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Isis
Non classifié
86
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57
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31
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11
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6
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4
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2
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1
Piano Quatuor: piano, violon, alto, violoncelle
1
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1
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1
2 Pianos, 4 mains
1
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7
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4
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4
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2
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30
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12
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4
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3
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1
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1
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1
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1
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1
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17
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9
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7
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6
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6
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5
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5
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4
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4
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3
Saxophone Alto
3
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3
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3
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3
Flûte, Hautbois, Clarinette, Basson
3
Cor anglais, Piano
2
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2
Ensemble de Clarinettes
2
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2
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2
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2
Hautbois (partie séparée)
2
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2
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1
Clarinette, Harpe (duo)
1
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1
Clarinette, Alto et Piano (trio)
1
Hautbois, Basson (duo)
1
2 Clarinettes, Piano
1
Saxophone Baryton, Piano
1
2 Clarinettes (duo)
1
Hautbois, Harpe
1
Quatuor de Saxophones: 4 saxophones
1
2 Flûtes traversières (duo)
1
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1
Piccolo, Piano
1
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1
2 Flûtes traversières, Piano
1
Quintette de Saxophone: 5 saxophones
1
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4
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4
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4
Trombone et Piano
2
Cor anglais, Piano
2
2 Trompettes (duo)
2
Trompette
2
Cor et Piano
2
Trombone
2
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1
Euphonium, Piano (duo)
1
Tuba (partie séparée)
1
Quatuor de Cuivres : 2 trompettes, trombone, tuba
1
Cor et Harpe
1
Trompette, Harpe
1
Cor (partie séparée)
1
Trompette, Piano
1
Tuba et Piano
1
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23
Quatuor à cordes: 2 violons, alto, violoncelle
18
Violon
15
Alto, Piano
10
Violoncelle, Piano
7
Alto seul
6
Violoncelle
5
Trio à Cordes: violon, alto, violoncelle
3
Violon, Alto (duo)
2
Alto (partie séparée)
2
Violon, Violoncelle (duo)
2
Alto et Harpe
1
2 Violoncelles (duo)
1
2 Violons (duo)
1
Harpe
1
Harpe, Flûte (duo)
1
Harpe, Trombone (duo)
1
2 Harpes (duo)
1
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1
Harpe, Violoncelle (duo)
1
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16
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6
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3
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1
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1
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Vous avez sélectionné:
Isis
Orchestre de chambre
Partitions à imprimer
5 partitions trouvées
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W.A.Mozart - O Isis und Osiris - Zauberflöte, Sarastro's Aria - Chamber Orchestra Version
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Orchestre de chambre
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AVANCÉ
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Classique
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Wolfgang Amadeus Mozart
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Vasilis Tsiatsianis
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W.A.Mozart - O Isis und Osiris
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Arcadia Verlag
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SheetMusicPlus
Chamber Orchestra - Level 5 - SKU: A0.1311414 Composed by Wolfgang Amadeus Mozart. Arranged by Vasilis Tsiatsianis. Chamber,Classical,Early Music,Opera,...
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Chamber Orchestra - Level 5 - SKU: A0.1311414 Composed by Wolfgang Amadeus Mozart. Arranged by Vasilis Tsiatsianis. Chamber,Classical,Early Music,Opera,Wedding. 13 pages. Arcadia Verlag #900420. Published by Arcadia Verlag (A0.1311414). We are thrilled to present the new orchestral arrangement of the aria O Isis und Osires from Mozart's opera The Magic Flute, created by renowned musician and arranger Vasilis Tsiatsianis.In this arrangement, Vasilis preserves Mozart's style and essence while adding a richness and orchestral grandeur to the piece. With skill and sensitivity, he expands the instrumentation while remaining true to Mozart's original vision.The new arrangement provides a more complete and immersive musical experience, with additional layers of sound textures and a refined balance between the different sections of the orchestra. Dramatic moments are heightened, while delicate nuances are enhanced, resulting in an exciting and captivating interpretation.Now, you have the opportunity to purchase this exclusive sheet music on our online sales platform. Whether you are looking for a new addition to your personal repertoire or planning an orchestral performance, this arrangement will undoubtedly enrich your musical experience.Don't miss the chance to explore the talent and creativity of Vasilis Tsiatsianis in this new arrangement of the O Isis und Osires aria. Place your order now and immerse yourself in the magic of Mozart's masterpiece.Acquire the sheet music on our website and delve into the enchantment of The Magic Flute like never before!The Aria of Sarastro from Magic Flute (Zauberflöte) arranged for Chamber Orchestra without Corni di Bassetto and Trombones. 0.0.2.1-2.0.0.0-Voice-Strings. Original Tonality. German Text.
$45.00
Crisis Tango (from Tango Suite) - A4 version
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Orchestre de chambre
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AVANCÉ
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Jozsef Remenyi
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Crisis Tango
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Jozsef Remenyi
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SheetMusicPlus
Chamber Orchestra - Level 5 - SKU: A0.999097 Composed by Jozsef Remenyi. 20th Century,Latin. Score and parts. 38 pages. Jozsef Remenyi #5719987. Publish...
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Chamber Orchestra - Level 5 - SKU: A0.999097 Composed by Jozsef Remenyi. 20th Century,Latin. Score and parts. 38 pages. Jozsef Remenyi #5719987. Published by Jozsef Remenyi (A0.999097). This is the first movement of my Tango Suite. The style is close to Piazzolla's tangos. Duration: 3:30. Print size: A4 (check the Letter version in my catalog). The pdf contains the score and all parts.
$19.90
Crisis Tango (from Tango Suite) - Letter version
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Orchestre de chambre
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AVANCÉ
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Jozsef Remenyi
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Crisis Tango
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Jozsef Remenyi
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SheetMusicPlus
Chamber Orchestra - Level 5 - SKU: A0.999099 Composed by Jozsef Remenyi. 20th Century,Latin. Score and parts. 38 pages. Jozsef Remenyi #5720071. Publish...
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Chamber Orchestra - Level 5 - SKU: A0.999099 Composed by Jozsef Remenyi. 20th Century,Latin. Score and parts. 38 pages. Jozsef Remenyi #5720071. Published by Jozsef Remenyi (A0.999099). This is the first movement of my Tango Suite. The style is close to Piazzolla's tangos. Duration: 3:30. Print size: Letter (check the A4 version in my catalog). The pdf contains the score and all parts.
$19.90
Do You Hear What I Hear
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Orchestre de chambre
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INTERMÉDIAIRE/AVANCÉ
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Carrie Underwood
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Dennis Ruello
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Do You Hear What I Hear
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Chicory Music
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SheetMusicPlus
Chamber Orchestra - Level 4 - SKU: A0.734392 By Carrie Underwood. By Gloria Shayne and Noel Regney. Arranged by Dennis Ruello. Christian,Gospel,Rock. Sc...
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Chamber Orchestra - Level 4 - SKU: A0.734392 By Carrie Underwood. By Gloria Shayne and Noel Regney. Arranged by Dennis Ruello. Christian,Gospel,Rock. Score and parts. 19 pages. Chicory Music #3690903. Published by Chicory Music (A0.734392). Do You Hear What I Hear? is a song written in October 1962, with lyrics by Noël Regney and music by Gloria Shayne Baker. The pair, married at the time, wrote it as a plea for peace during the Cuban Missile Crisis. Regney had been invited by a record producer to write a Christmas song, but he was hesitant due to the commercialism of the Christmas holiday. It has sold tens of millions of copies and has been covered by hundreds of artists, This Advanced Intermediate Level arrangement for Chamber orchestra is appropriate for holiday recitals, concerts and church services.Performance time is approx. 2 min. 40 sec. 2018 Holiday Contest Entry .
$18.99
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
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