By Artie Shaw. By Artie Shaw. Arranged by Edited Robert C. Olivia. Jazz. 214 pages. Robert C. Olivia #986632. Published by Robert C. Olivia (A0.1403422). This edition of the Artie Shaw Concerto for Clarinet is a note for note transcription of what Shaw’s band with strings played on the record version and in the motion picture. In addition to the big band & string parts here, also available is the companion conductor score and solo clarinet part. This edition restores many elements missing in other versions available. The strings here are restored to the original voicings so important to the style of the classic sound of the period. The solos are transcribed note for note as played by greats such as Billy Butterfield on Trumpet, Johnny Guarnieri on Piano, Les Robinson on Alto Sax, Jerry Jerome on Tenor Sax, Vernon “Brownie†Brown on Trombone. There is an entire sax riff that was extemporaneously improvised during the session that is missing entirely in other published versions. The instrumentation is also restored to only the instruments that were used in Shaw’s recordings. There are many details that help the ease of performability of the genre and gesture of jazz idiom. Lastly, the intention is that this should be performed with saxophones. However, there are optional parts for clarinets and bassoons that can be used only if saxes are not available.
$200.00
Variations on a Rossini Theme op.Posth
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Orchestre de chambre
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Classique
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Frederik François Chopin
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James Strauss
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Variations on a Rossini Theme
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James Strauss
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SheetMusicPlus
Chamber Orchestra - SKU: A0.1035224 Composed by Frederik François Chopin (1810-1949). Arranged by James Strauss. Romantic Period. Score and parts. 33...
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Chamber Orchestra - 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
Cappuccino Concertino
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Orchestre de chambre
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INTERMÉDIAIRE/AVANCÉ
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David Rubinstein
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Cappuccino Concertino
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David Rubinstein
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SheetMusicPlus
Chamber Orchestra - Level 4 - SKU: A0.1387444 Composed by David Rubinstein. Baroque,Broadway,Musical/Show,Opera. 281 pages. David Rubinstein #971294. Pu...
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Chamber Orchestra - Level 4 - SKU: A0.1387444 Composed by David Rubinstein. Baroque,Broadway,Musical/Show,Opera. 281 pages. David Rubinstein #971294. Published by David Rubinstein (A0.1387444). This baroque operetta (composed 2000) was inspired by the “Coffee Cantata†by J.S. Bach, wherein the father tells his daughter to stop drinking coffee. In this work the roles are reversed: the daughter tells her father to quit cappuccino. Text in English. Premiered October, 2001 at Church of the Lighted Window, La Canada, California. The entire score and parts are available here on one pdf. To obtain them as separate files contact me here: rubinsteinway@gmail.com.
$39.00
Canticum Canticorum for Krzysztof Penderecki
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Orchestre de chambre
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AVANCÉ
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MohammadHadi Ayanbod
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Canticum Canticorum for Krzysz
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Rimorarte Edition
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SheetMusicPlus
Chamber Orchestra - Level 5 - SKU: A0.1027777 Composed by MohammadHadi Ayanbod. 20th Century,A Cappella,Contemporary,Sacred. Score and parts. 32 pages. ...
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Chamber Orchestra - Level 5 - SKU: A0.1027777 Composed by MohammadHadi Ayanbod. 20th Century,A Cappella,Contemporary,Sacred. Score and parts. 32 pages. Rimorarte Edition #5996921. Published by Rimorarte Edition (A0.1027777). Canticum Canticorum, for Grand String Orchestra & Mixed Choir, is a musical piece based on the old text with the same name from Vulgate. The Canticum Canticorum text also known as Song of Songs, the Song of Solomon, the Canticle of Canticles, (Old Greek: Άσμα Ασμάτων, same meaning as song of songs). As David Berlo once beautifully put this into words: Meanings are in people … not in the messages …. The elements and structure of a language … are only symbols …. Meanings are not transmittable … Only messages are transmittable, and meanings are not in the message, they are in the message-users! Therefore, I needed to understand and interpret the text itself, even before I wanted to try setting it to the music. However, in order to understand the text correctly, one should comprehend the origin of the text and get to know its author(s), at first. In the case of Canticum Canticorum, both the author and the origin of the text are obscure. Furthermore, even the approximate date/century/era of the birth and the cultural context in which the text was created, are far from clear. According to the scholars, the creation of the text ranges from the tenth century B.C.; the era of Solomon, up to the first century B.C., and the origin of it considers from Indian, Tamil, or Ethiopic literature to Palestinian one. Because of these vast spectra of dates and cultures, I had to read and understand the text, compare with other sources, find similarities in other languages and cultures, hermeneutically interpret it and search for those non-written or metaphorical clues that may lead to unfasten the mystery has been attached to the text. In order to achieve the most accurate and faithful interpretation of the text I also had to answer few questions regarding the style, structure, medium, architecture and techniques of the music in relation to the text. I have used string orchestra and mixed choir to render the ideas, since that is among highly versatile instrumentations capable of providing small and delicate whispers, heavenly voices, and intonation changes that is hardly-reproducible by other mediums as well as thunderous sounds. Although Canticum Canticorum is single-movement work, but still possible to distinguish three different sections: the beginning choral part that is a long fugue in 5 voices with the material of serial music which helps orchestra to enter and grow, the a-capella middle section consists of two contrasting but invisibly related atmospheres and the third section – the recapitulation of the ideas already presented, in both the text and the music. The culmination of the work; 11-parts choral, takes place in the third section, somewhere near the end of the piece. Canticum Canticorum, for Grand String Orchestra & Mixed Choir, is dedicated to the genius composer of our time, Maestro Prof. dr. h.c. Krzysztof Penderecki.
$24.99
America the Beautiful - String Quartet or Group Score and Parts PDF
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Orchestre de chambre
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FACILE
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Patriotique
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Samuel A
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Brendan Elliget MAGA 537
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America the Beautiful - String
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BJE Music
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SheetMusicPlus
Chamber Orchestra - Level 2 - SKU: A0.750975 Composed by Samuel A. Ward 1895. Arranged by Brendan Elliget MAGA 537. Patriotic. Score and parts. 12 pages...
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Chamber Orchestra - Level 2 - SKU: A0.750975 Composed by Samuel A. Ward 1895. Arranged by Brendan Elliget MAGA 537. Patriotic. Score and parts. 12 pages. BJE Music #5789233. Published by BJE Music (A0.750975). America the Beautiful is an American patriotic song. The lyrics were written by Katharine Lee Bates, and the music was composed by church organist and choirmaster Samuel A. Ward at Grace Episcopal Church in Newark, New Jersey. The two never met. Bates originally wrote the words as a poem, Pikes Peak, first published in the Fourth of July edition of the church periodical The Congregationalist in 1895. At that time, the poem was titled America for publication. Ward had originally written the music, Materna, for the hymn O Mother dear, Jerusalem in 1882, though it was not first published until 1892. Ward's music combined with the Bates poem was first published in 1910 and titled America the Beautiful. The song is one of the most popular of the many U.S. patriotic songs. [Wikipedia]It has been arranged here for a String Quartet or Group [Key of C] including a Violin 3 which doubles the Viola part with appropriate range changes. There is also an optional Piano Part (Not shown on the score).The MP3 was recorded with NotePerformer 3.Grade = 2.5 Duration = 1:40 mins (2 verses)
$7.50
Piano Concerto No. 1 - FIRST movement [score and parts]
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Orchestre de chambre
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INTERMÉDIAIRE
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Juan MarÃa Solare
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Piano Concerto No. 1 - FIRST m
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Juan Maria Solare
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SheetMusicPlus
Chamber Orchestra - Level 3 - SKU: A0.1197728 By Juan MarÃa Solare. By Juan MarÃa Solare. 20th Century,Classical,Contemporary. Score and parts. 74...
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Chamber Orchestra - Level 3 - 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
Piano Concerto No. 1 - SECOND movement [score and parts]
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Orchestre de chambre
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INTERMÉDIAIRE
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Juan MarÃa Solare
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Juan MarÃa Solare
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Piano Concerto No. 1 - SECOND
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Juan Maria Solare
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SheetMusicPlus
Chamber Orchestra - Level 3 - SKU: A0.1197730 By Juan MarÃa Solare. By Juan MarÃa Solare. Arranged by Juan MarÃa Solare. 20th Century,Classical...
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Chamber Orchestra - Level 3 - 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
Let It Snow! Let It Snow! Let It Snow!
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Orchestre de chambre
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INTERMÉDIAIRE/AVANCÉ
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Jessica Simpson
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Let It Snow! Let It Snow! Let
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www.studio-orchestrations.com
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SheetMusicPlus
Chamber Orchestra - Level 4 - SKU: A0.1298466 By Jessica Simpson. By Jule Styne and Sammy Cahn. Arranged by John Langley (for Studio Orchestrations). Br...
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Chamber Orchestra - Level 4 - SKU: A0.1298466 By Jessica Simpson. By Jule Styne and Sammy Cahn. Arranged by John Langley (for Studio Orchestrations). Broadway,Christmas,Contemporary,Film/TV,Musical/Show,Standards. Score and Parts. 71 pages. Www.studio-orchestrations.com #888438. Published by www.studio-orchestrations.com (A0.1298466). The classic Christmas ballad made famous by Dean Martin, arranged here for SATB chorus and smal orchestra will charm any christmas audience and is a version suitable for any good amateur or professional performance group. A perfect Christmas Concert Stocking filler.Instrumentation:SATB ChorusFlute dbl. PiccoloPiccolo2 ClarinetsGlockenspielHarpPiano/KeyboardGuitar (optional)Drum KitStringsA correpsonding SATB Chorus and Piano version is also available from this supplier arranged by John Langley.Other titles available from the same arranger:A Million Dreams (The Greatest Showman)  https://www.sheetmusicdirect.com/en-US/se/ID_No/1305770/Product.aspxWhen you believe (The Prince of Egypt) https://www.sheetmusicdirect.com/en-US/se/ID_No/1369099/Product.aspxCome what may (Moulin Rouge)  https://www.sheetmusicdirect.com/en-US/se/ID_No/1346777/Product.aspxEl Tango de Roxanne (Moulin Rouge) https://www.sheetmusicdirect.com/en-US/se/ID_No/1346335/Product.aspxMaadowlark (The Baker's Wife)  https://www.sheetmusicdirect.com/en-US/se/ID_No/1372145/Product.aspxDiamonds are forever  (Title song)  https://www.sheetmusicdirect.com/en-US/se/ID_No/1372605/Product.aspxBarcelona [Freddie Mercury/Montserrat Caballe)  https://www.sheetmusicdirect.com/en-US/se/ID_No/1305928/Product.aspxSummer Wine [Lee Hazelwood/Nancy Sinatra]  https://www.sheetmusicdirect.com/en-US/se/ID_No/1151500/Product.aspxMalone's death (The Untoucahables) https://www.sheetmusicdirect.com/en-US/se/ID_No/1380919/Product.aspx.
$150.00
Mysteries of the Macabre
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Orchestre de chambre
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AVANCÉ
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Gyorgy Ligeti
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Mysteries of the Macabre
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Schott Music - Digital
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SheetMusicPlus
Solo-trumpet in C or Koloratursoprano and chamber orchestra - difficult - SKU: S9.Q3051 Three aria from the opera Le Grand Macabre. Composed by G...
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Solo-trumpet in C or Koloratursoprano and chamber orchestra - difficult - SKU: S9.Q3051 Three aria from the opera Le Grand Macabre. Composed by Gyorgy Ligeti. This edition: study score. Music Of Our Time. Downloadable, Study score. Duration 9 minutes. Schott Music - Digital #Q3051. Published by Schott Music - Digital (S9.Q3051). English • German.I composed my opera Le Grand Macabre from 1974 to 1997. The Mysteries of the Macabre are arrangements of three coloratura arias of the chief of the “Secret Political Police†which have been arranged (beautifully!) for chamber ensemble by Elgar Howarth. My friend Howarth had conducted the world premiere of the opera in Stockholm in 1978 and some of the further productions. The half-nonsense text is an immediate – however more accurate – continuation of the idea of my works Aventures and Nouvelles Aventures, but there is no chromatics in the music any more.1 (auch Picc.) · 1 · 1 (auch Baßklar.) · 1 (auch Kontrafag.) – 1 · 1 · 1 (ad lib. auch Kontrabaßpos.) · 0 – P.S. (kl. Tr. · gr. Tr. · Tomt. · 4 Bong. · hg. Beck. · Beckenpaar · 4 Tempelbl. · Schellentr. · Crot. · Kast. · Tamt. · Glspl. · Mar. · Guero · Lotosfl. · 1 Blatt festes Pack-papier · Signalpf. · Trillerpf. · Woodbl.) – Klav. (auch Cel.) · Mand. – Str. (1 · 1 · 1 · 1 · 1).
$27.99
Piano Concerto No. 1 - Score Only
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Orchestre de chambre
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INTERMÉDIAIRE
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Juan MarÃa Solare
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Piano Concerto No. 1 - Score O
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Juan Maria Solare
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SheetMusicPlus
Chamber Orchestra - Level 3 - SKU: A0.1197642 Composed by Juan MarÃa Solare. 20th Century,Classical,Contemporary. Score and parts. 77 pages. Juan Mar...
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Chamber Orchestra - Level 3 - SKU: A0.1197642 Composed by Juan MarÃa Solare. 20th Century,Classical,Contemporary. Score and parts. 77 pages. Juan Maria Solare #796823. Published by Juan Maria Solare (A0.1197642). Juan MarÃa Solare: Piano Concerto (No. 1)PARTSPiano Concerto No. 1 - FIRST movement [score and parts]https://www.sheetmusicplus.com/title/22466227?aff_id=565049https://www.sheetmusicplus.com/title/piano-concerto-no-1-first-movement-score-and-parts-digital-sheet-music/22466227?aff_id=565049https://www.sheetmusicplus.com/22466227?aff_id=565049Piano Concerto No. 1 - SECOND movement [score and parts]https://www.sheetmusicplus.com/title/22466231?aff_id=565049Piano Concerto No. 1 - THIRD movement [score and parts]https://www.sheetmusicplus.com/title/22466233?aff_id=565049Aesthetic 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.1st movement - https://youtu.be/DNckBKzaWtc2nd movement - https://youtu.be/1Zy0ZbrdPJE3rd movement - https://youtu.be/dnYE9dWUEZg
$25.00
Legacy for Chamber Orchestra
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Orchestre de chambre
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AVANCÉ
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Sy Brandon
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Legacy for Chamber Orchestra
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Sy Brandon
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SheetMusicPlus
Chamber Orchestra - Level 5 - SKU: A0.1453498 Composed by Sy Brandon. 21st Century,Contest,Festival. 235 pages. Sy Brandon #1032727. Published by Sy Bra...
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Chamber Orchestra - Level 5 - SKU: A0.1453498 Composed by Sy Brandon. 21st Century,Contest,Festival. 235 pages. Sy Brandon #1032727. Published by Sy Brandon (A0.1453498). Legacy is a three-movement composition for chamber orchestra that makes social commentary on the issue of global warming. It was commission in 2007 by the Washington Sinfonietta, Rufus Jones, conductor and rewritten for chamber orchestra in 2023. I. Conflicts - This movement begins with a cry from native cultures admonishing our neglect of the environment. The cry is interspersed with debate regarding the seriousness of global warming (woodwinds). The debate grows stronger as the cries grow weaker. The debate isquieted by a measure of repeated chords that could be the words, stop it! stop it now!” A weak cry in the English Horn brings the introduction to a close. An Allegro section follows with a rhythmic and primitive sounding section representing the underdeveloped nations that are destroying the rain forests for economic gain. This material evolves into a more harmonic and contrapuntal section representing industrialized nations reluctant to change, also for economic reasons. Things quiet down as the music takes the listener to another part of the globe, East Asia. Conflict is again present in this section. The music returns to a varied restatement of the industrialized nations music before traveling to India for a section influenced by Raga. This section builds in dissonance until we hear the repeated stop it now chords from the introduction. A brief reprise of the cries brings the movement to a close. II. Consequences - This movement evokes a somber mood that is reflective of living in a climate of extremes. The movement is in arch form as it begins and ends with open harmony reflective of barren lands that once were fertile. The middle section serves as a climax expressing the harshness of the climate. Colleen McCullough's book, A Creed for the Third Millennium was a source of inspiration for this movement. III. Sacrifice and Compromise - The movement begins with a strong section that suggests progress. It is followed by a quieter and intense section that alternates lyrical lines over a staccato ostinato creating a sense of urgency. The opening section returns and is followed by a development of the ostinato section. This section is symbolic of how ideas need to be adapted in order for progress to be made. The opening section returns once more before leading into the concluding section where there is coming together of the instruments on a long lyrical line representing more and more people working together for change. The movement ends with a sense of triumph over adversity. Score prints on legal size paper and parts on letter.
$40.00
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