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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
In The Beginning
Non classifié
1 309
Piano & claviers
Piano grosses notes
3 297
Orgue
1 617
Piano seul
718
Piano Facile
713
Accompagnement Piano
112
Piano, Voix
93
Piano, Voix et Guitare
75
1 Piano, 4 mains
67
Clavier
60
Instruments en Do
20
Piano Trio: piano, violon, violoncelle
19
2 Pianos, 4 mains
16
Piano (partie séparée)
7
Accordéon
6
1 Piano, 6 mains
4
Piano Quatuor: piano, 2 violons, violoncelle
1
Fake Book
1
2 Accordéons
1
Orgue, Piano (duo)
1
Ensemble d'Accordéons
1
2 Pianos, 8 mains
1
Piano Quatuor: piano, violon, alto, violoncelle
1
+ 17 instrumentations
Retracter
Guitares
Guitare
148
Guitare notes et tablatures
86
Ukulele
46
Mandoline
22
Basse electrique
22
Banjo
17
Dulcimer
17
2 Guitares (duo)
15
Guitare (partie séparée)
14
Ligne De Mélodie, (Paroles) et Accords
5
4 Guitares (Quatuor)
4
Guitare Pedal Steel
3
Ukulele Baryton
2
Dobro
2
3 Guitares (trio)
2
Ensemble de guitares
1
2 Mandolines (duo)
1
Piano, Guitare (duo)
1
Paroles et Accords
1
+ 14 instrumentations
Retracter
Voix
Chorale SATB
328
Chorale 3 parties
91
Chorale 2 parties
66
Chorale Unison
39
Chorale SSAA
37
Chorale TTBB
35
Voix seule
8
Voix Soprano, Piano
8
Voix duo, Piano
4
Voix duo
3
Voix Baryton, Piano
2
Chorale SSATTB
2
Voix moyenne, Piano
2
Voix basse, Piano
1
Voix, Guitare
1
Chorale SSAATTBB
1
Voix Tenor, Piano
1
Chorale SSAB a cappella
1
Voix Alto, Piano
1
+ 14 instrumentations
Retracter
Vents
Flûte traversière et Piano
86
Quatuor de Saxophones: 4 saxophones
85
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
72
Saxophone (partie séparée)
69
Clarinette
68
Clarinette et Piano
61
Flûte, Hautbois, Clarinette, Basson
61
2 Saxophones (duo)
56
Flûte traversière
55
Hautbois, Piano (duo)
42
Saxophone Alto
40
Quintette de Saxophone: 5 saxophones
36
Quatuor de Clarinettes: 4 clarinettes
36
Quatuor de Flûtes : 4 flûtes
31
Saxophone Alto et Piano
31
2 Flûtes traversières (duo)
28
2 Clarinettes (duo)
26
Hautbois (partie séparée)
25
Ensemble de Clarinettes
24
Saxophone Tenor et Piano
23
Saxophone Tenor
23
Ensemble de Flûtes
22
3 Saxophones (trio)
19
Hautbois, Basson (duo)
17
Clarinette (partie séparée)
16
Hautbois
16
2 Flûte à bec (duo)
13
Saxophone Soprano et Piano
13
Ensemble de saxophones
13
Trio de Flûtes: 3 flûtes
13
Harmonica
13
3 Clarinettes (trio)
12
Saxophone Baryton, Piano
12
Flûte, Clarinette (duo)
11
Saxophone, Clarinette (duo)
11
Flûte à bec Soprano
10
2 Hautbois (duo)
10
Cor anglais, Piano
10
Quintette de Clarinettes: 5 clarinettes
9
Clarinette, Basson (duo)
8
Hautbois, Clarinette (duo)
8
Quintette de Flûte : 5 flûtes
8
Flute (partie séparée)
8
Clarinette, Violon (duo)
7
4 Hautbois
6
Hautbois, Flûte
6
Quatuor de Flûtes à bec
5
Flûte, Violon
4
Ensemble de Hautbois
4
Flûte, Saxophone (duo)
4
Flûte à Bec
4
Cor Anglais
4
3 Hautbois
4
Flûte à bec Tenor
4
3 Flûtes à bec (trio)
4
Flûte irlandaise
4
Clarinette et Alto
4
Flûte, Hautbois, Clarinette (trio)
4
Clarinette, Trompette (duo)
4
Saxophone
3
Piccolo
3
Saxophone Soprano
3
Flûte à bec Alto, Piano
3
Flûte à bec Alto
3
Flûte, Trompette (duo)
3
Flûte traversière, Orgue (duo)
2
Flûte, Hautbois (duo)
2
Saxophone Baryton
2
Instruments en Mib
1
Quatuor de Clarinettes: Clarinette, Violon, Alto, Violoncelle
1
Flûte de Pan
1
Hautbois, Violin, Alto et Violoncelle (Quatuor)
1
Ensemble à vent
1
Hautbois, Basson et Piano
1
Flûte, Violoncelle
1
Flûte, Violon, Piano
1
Flûte et Trio à cordes
1
Clarinette, Guitare (duo)
1
Clarinette Basse
1
Clarinette Basse, Piano
1
Flûte et Guitare
1
Flûte à bec, Guitare (duo)
1
Flûte, Alto (duo)
1
Flûte, Clarinette, Piano (trio)
1
Flûte, Clarinette et Basson
1
+ 80 instrumentations
Retracter
Cuivres
Trompette
82
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
75
Quatuor de Cuivres : 2 trompettes, trombone, tuba
48
Trombone (partie séparée)
40
Trombone
38
Trompette (partie séparée)
34
Trombone et Piano
32
Cor
32
Trompette, Piano
30
Cor et Piano
28
Tuba
24
Quatuor de Cuivres: 2 trompettes, Cor, trombone
22
2 Trompettes (duo)
18
2 Trombones (duo)
17
Tuba et Piano
16
Quatuor de cuivres: 4 trombones
14
Trompette, Trombone (duo)
14
Quatuor de Cuivres
12
2 Cors (duo)
12
2 Tubas (duo)
10
Cor (partie séparée)
10
Cor anglais, Piano
10
Tuba (partie séparée)
9
Ensemble de Trombones
8
Trompette, Saxophone (duo)
8
Trompette, Cor (duo)
8
Quatuor de cuivres: 4 trompettes
7
3 Trombones (trio)
6
Euphonium, Piano (duo)
6
Ensemble de Trompettes
5
3 Cors (trio)
5
Ensemble de Cors
5
Trombone, Cor (duo)
5
3 Tubas (trio)
5
Quatuor de cuivres: 4 cors
5
Euphonium
4
4 Tubas
4
Cor Anglais
4
Trompette, Tuba (duo)
3
2 Euphoniums et 2 Tubas
3
Cor, Tuba (duo)
2
Trombone, Tuba (duo)
2
3 Trompettes (trio)
2
Trombone basse et Piano
2
Tuba et Orgue
2
Instruments en Sib
1
4 Euphoniums
1
Euphonium, Tuba (duo)
1
Trompette, Basson (duo)
1
Trombone basse
1
Quatuor de cuivres: 2 trompettes, 2 trombones
1
+ 46 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
165
Violon et Piano
133
Violon
128
Violoncelle
71
Violoncelle, Piano
60
Harpe
54
Alto seul
49
Violon, Violoncelle (duo)
44
Alto, Piano
43
Trio à Cordes: violon, alto, violoncelle
41
2 Violons (duo)
35
Contre Basse
29
Quintette à cordes: 2 violons, alto, violoncelle, basse
28
Violon (partie séparée)
23
Contrebasse (partie séparée)
20
Contrebasse, Piano (duo)
18
2 Altos (duo)
16
Trio à Cordes: 2 violons, violoncelle
16
2 Violoncelles (duo)
14
Alto (partie séparée)
11
Trio à cordes: 3 violins
8
Trio à Cordes: 3 violoncelles
7
Violon, Guitare (duo)
7
Alto, Violoncelle (duo)
6
Violon, Alto (duo)
6
Trio à cordes: 3 altos
6
4 Violoncelles
6
2 Harpes (duo)
5
Quatuor à cordes: 4 violons
4
2 Violons, Piano
4
Violoncelle (partie séparée)
4
Autoharp
3
Quatuor à cordes : 4 altos
3
2 Contrebasses (duo)
2
Trio à Cordes: 2 violons, alto
2
Quintette à cordes: 2 violons, 2 altos, violoncelle
2
3 Contrebasses
2
Harpe, Flûte (duo)
2
Piano Trio: Violon, Alto, Piano
1
Alto, Guitare (duo)
1
Ensemble d'Altos
1
Violoncelle , Guitare (duo)
1
Ensemble de Violons
1
+ 38 instrumentations
Retracter
Orchestre & Percussions
Orchestre d'harmonie
1 236
Orchestre à Cordes
191
Cloches
127
Orchestre
97
Ensemble Jazz
66
Ensemble de cuivres
45
Orchestre de chambre
42
Batterie
35
Ensemble de Percussions
17
Percussion (partie séparée)
12
Fanfare
11
Batterie (partie séparée)
8
Xylophone
6
2 Xylophones
4
Percussion
3
Marimba
3
Jazz combo
3
Quintette à cordes : 2 Violons, Alto, Violoncelle, Contrebasse, Clavier
2
3 Marimbas
1
Bongos
1
Caisse Claire
1
Cajon
1
Xylophone, Piano
1
Piano et Orchestre
1
Quintette de Cuivres: autres combinaisons
1
Orchestre, Violon
1
+ 21 instrumentations
Retracter
Autres
Instruments
ACCORDEON
ALTO
AUTRES INST…
BALALAIKA
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
BUGLE
CHANT - CHO…
CHARANGO
CITHARE
CLAIRON
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…
GUITARE
GUITARE PED…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH, THEOR…
MANDOLINE
MARIMBA
ORCHESTRE
ORGUE
OUD
PARTITIONS …
PAS DE PART…
PERCU. ORCH…
PERCUSSION
PIANO
SAXOPHONE
SYNTHE
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIELLE A RO…
VIOLE DE GA…
VIOLON
VIOLONCELLE
XYLOPHONE
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Partitions Numériques
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TRI ET FILTRES
TRI ET FILTRES
Tri et filtres :
--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
style (tous)
AFRICAIN
AMERICANA
ASIE
BLUEGRASS
BLUES
CELTIQUE - IRISH - S…
CHANSON FRANÇAISE
CHRISTIAN (contempor…
CLASSIQUE - BAROQUE …
COMEDIES MUSICALES -…
CONTEMPORAIN - 20-21…
CONTEMPORAIN - NEW A…
COUNTRY
EGLISE - SACRE
ENFANTS : EVEIL - IN…
FILM - TV
FILM WALT DISNEY
FINGERSTYLE - FINGER…
FLAMENCO
FOLK ROCK
FOLKLORE - TRADITION…
FUNK
GOSPEL - SPIRITUEL -…
HALLOWEEN
JAZZ
JAZZ MANOUCHE - SWIN…
JEUX VIDEOS
KLEZMER - JUIVE
LATIN - BOSSA - WORL…
LATIN POP ROCK
MARIAGE - AMOUR - BA…
MEDIEVAL - RENAISSAN…
METAL - HARD
METHODE : ACCORDS ET…
METHODE : ETUDES
METHODE : TECHNIQUES
NOËL
OLD TIME - EARLY ROC…
OPERA
PATRIOTIQUE
POLKA
POP ROCK - POP MUSIC
POP ROCK - ROCK CLAS…
POP ROCK - ROCK MODE…
PUNK
RAGTIME
REGGAE
SOUL - R&B - HIP HOP…
TANGO
THANKSGIVING
Vendeurs (tous)
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Crtitères actifs :
In The Beginning
Orchestre de chambre
Partitions à imprimer
42 partitions trouvées
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1
26
TELEMANN – VIOLIN CONCERTO IN A MAJOR "THE FROGS", TWV 51:A4 (Score and parts in PDF)
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Orchestre de chambre
#
AVANCÉ
#
Classique
#
Georg Philipp Telemann
#
Sneakwood Editions
#
TELEMANN – VIOLIN CONCER
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Sneakwood Editions
#
SheetMusicPlus
Chamber Orchestra - Level 5 - SKU: A0.890767 Composed by Georg Philipp Telemann. Arranged by Sneakwood Editions. Baroque,Classical. Score and parts. 41 ...
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Chamber Orchestra - Level 5 - SKU: A0.890767 Composed by Georg Philipp Telemann. Arranged by Sneakwood Editions. Baroque,Classical. Score and parts. 41 pages. Sneakwood Editions #4781035. Published by Sneakwood Editions (A0.890767). Edition based on Ms. D MÜu, ms. 775Score (20 pages) and Parts (friendly performance edition): Violino principale, Violin I, Violin II, Violin III, Viola, Violoncello and Harpsichord.The Violin Concerto in A major (TWV 51:A4), which has come to light only fairly recently, does not take as its musical model the song of the nightingale (as in ‘La Bizarre’ [TWV 55:G2]) or of the goldfinch (Vivaldi), but the croaking of the common frog, also called ‘Reling’ in certain regions of Germany, whence the concerto’s subtitle. Nothing better could be expected of a composer who found inspiration even in crows and in the out-of-tune playing of village musicians! Although this concerto, which the manuscript attributes to Telemann, bears traces of his personal style, other features, such as the exceptionally high solo part, leave room for doubt. At a structurally important point in the first movement the soloist produces no more than a succession of repeated notes, ‘a-a, a-a’, which infect the other parts as well. Of course, this is the vowel that the frog croaks, given a distinctive tone-colour by use of the open A string and stopped D string. But worse is to come. In the second ritornello the orchestral violins ‘forget’ the beginning of their theme, whilst the cello inappropriately pushes its way into the foreground. The setting of the second movement (Adagio), probably a moonlit stretch of shallow water, then audibly inspires a pair of courting frogs to make sweet music together. We are given the opportunity to rejoice in their croaking offspring in the concluding Menuet and its rapid Double. This movement entirely dispenses with concertante sounds of nature and thereby betrays its origins in the suite, where it always takes its accustomed place in Telemann’s music. If we knew that a satirist was at work in this ‘Relinge’ Concerto, someone who was deliberately exhibiting all these deviations from good taste, then we could infer with some certainty that the composer is indeed Telemann. Since his own concertos ‘smack of France’ (as he puts it in his autobiography of 1718), we may most likely credit him with permitting his not at all ‘sullen old heart’ a little joke at the expense of the relevant concertos of a certain Italian composer… – Peter Huth (trans. Charles Johnston)www.snakewoodeditions.com
$18.00
In Memoriam - Score Only
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Orchestre de chambre
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INTERMÉDIAIRE
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Robert A
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In Memoriam - Score Only
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Robert A. Howard
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SheetMusicPlus
Chamber Orchestra - Level 3 - SKU: A0.1471118 Composed by Robert A. Howard. 20th Century,Classical,Contemporary,Religious,Spiritual. 17 pages. Robert A....
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Chamber Orchestra - Level 3 - SKU: A0.1471118 Composed by Robert A. Howard. 20th Century,Classical,Contemporary,Religious,Spiritual. 17 pages. Robert A. Howard #1048771. Published by Robert A. Howard (A0.1471118). In Memoriam, for chamber orchestra, is a short but powerful work. It was specifically composed in memory of the composer's father, but the work can be used to the reflect any loss, or similar sentiment. The point of departure is the pounding repeated tones (the note D, for Death) at the start of the Lacrymosa of Benjamin Britten's Sinfonia da Requiem; a work which mourned the death of both its composer's parents. Throughout my In Memoriam, the repeated pedal note D is literally ever-present and obsessive, like the looming of death itself, and the percussion take a somewhat military role. The main melodic idea is a twelve-note theme stated at the beginning, though the music is not strictly serial. This theme undergoes various transformations and orchestrations, depicting the many facets of a character who essentially remains themself. More optimistic interludes feature woodwind solos, but the note D always remains. A passage of stark two-part counterpoint is followed by the disintegration of the main theme before a varied return of previous material. Then follows the inevitable dominance of the note D, in crescendo, before the work abruptly ends, frozen still. The work is highly accessible for both performers and audience. The attached document is the score only, with audio for reference. Note that the 3rd & 4th horn parts are optional, or they could be played on 2 trombones.Duration: 5 minutes 30 seconds.Registered with PRS (Performing Rights Society, UK).Composer's website: www.roberthowardmusic.co.uk
$7.99
The Platypus
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Orchestre de chambre
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DÉBUTANT
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Sue Moore
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The Platypus
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Susie Moore
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SheetMusicPlus
Chamber Orchestra - Level 1 - SKU: A0.1008342 Composed by Sue Moore. Children,Instructional,Standards. Score and parts. 10 pages. Susie Moore #4766683. ...
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Chamber Orchestra - Level 1 - SKU: A0.1008342 Composed by Sue Moore. Children,Instructional,Standards. Score and parts. 10 pages. Susie Moore #4766683. Published by Susie Moore (A0.1008342). An instructional Chamber Orchestra work written for beginning strings and early intermediate winds. This work is in 6/4 time. The string parts (depicting the bubbles that are seen as the Platypus are submerged) have been written where they are either using the open strings or the patterns are repeated over several bars so that beginning students are able to focus on the challenges of the 6/4 time. Mapping which beat each string part falls on is helpful when starting to teach this piece. Platypus are shy in nature and do not normally cohabit in the same location in large numbers. This piece was written as the composer observed an unusually large number of Platypus in one location. The wind parts depict the Platypus as they surfaced and descended in the billabong where they lived and as they happened to meet another Platypus or come up where she was sitting they quickly retreated with a loud splash. This is heard throughout the piece. Parts are available.
$4.99
I Told You, Dear Mother
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Orchestre de chambre
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Lazaros Delidemos
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instead of
dux and comes
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I Told You, Dear Mother
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Lazaros Delidemos
#
SheetMusicPlus
Chamber Orchestra - SKU: A0.931490 Composed by Lazaros Delidemos. Folk,Instructional,Romantic Period,World. Score and parts. 16 pages. Lazaros Delidemos...
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Chamber Orchestra - SKU: A0.931490 Composed by Lazaros Delidemos. Folk,Instructional,Romantic Period,World. Score and parts. 16 pages. Lazaros Delidemos #3531861. Published by Lazaros Delidemos (A0.931490). I wrote this piece as an example for my composition students. It is a contrapuntal composition based on a Greek folk song,which is presented at the beginning with clarinet solo, and then it is used as a cantus firmus. In the second part of the composition a two part canon is created on this cantus firmus (shown with the words canon and resolutio instead ofdux and comes.
$11.99
Twinkle, Twinkle Little Star for beginning elementary orchestra
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Orchestre de chambre
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DÉBUTANT
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W
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Cedric Elmer
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Twinkle, Twinkle Little Star f
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Cedric N Elmer
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SheetMusicPlus
Chamber Orchestra - Level 1 - SKU: A0.968733 Composed by W.A.Mozart?/Folk Song. Arranged by Cedric Elmer. Children,Instructional. Score and parts. 10 pa...
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Chamber Orchestra - Level 1 - SKU: A0.968733 Composed by W.A.Mozart?/Folk Song. Arranged by Cedric Elmer. Children,Instructional. Score and parts. 10 pages. Cedric N Elmer #4896891. Published by Cedric N Elmer (A0.968733). For use in an elementary instrumental program following circa eight weeks of instruction. Basic rhythms include quarter and half notes. Using the D.C, al fine, one could include a retard or a dynamics change. Introduces pizz. In the string parts. This simple arrangement could be used for strings alone. Clarinet parts do not play above the break. See also Ten Little Indians arrangement by C. Elmer for beginning elementary orchestra/ensemble.
$2.49
Clarinet in the Ages - Score Only
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Orchestre de chambre
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AVANCÉ
#
Karol Niklas
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Clarinet in the Ages - Score O
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Karol Niklas
#
SheetMusicPlus
Chamber Orchestra - Level 5 - SKU: A0.1082630 Composed by Karol Niklas. 20th Century,Baroque,Classical,New Age,Romantic Period. Score and parts. 20 page...
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Chamber Orchestra - Level 5 - SKU: A0.1082630 Composed by Karol Niklas. 20th Century,Baroque,Classical,New Age,Romantic Period. Score and parts. 20 pages. Karol Niklas #686841. Published by Karol Niklas (A0.1082630). It is a piece for clarinet and string orchestra with timpani using various instrumental techniques. It travels through various ages of the music history beginning with impressionism and going as far back as baroque.
$15.00
Jesus Shephard My Beginning
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Orchestre de chambre
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INTERMÉDIAIRE
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Classique
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Johann Sebastian Bach
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William Taylor
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Jesus Shephard My Beginning
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William Taylor
#
SheetMusicPlus
Chamber Orchestra - Level 3 - SKU: A0.946455 Composed by Johann Sebastian Bach. Arranged by William Taylor. Baroque,Christmas,Sacred,Wedding. Score and ...
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Chamber Orchestra - Level 3 - SKU: A0.946455 Composed by Johann Sebastian Bach. Arranged by William Taylor. Baroque,Christmas,Sacred,Wedding. Score and parts. 9 pages. William Taylor #6329075. Published by William Taylor (A0.946455). This excerpt from Bach's Christmas Oratorio can be used year round. It's tranquil melody is reflective and calming. In this arrangement the solo is played either by the viola in a traditional string quartet or by an oboe with two violins and cello. .
$15.00
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
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
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
Dreams - Score Only
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Orchestre de chambre
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INTERMÉDIAIRE
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Juan Guerra González
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Dreams - Score Only
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Juan Carlos Guerra Gonzalez
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SheetMusicPlus
Chamber Orchestra - Level 3 - SKU: A0.1317400 Composed by Juan Guerra González. 21st Century,Classical. 96 pages. Juan Carlos Guerra Gonzalez #906062...
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Chamber Orchestra - Level 3 - SKU: A0.1317400 Composed by Juan Guerra González. 21st Century,Classical. 96 pages. Juan Carlos Guerra Gonzalez #906062. Published by Juan Carlos Guerra Gonzalez (A0.1317400). DREAMS (for Symphony Orchestra)SCORE ONLY Please visit www.juancarlosguerra.com/dreams to buy or rent the parts. Scored for1 Flute1 Oboe1 Clarinet in Bb1 Basoon2 Percussion Players: 1 TimpaniViolin IViolin IIViolaVioloncelloDouble BassAn easy-to-read to read and fascinating piece for a symphony orchestra with a reduced number of winds and no brass. It can be suited ideally in any setting.Program Note“Dreams†is a suite for symphony orchestra in three movements. The work was kindly commissioned by Dr. Luis VÃquez, conductor of the University of Rhode Island’s Symphony Orchestra and to whom this work is being dedicated alongside with his wife Melissa. The titles of the movements come from either an specific dream, or other topics about dreaming that I discovered in the process of writing the work. I. Cherry trees in the morningNature has always inspired me. Every year during spring my family has the tradition to visit the Brooklyn Botanic Garden to experience the cherry blossoms. I usually do not remember many of my dreams but in this particular dream I was in Japan under an esplanade of cherry trees. I remember how amazed I feel and is for sure one of my most memorable dreams. II. DreamcatcherWhile I was writing the initial ideas of for the work I came across a Journal that explored how the use of a particular chord helped reduce nightmares in patients suffering from nightmare disorders. In the study, patients were exposed to the chord C69 (A C Major with the added 6th and 9th) during therapeutic sessions. This chord is used at the beginning of the movement as it moves to explore different sonorities. In this movement you might be able to hear a representation of the “heartbeat†played by the bass drum and timpani, then a more “stressful†section will come to represent a nightmare followed again by another repetition of the C69 chord. If you feel relaxed during the performance, it is on purpose! III. A Dance in the desertDreams, in my case, are usually a mix of different non-related things. For the final movement, I decided to use that idea. I started this dance with a “oriental†style and them throughout the middle of the movement I moved it to a waltz that was influenced by my grandfather. He used to have a small orchestra and he used to play waltzes during events and private parties.I hope the music takes you through a journey of musical emotions.Juan Guerra González
$159.99
Arizona Centennial Overture - Chamber Orchestra Version
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Orchestre de chambre
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INTERMÉDIAIRE/AVANCÉ
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Sy Brandon
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Arizona Centennial Overture -
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Sy Brandon
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SheetMusicPlus
Chamber Orchestra - Level 4 - SKU: A0.755102 Composed by Sy Brandon. 20th Century,Contemporary,Folk. Score and parts. 107 pages. Sy Brandon #3384583. Pu...
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Chamber Orchestra - Level 4 - SKU: A0.755102 Composed by Sy Brandon. 20th Century,Contemporary,Folk. Score and parts. 107 pages. Sy Brandon #3384583. Published by Sy Brandon (A0.755102). Arizona Centennial Overture was commissioned by the Arizona Commission on the Arts as part of the Centennial Legacy Project to help celebrate Arizona’s centennial. There are three versions of the compositions, chamber orchestra, full orchestra, and band. The overture pays tribute to the unique blend of the various cultures that had a part in shaping Arizona into what it is today. This six and a half minute composition is divided into three main sections. The first section begins with fanfares that announce the celebration. After thirty seconds, the introduction fades into music that pays tribute to the pioneers that migrated to Arizona. The music has a rustic quality reflecting the pioneering spirit of the ranchers, farmers, miners, and merchants who came to Arizona seeking a better way of life. This section is intended to be inclusive as it is impossible to represent each culture individually in a short musical composition. The second section pays tribute to the various Native American cultures that are a large part of Arizona’s history and its present way of life. Flutes and percussion instruments are used in the beginning of this section to represent the Native American respect for nature. This quiet section evolves into a ceremonial dance that increases in intensity. Towards the end of this section one hears fragments of the pioneer melody as these culture come together. The third section is influenced by Mariachi music to recognize the Hispanic influence in Arizona. The first part uses an original rollicking tune with four beats to the measure over syncopation. The second part contains a lyrical melody with three beats to the measure accompanied by instruments playing accents that create the Hispanic sounding grouping of six notes into three groups of two alternating with two groups of three. A brief ending using the fanfares of celebration interspersed with figures from the Native American and pioneer sections brings the work to a rousing close. The score prints on legal size paper and the parts on letter.
$39.99
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
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
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
Dona Nobis Pacem
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Orchestre de chambre
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DÉBUTANT
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Anonymous
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Dan Severio
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Dona Nobis Pacem
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Piano Teacher Press
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SheetMusicPlus
Chamber Orchestra - Level 1 - SKU: A0.864727 Composed by Anonymous. Arranged by Dan Severio. Children,Instructional,Standards. Score and parts. 5 pages....
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Chamber Orchestra - Level 1 - SKU: A0.864727 Composed by Anonymous. Arranged by Dan Severio. Children,Instructional,Standards. Score and parts. 5 pages. Piano Teacher Press #48771. Published by Piano Teacher Press (A0.864727). 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 a very easy elementary arrangement. It gives the beginning student the chance to listen to his musical partner and learn what ensemble playing is all about.
$3.99
＜EZ Clarinet/Woodwind Sextet＞Sakura★Hira-jyoushi
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Orchestre de chambre
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DÉBUTANT
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Tsuyoshi Yoroiguma
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＜EZ Clarinet/Woodwind Sex
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Tsuyoshi Yoroiguma
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SheetMusicPlus
Chamber Orchestra - Level 1 - SKU: A0.711280 Composed by (Japanese Traditional Song). Arranged by Tsuyoshi Yoroiguma. Classical,Instructional,Standards,...
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Chamber Orchestra - Level 1 - SKU: A0.711280 Composed by (Japanese Traditional Song). Arranged by Tsuyoshi Yoroiguma. Classical,Instructional,Standards,World. Score and parts. 6 pages. Tsuyoshi Yoroiguma #4360227. Published by Tsuyoshi Yoroiguma (A0.711280). Welcome to TOKYO 2020 Olympic Games !Sakura(Cherry blossom) is a Japanese traditional song.And Hira-jyoushi is a name of basic tuning of Koto.Koto is a Japanese traditional instrument with 13 strings.In the beginning each player sound Hira-jyoushi scale, and song of Sakura start.This is good for school band or music class education.All players use this score.(no part sheet included)Instrumentation:6 Bb Clarinets or 4 Clarinets / Alto Sax / Tenor SaxPlaying time is 2min 05sec.PDF file includes 6 pages(3pages×2) of score.
$8.00
Händel: Atalanta, HWV 35: Ouverture. Largo - Allegro as played by Alison Balson and Trevor Pinnock.
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Orchestre de chambre
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INTERMÉDIAIRE/AVANCÉ
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Georg Friedrich Händel, Ali
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Flavio Regis Cunha
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Händel: Atalanta, HWV 35:
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Flavio Regis Cunha
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SheetMusicPlus
Chamber Orchestra - Level 4 - SKU: A0.1288408 By Georg Friedrich Händel, Alison Balson, Trevor Pinnock and the English Concert. By George Frideric Ha...
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Chamber Orchestra - Level 4 - SKU: A0.1288408 By Georg Friedrich Händel, Alison Balson, Trevor Pinnock and the English Concert. By George Frideric Handel. Arranged by Flavio Regis Cunha. Baroque,Classical,Contest,Festival,Instructional,Wedding. Score and Parts. 44 pages. Flavio Regis Cunha #879394. Published by Flavio Regis Cunha (A0.1288408). Handel: Atalanta, HWV 35: Ouverture. Largo - Allegro.Do you want to bring Georg Friedrich Händel's Atalanta to life? Introducing Handel's powerful work for trumpet solo and chamber orchestra, as played by the world's premier soloist Alison Balson and Trevor Pinnock. Perfect for church, school and professional orchestras, 'Handel: Atalanta' will give your performance exceptional energy and dynamic expression. Get this timeless masterpiece and experience a stunning work of genius.Advanced Intermediate Format: Concert, 9 x 12 inches44 pagesFull Score and Orchestral Parts Instrumentation: Basso continuo, Trumpet, Chamber Orchestra (0.2.0.1  0.1.0.0  harpsich. str.) + Trumpet and Continuo reductionDuration: 4 min.Program NotesAbout the ComposerThe 'Atalanta, HWV 35: Ouverture' was composed by the renowned Baroque composer, Georg Friedrich Händel. His imaginative works make him one of the most important figures of the Baroque period. Other well-known works of Händel's include 'The Messiah', 'Water Music', and 'Music for the Royal Fireworks'. He was a master at combining various instruments and emotional elements to create enthralling music.Musical CharacteristicsThe 'Atalanta, HWV 35: Ouverture' is characterized as a light and airy composition, made up of a combination of a trumpet solo and chamber orchestra. The movement transitions from a gentle, unhurried 'Largo' into an energetic and lively 'Allegro'. The bright, steady tempo of the 'Allegro' creates a lively and captivating atmosphere. The trumpet solo and chamber orchestra complement each other wonderfully, resulting in an energetic and joyous musical journey. The Composition ItselfThe 'Atalanta, HWV 35: Ouverture' is presented here by trumpeter Alison Balson and conductor Trevor Pinnock and The English Concert. The piece begins with a wonderfully flavorful 'Largo' section, featuring Balson's ethereal, small touches of the trumpet as the orchestra gently sets the musical groundwork. This is soon followed by an equally uplifting 'Allegro'. Balson's trumpet solo is full of passion and energy, creating a bold and energetic atmosphere. As the chamber orchestra grows more intense, the piece builds to a thrilling conclusion. Programmatic InterpretationThe 'Atalanta, HWV 35: Ouverture' is based on the ancient Greek myth of Atalanta. In the myth, Atalanta is a swift and brave Princess who is challenged by a band of young suitors to a race. To the winners, she offers a prize of marriage. As we listen to Handel's composition, we can imagine the race beginning with the slow and steady 'Largo', as Atalanta calmly assesses the present, and takes her time to decide her path. As the 'Allegro' begins, we can feel her strength and power as she embarks on her journey, full of excitement and determination. As the piece builds, we can feel her courage and enthusiasm as she confronts the race ahead. Finally, we can picture Atalanta achieving success as the piece ends in jubilation.About the album 'Magic Trumpet'Sound the Trumpet is an album of glorious baroque music associated with royalty where Alison brings the music of the Purcell and Händel to life. collaboration between the English trumpetist, Alison Balson, the conductor and harpsichordist, Trevor Pinnock and the English Concert baroque soloists.
$39.99
Press Play
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Orchestre de chambre
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AVANCÉ
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Till MacIvor Meyn
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Press Play
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Till MacIvor Meyn
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SheetMusicPlus
Chamber Orchestra - Level 5 - SKU: A0.1027496 Composed by Till MacIvor Meyn. 20th Century,Contemporary,Pop. Score and parts. 86 pages. Till MacIvor Meyn...
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Chamber Orchestra - Level 5 - SKU: A0.1027496 Composed by Till MacIvor Meyn. 20th Century,Contemporary,Pop. Score and parts. 86 pages. Till MacIvor Meyn #550691. Published by Till MacIvor Meyn (A0.1027496). Submitted for 2015 Areon Flutes International Chamber Music Composition Competition, ‘Press Play’ was composed for internationally renowned bassoonist Scott Pool. When I was growing up in the 1980s, I had a rather large cassette tape collection with many different types of music; my friends and I spent much of our time browsing through each other’s sets and listening to diverse rock albums. ‘Press Play’ is designed to represent the format of an EP album, though the music contained is a mix of styles. Track 1 is a chorale-style introductory movement that features the bassoon in brief solo passages between the chordal string sections. Hit Single is basically a pop song for bassoon and strings. In Deep Cut, the instruments explore a slow contrapuntal texture; the title refers to an obscure type of track on an album that radio stations are less likely to air, except perhaps on late night shows. Deep Cut accelerates in the second half, and moves almost directly into Hidden Track, named for a type of song that some albums hide after all the popular songs are over. Hidden Track also features an acceleration from beginning to end, and has a style and format similar to process music.
$26.00
Metamorphosis for solo flute, solo pedal or lever harp, and strings
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Orchestre de chambre
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INTERMÉDIAIRE
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Contemporain
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Adrienne Inglis
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Metamorphosis for solo flute,
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Adrienne Inglis
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SheetMusicPlus
Chamber Orchestra - Level 3 - SKU: A0.953627 Composed by Adrienne Inglis (ASCAP). Contemporary. Score and parts. 51 pages. Adrienne Inglis (ASCAP) #6383...
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Chamber Orchestra - Level 3 - SKU: A0.953627 Composed by Adrienne Inglis (ASCAP). Contemporary. Score and parts. 51 pages. Adrienne Inglis (ASCAP) #6383557. Published by Adrienne Inglis (ASCAP) (A0.953627). Celebrate women scientists!Metamorphosis (2019) by Adrienne Inglis (ASCAP) for flute, harp, and string orchestra, commissioned by Balcones Community Orchestra, celebrates the life and work of Maria Sibylla Merian (1647-1717), pioneering entomologist, naturalist, and artist.Duration 5:30 minutes.Commissioned by the Balcones Community Orchestra of Austin, Texas, Metamorphosis (2019) by Adrienne Inglis for solo flute, solo harp, and string orchestra, honors the life and work of pioneering entomologist, naturalist, and artist Maria Sibylla Merian (1647-1717). As she carefully documented in illustrated detail the life cycle of so many insects, Metamorphosis musically follows a butterfly from adult, egg, larva, pupa, and adult. The piece opens with an ostinato pattern in the strings over which the flute and harp play fluttering modal melodies. The strings and harp represent the egg stage with minimalistic layers of a single pitch. To recognize Merian’s time in Suriname and her discovery of many insect species there, a cheerful tune fashioned after traditional Arawak folk songs informs the busy larvae in the caterpillar canon. A bit of contemplative dorian polyphony laced with metamorphic machinations demonstrate the remarkable transformation of the pupa as well as Merian’s time at a devout Labadist religious commune. The butterfly emerges from the pupa with a flute/harp cadenza and then the strings underscore the adult butterfly with a return of the ostinato. The piece ends with the same ostinato as the beginning such that the piece could loop seamlessly as in a true life cycle.This performance does not include the revisions made in this version of the music: https://youtu.be/GIjQpkXl6Uc
$9.99
Stefano Maria Torchio: En Arche en o Logos - Full score
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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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Stefano Maria Torchio
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Stefano Maria Torchio: En Arch
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Stefano Torchio
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SheetMusicPlus
Chamber Orchestra - Level 5 - SKU: A0.1022761 Composed by Stefano Maria Torchio. Contemporary,Sacred. Score and parts. 27 pages. Stefano Torchio #314240...
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Chamber Orchestra - Level 5 - SKU: A0.1022761 Composed by Stefano Maria Torchio. Contemporary,Sacred. Score and parts. 27 pages. Stefano Torchio #3142405. Published by Stefano Torchio (A0.1022761). S. M. Torchio: En Archè en o Logos (2007)A deep and powerful reflection on the first lines of John's Gospel and the mistery of the Creation and of the beginning. The fascinating sound of ancient Greek creates a dialectic relationship with the modern international english language. All happens wihin a very interesting proposal for an avantgarde sacred music fitted for liturgical uses too. A considerable number of singers and of strings is required in order to create an adequate sound space and colour. Particular care is required by the intonation and the creation and substain of the right tone (which are perhaps the biggest challenge by the piece) but the entire music created by the phonemata and the training about it could be very funny and very precious and helpful for an interesting growth of a very fine Choir. The piece won the International Composition Competition Anima Mundi organized by the Opera Primaziale di Pisa in 2009.Stefano Maria TorchioItalian Violinist, Composer and Conductor, spent his education between Italy and the University of Music and Performing Art in Vienna, where he studied Orchestral Conducting with U. Lajovic and J. Wildner and Choir Conducting with E. Ortner and T. Lang. Further studies made Torchio in Violin, Composition and Organ at the Music Conservatory of Padua (his home town).He won prizes by international composition competitions like the Anima Mundi of the Opera Primaziale di Pisa, the A. Casella of the Accademia Chigiana of Siena, In memoriam... Johannes XXIII of Comune di Sotto il Monte, the MiniMusicDrama of Ovada and the Composition Prize of the Music Conservatory of Padua. He also participated by seminaries and masterclasses in Composition and Conducting with important Maestri like Z. Metha, F. Luisi, B. de Billy, S. Young, G. Andretta, A. Corghi, I. Fedele, C. Ambrosini, M. Lichtfuß and R. Vaglini by important Academies and Institution like the Accademia Chigiana in Siena, the R. Romanini Foundation in Brescia and the Accademia L. Perosi in Biella. For years he carries out an intense musical activity within several fields, by playing as solo or within chamber ensembles, composing, teaching and conducting also own works.Composer's e-mail: stefanotorchio84@gmail.comyou can find me also on: facebook, instagram and twitter.
$19.50
Stefano Maria Torchio: En Arche en o Logos - Vocal score
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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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Stefano Maria Torchio
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Stefano Maria Torchio: En Arch
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Stefano Torchio
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SheetMusicPlus
Chamber Orchestra - Level 5 - SKU: A0.1022760 Composed by Stefano Maria Torchio. Contemporary,Sacred. Score and parts. 8 pages. Stefano Torchio #3142459...
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Chamber Orchestra - Level 5 - SKU: A0.1022760 Composed by Stefano Maria Torchio. Contemporary,Sacred. Score and parts. 8 pages. Stefano Torchio #3142459. Published by Stefano Torchio (A0.1022760). S. M. Torchio: En Archè en o Logos (2007)A deep and powerful reflection on the first lines of John's Gospel and the mistery of the Creation and of the beginning. The fascinating sound of ancient Greek creates a dialectic relationship with the modern international english language. All happens wihin a very interesting proposal for an avantgarde sacred music fitted for liturgical uses too. A considerable number of singers and of strings is required in order to create an adequate sound space and colour. Particular care is required by the intonation and the creation and substain of the right tone (which are perhaps the biggest challenge by the piece) but the entire music created by the phonemata and the training about it could be very funny and very precious and helpful for an interesting growth of a very fine Choir. The piece won the International Composition Competition Anima Mundi organized by the Opera Primaziale di Pisa in 2009.Stefano Maria TorchioItalian Violinist, Composer and Conductor, spent his education between Italy and the University of Music and Performing Art in Vienna, where he studied Orchestral Conducting with U. Lajovic and J. Wildner and Choir Conducting with E. Ortner and T. Lang. Further studies made Torchio in Violin, Composition and Organ at the Music Conservatory of Padua (his home town).He won prizes by international composition competitions like the Anima Mundi of the Opera Primaziale di Pisa, the A. Casella of the Accademia Chigiana of Siena, In memoriam... Johannes XXIII of Comune di Sotto il Monte, the MiniMusicDrama of Ovada and the Composition Prize of the Music Conservatory of Padua. He also participated by seminaries and masterclasses in Composition and Conducting with important Maestri like Z. Metha, F. Luisi, B. de Billy, S. Young, G. Andretta, A. Corghi, I. Fedele, C. Ambrosini, M. Lichtfuß and R. Vaglini by important Academies and Institution like the Accademia Chigiana in Siena, the R. Romanini Foundation in Brescia and the Accademia L. Perosi in Biella. For years he carries out an intense musical activity within several fields, by playing as solo or within chamber ensembles, composing, teaching and conducting also own works.e-mail: stefanotorchio84@gmail.comyou can find me also on: facebook, instagram and twitter
$11.00
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In The Beginning
