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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 We Go
Non classifié
190
Piano & claviers
Piano, Voix et Guitare
110
Piano seul
106
Piano, Voix
73
Piano Facile
59
Orgue
6
1 Piano, 4 mains
5
Piano grosses notes
5
2 Pianos, 4 mains
2
Orgue, Piano (duo)
1
Instrument seul et Orgue
1
+ 5 instrumentations
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Guitares
Guitare notes et tablatures
19
Ligne De Mélodie, (Paroles) et Accords
6
Ukulele
5
Guitare
4
2 Guitares (duo)
3
2 Mandolines (duo)
2
Paroles et Accords
2
3 Guitares (trio)
1
Guitare (partie séparée)
1
+ 4 instrumentations
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Voix
Chorale SATB
59
Chorale 3 parties
26
Chorale 2 parties
12
Voix Alto, Piano
10
Voix duo, Piano
4
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4
Chorale Unison
4
Chorale TTBB
3
Voix haute
2
Voix seule
1
Voix basse
1
Voix Tenor
1
+ 7 instrumentations
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Vents
2 Saxophones (duo)
24
Quatuor de Saxophones: 4 saxophones
16
Saxophone Alto et Piano
16
Flûte, Hautbois, Clarinette, Basson
16
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
8
2 Flûtes traversières (duo)
8
Quatuor de Clarinettes: 4 clarinettes
7
Flûte traversière et Piano
7
2 Clarinettes (duo)
6
Clarinette, Violon (duo)
6
Saxophone, Clarinette (duo)
6
Flûte et Guitare
5
Flûte traversière
4
2 Hautbois (duo)
4
Clarinette
4
Flûte, Clarinette (duo)
4
Clarinette, Guitare (duo)
3
Clarinette et Alto
3
Flûte, Violon
3
Hautbois, Basson (duo)
3
Hautbois, Clarinette (duo)
3
Hautbois, Flûte
2
Flûte à bec Soprano
2
Saxophone (partie séparée)
2
Ensemble de Clarinettes
2
3 Saxophones (trio)
2
Flûte, Trompette (duo)
2
Clarinette, Trompette (duo)
2
Flûte, Hautbois (duo)
2
Flûte, Alto (duo)
2
Hautbois, Piano (duo)
2
Hautbois (partie séparée)
2
Quintette de Flûte : 5 flûtes
1
Flûte, Saxophone (duo)
1
Quintette de Clarinettes: 5 clarinettes
1
Cor anglais, Guitare (duo)
1
Saxophone Tenor et Piano
1
Hautbois, violon (duo)
1
Ensemble de Flûtes
1
Saxophone et Guitare
1
Hautbois, Guitare (duo)
1
Saxophone Tenor
1
Clarinette et Piano
1
Quintette de Saxophone: 5 saxophones
1
Quatuor de Flûtes : 4 flûtes
1
Flute (partie séparée)
1
+ 41 instrumentations
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Cuivres
Trompette, Piano
10
Cor et Piano
8
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
7
2 Trompettes (duo)
7
Trompette
5
2 Trombones (duo)
4
Trompette, Saxophone (duo)
4
Trompette, Trombone (duo)
3
Trompette (partie séparée)
3
Tuba
3
Quintette de Cuivres: 2 trompettes, Cor, 2 trombones
2
Quatuor de Cuivres: 2 trompettes, Cor, trombone
2
Cor
2
Trombone
2
2 Tubas (duo)
2
4 Tubas
1
Cor anglais, Guitare (duo)
1
Trombone et Piano
1
Tuba (partie séparée)
1
Trombone (partie séparée)
1
2 Cors (duo)
1
Quatuor de Cuivres : 2 trompettes, trombone, tuba
1
+ 17 instrumentations
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Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
34
Harpe
11
Violon
9
2 Violons (duo)
6
2 Violoncelles (duo)
6
2 Altos (duo)
4
Violon, Violoncelle (duo)
4
Violon, Alto (duo)
3
Violoncelle, Piano
3
Trio à Cordes: violon, alto, violoncelle
3
Trio à Cordes: 2 violons, violoncelle
3
2 Contrebasses (duo)
2
Violon (partie séparée)
2
Alto, Violoncelle (duo)
2
Alto, Piano
2
Contrebasse (partie séparée)
2
Violon et Piano
2
Trio à cordes: 3 violins
1
4 Contrebasses
1
Alto (partie séparée)
1
Harpe, Voix
1
Contre Basse
1
Violoncelle
1
Violoncelle , Guitare (duo)
1
+ 19 instrumentations
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72
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20
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14
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2
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2
Batterie
2
Batterie (partie séparée)
1
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Vous avez sélectionné:
Here We Go
Orchestre de chambre
Partitions à imprimer
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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
51.62 €
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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
Lullabye (Goodnight, My Angel)
Orchestre de chambre
Chamber Orchestra - Level 4 - Digital Download SKU: A0.796624 By Billy Joel. By Bil…
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Chamber Orchestra - Level 4 - Digital Download SKU: A0.796624 By Billy Joel. By Billy Joel. Arranged by Gary D.Belshaw (ASCAP). Pop,Rock. Score and parts. 26 pages. DR GARY D BELSHAW #3109511. Published by DR GARY D BELSHAW (A0.796624). For String Quartet plus a guest artist: Alto Sax, Clarinet, Flute, Oboe, or Trumpet. From Billy Joel's final album, River of Dreams (1993).How would you answer a 7-year-old's question, Where do we go when we die? The hint of Medieval ambience came from Joel's plans to make this song part of a suite, with lyrics sung in Latin. The song has been covered more than 2 dozen times. Don't let our version become maudlin or morose. It's got plenty of meaning without getting gushy or sentimental. I chose the Alto sax for its contrast with the strings; the other instruments allow you to select from a variety of guest artists.Thank you for considering this work; your impressions are valuable. Follow Gary D.Belshaw Music on Facebook and Twitter (@GaryDBelshawMus).
$14.99
13.82 €
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Orchestre de chambre
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Billy Joel
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Gary D
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Lullabye
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DR GARY D BELSHAW
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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
27.65 €
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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
Symphony No. 8 ... City of Light (2011) for chamber orchestra
Orchestre de chambre
Chamber Orchestra - Level 4 - Digital Download SKU: A0.869356 Composed by Thomas Ob…
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Chamber Orchestra - Level 4 - Digital Download SKU: A0.869356 Composed by Thomas Oboe Lee. 20th Century,Baroque,Classical,Contemporary,Romantic Period. Score and parts. 113 pages. Thomas Oboe Lee #15879. Published by Thomas Oboe Lee (A0.869356). Instrumentation: 1 flute, 1 oboe, 1 English horn, 2 bassoons, 2 French horns, timpani and strings.Program note: In the year 2010, my wife Kristin Beckwith and I went to Paris twice, the first time in May and the second time in December right after Christmas. The weather was magnificent in May. Our friends Seph and Roger met us there. Being long-time veterans of Paris, they took us all over the city: Le Marais, the Left Bank, Montmartre, Sacré Coeur, Père LaChaise cemetery, Avenue des Champs-Élysées, Jardin du Luxembourg, Jardin des Tuileries, Notre Dame cathedral, Eiffel Tower, the flea market at Porte de Clignancourt, the canal at Saint Martin, etc. Since the weather was so great we basically stayed outside the entire two weeks. My wife Kris said that we had to return next again to Paris to go inside the museums. So we did. The weather in Paris after Christmas was very damp and chilly. So we did indoor activities: Le Louvre, Musée D’Orsay, Palais Garnier, etc. We even attended a beautiful performance of Swan Lake by the Paris Opera Ballet at L’Opéra Bastille. I should also mention that on both occasions I met up with a former student of mine from Berklee, Joe Makholm. He makes a living in Paris playing jazz piano. Joe got us a gig at the Swan Bar in Montparnasse. On the first occasion we did it as a trio with a French bass player. I played flute. On the second occasion, we did it as a duo. Playing jazz in Paris? You can’t beat that!!! Early this year, Steven Lipsitt and I had a chat about my writing a new work for the Boston Classical Orchestra. My last work for the BCO was a piano concerto with Robert Levin as soloist. I told Steven that this time I wanted to write a symphony. He said, Sure. Go ahead. I told him it would be about Paris. He said he would put Mozart’s Paris Symphony on the same program. I said, Fabulous! Symphony No. 8 … City of Light (2011) is in five movements. 1. La Seine Presto, Moderato 2. Basilique du Sacré-Coeur Largo 3. Palais Garnier Allegro, Trio 4. Avenue des Champs-Élysées Allegro 5. Musée du Louvre Largo, Moderato This work is dedicated to my wife and muse, Kristin Beckwith. Audio Link: https://thomasoboelee.bandcamp.com/album/symphony-no-8-city-of-light-2011Video link: https://youtu.be/-Yn76vWg7jE
$9.99
9.21 €
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Orchestre de chambre
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Thomas Oboe Lee
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Symphony No. 8 ... City of Light
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Thomas Oboe Lee
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SheetMusicPlus
Nocturne for Strings- Op. 26
Orchestre de chambre
Chamber Orchestra - Level 4 - Digital Download SKU: A0.987737 Composed by Dana Tayl…
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Chamber Orchestra - Level 4 - Digital Download SKU: A0.987737 Composed by Dana Taylor. Contemporary. Score and parts. 13 pages. Dana Taylor Music #28939. Published by Dana Taylor Music (A0.987737). Nocturne for Strings is a rondo where each section of the orchestra has a chance to stand out. I chose Advanced Intermediate because the mode tends to be mixolydian, with shifting tonal centers and keys, but always melodic,and the parts are interesting. Depending on your group Nocturne is full of teachable moments, from what makes it modal to how go we modulate from one key to the next, and why. And your musicians and audience alike will be humming this afterward. Parts sold separately.
$30.00
27.66 €
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Orchestre de chambre
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Dana Taylor
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Nocturne for Strings- Op. 26
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Dana Taylor Music
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SheetMusicPlus
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