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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
Let's Sing
Sheetmusicplus
Non classifié
1 153
Piano & claviers
Piano seul
759
Piano Facile
433
Piano, Voix
300
Piano, Voix et Guitare
155
Instruments en Do
57
Orgue
34
1 Piano, 4 mains
16
Piano Trio: piano, violon, violoncelle
9
Accompagnement Piano
9
Piano Quatuor: piano, violon, alto, violoncelle
5
Piano Quintette: piano, 2 violons, alto, violoncelle
4
Piano (partie séparée)
3
Piano Quatuor: piano, 2 violons, violoncelle
3
2 Pianos, 4 mains
2
Orgue, Piano (duo)
1
Orgue, Trompette (duo)
1
Accordéon
1
+ 12 instrumentations
Retracter
Guitares
Guitare notes et tablatures
65
Guitare
58
Basse electrique
23
Ligne De Mélodie, (Paroles) et Accords
9
Ukulele
8
Dulcimer
4
Mandoline
3
4 Guitares (Quatuor)
3
Paroles et Accords
2
Banjo
2
Basse électrique (partie séparée)
1
Guitare (partie séparée)
1
Ensemble de guitares
1
+ 8 instrumentations
Retracter
Voix
Chorale SATB
310
Chorale 3 parties
108
Chorale Unison
83
Chorale 2 parties
80
Chorale TTBB
57
Chorale SSAA
40
Voix Alto, Piano
27
Voix Tenor
25
Voix Soprano
24
Voix Baryton, Piano
23
Voix duo, Piano
14
Voix Soprano, Piano
11
Voix haute
8
Voix moyenne, Piano
5
Voix duo
4
Voix seule
4
Voix Tenor, Piano
3
Chorale SSAATTBB
2
Chorale SSAB, Piano
1
Chorale SSATB
1
Chorale
1
+ 16 instrumentations
Retracter
Vents
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
98
2 Saxophones (duo)
91
Quintette de Saxophone: 5 saxophones
83
Clarinette et Piano
69
Saxophone Alto
62
Flûte traversière et Piano
60
Hautbois, Piano (duo)
57
Clarinette
55
Quatuor de Saxophones: 4 saxophones
54
Flûte traversière
47
Saxophone (partie séparée)
39
Saxophone Alto et Piano
38
Flûte, Hautbois, Clarinette, Basson
36
2 Clarinettes (duo)
35
Saxophone Tenor
34
Saxophone Tenor et Piano
29
2 Flûtes traversières (duo)
29
Hautbois (partie séparée)
26
Quatuor de Clarinettes: 4 clarinettes
23
Saxophone Soprano et Piano
22
Saxophone, Clarinette (duo)
18
Ensemble de Clarinettes
18
Saxophone Baryton, Piano
17
Cor anglais, Piano
17
Flûte, Clarinette (duo)
16
3 Saxophones (trio)
15
Quintette de Flûte : 5 flûtes
14
Clarinette, Violon (duo)
13
Quatuor de Flûtes : 4 flûtes
13
2 Hautbois (duo)
13
2 Flûte à bec (duo)
11
Flûte, Trombone (duo)
11
3 Clarinettes (trio)
10
Hautbois, Basson (duo)
10
Ensemble de saxophones
10
Flûte, Violon
9
Clarinette, Trompette (duo)
9
Clarinette, Basson (duo)
8
Ensemble de Flûtes
8
Flute (partie séparée)
8
Clarinette Basse, Piano
8
Clarinette (partie séparée)
7
Flûte à bec Soprano
7
Quatuor de Flûtes à bec
7
Hautbois, Clarinette (duo)
7
Hautbois, Flûte
6
Flûte, Alto (duo)
6
Trio de Flûtes: 3 flûtes
6
Flûte, Trompette (duo)
6
Saxophone Soprano
5
3 Flûtes à bec (trio)
5
Flûte, Saxophone (duo)
5
Clarinette et Alto
5
Flûte à Bec
5
Hautbois
4
Flûte, Hautbois, Basson
4
Flûte à bec Alto
4
Flûte, Hautbois, Clarinette (trio)
4
5 Flûtes à bec
4
Flûte, Clarinette et Basson
4
Flûte à bec Soprano, Piano
3
Flûte, Violon, Piano
3
Flûte, Hautbois, Piano (trio)
3
Hautbois, Clarinette, Basson (trio d'anches)
3
Clarinette, Violoncelle (duo)
3
Flûte, Hautbois (duo)
3
Hautbois, violon (duo)
2
Flûte à bec Tenor
2
Flûte, Basson et Piano
2
Quintette de Clarinettes: 5 clarinettes
2
Flûte et Guitare
2
Flûte irlandaise
2
Clarinette, Contrebasse (duo)
1
Hautbois, Violoncelle
1
Hautbois et alto (duo)
1
2 Flûtes à bec, Guitare
1
Saxophone
1
2 Clarinettes, Piano
1
Hautbois, trombone (duo)
1
Piccolo, Piano
1
Clarinette, Harpe (duo)
1
Flûte, Violoncelle
1
Hautbois, Guitare (duo)
1
Flûte, Clarinette, Piano (trio)
1
2 Flûtes traversières, Piano
1
Flûte de Pan
1
Clarinette, Guitare (duo)
1
Clarinette, Trombone (duo)
1
Cor Anglais
1
Clarinette, Violoncelle, Piano (trio)
1
Flûte, Violoncelle, Piano (trio)
1
Piccolo
1
+ 87 instrumentations
Retracter
Cuivres
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
145
Quatuor de Cuivres : 2 trompettes, trombone, tuba
62
Trompette
58
Trombone
46
Quatuor de cuivres: 4 trombones
41
Cor et Piano
40
Trombone et Piano
36
Trompette, Piano
35
Cor
30
Trompette (partie séparée)
25
Trombone (partie séparée)
17
Cor anglais, Piano
17
2 Trompettes (duo)
15
Tuba et Piano
14
Tuba
13
Ensemble de Trompettes
13
Ensemble de Trombones
13
2 Trombones (duo)
13
Euphonium, Piano (duo)
12
Trompette, Saxophone (duo)
12
Trompette, Trombone (duo)
12
Quatuor de Cuivres: 2 trompettes, Cor, trombone
11
2 Cors (duo)
10
Quatuor de Cuivres
9
Cor (partie séparée)
4
Ensemble de Cors
4
Euphonium
4
Trio de Cuivres
3
3 Trombones (trio)
3
Trompette, Cor (duo)
3
Quatuor de cuivres: 4 trompettes
3
4 Tubas
3
Tuba (partie séparée)
3
3 Tubas (trio)
2
Quatuor de cuivres: 2 trompettes, 2 trombones
2
3 Cors (trio)
2
Trompette, Basson (duo)
1
Ensemble de Tubas
1
Trompette, Violoncelle (duo)
1
2 Euphoniums (duo)
1
Trombone, Cor (duo)
1
Cor Anglais
1
Euphonium, Tuba (duo)
1
2 Tubas (duo)
1
Quatuor de cuivres: 4 cors
1
+ 40 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
166
Violon et Piano
137
Violon
68
Violoncelle, Piano
67
Violoncelle
47
Alto, Piano
47
Harpe
32
Quintette à cordes: 2 violons, alto, violoncelle, basse
22
2 Violoncelles (duo)
22
2 Violons (duo)
22
Violon, Violoncelle (duo)
22
2 Altos (duo)
21
Trio à Cordes: violon, alto, violoncelle
21
Alto seul
21
Violon, Alto (duo)
19
Alto (partie séparée)
17
Ensemble de Violons
11
Trio à Cordes: 2 violons, violoncelle
10
Contre Basse
10
Ensemble d'Altos
9
Contrebasse, Piano (duo)
8
Violon, Guitare (duo)
8
4 Violoncelles
6
Alto, Violoncelle (duo)
6
Trio à Cordes: 2 violons, alto
5
Harpe, Voix
5
Violon (partie séparée)
4
Contrebasse (partie séparée)
4
Quatuor à cordes: 4 violons
4
Trio à cordes: 3 violins
4
Trio à Cordes: 3 violoncelles
4
Quatuor à cordes : 4 altos
3
Violoncelle , Guitare (duo)
3
Trio à cordes: 3 altos
3
Violoncelle (partie séparée)
2
Quintette à cordes : 2 violons, alto et 2 violoncelles
2
Quintette à cordes: 2 violons, 2 altos, violoncelle
2
Violon, Orgue
1
2 Contrebasses (duo)
1
Alto, Guitare (duo)
1
Flûte, Contrebasse (duo)
1
Violoncelle, Contrebasse (duo)
1
Piano Trio: Violon, Alto, Piano
1
Harpe, Flûte (duo)
1
2 Harpes (duo)
1
Violon, Clarinette, Piano (trio)
1
+ 41 instrumentations
Retracter
Orchestre & Percussions
Orchestre d'harmonie
197
Cloches
123
Orchestre
110
Orchestre à Cordes
38
Orchestre de chambre
34
Ensemble de cuivres
33
Ensemble Jazz
31
Jazz combo
17
Fanfare
14
Ensemble de Percussions
13
Batterie
10
Percussion (partie séparée)
7
Ensemble d'École
3
Timbales (partie séparée)
2
Xylophone, Piano
1
Xylophone
1
Quintette de Cuivres: autres combinaisons
1
Orchestre, Violon
1
Vibraphone
1
2 Marimbas
1
Piano et Orchestre
1
Marimba
1
+ 17 instrumentations
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--INSTRUMENTS--
ACCORDEON
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AUTOHARPE
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BASSE
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BOUZOUKI
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Partitions à imprimer
34 partitions trouvées
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26
Louis Mayeur: Grande Fantaisie de Concert sur Rigoletto (de Verdi) for alto saxophone and orchestra
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Orchestre de chambre
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INTERMÉDIAIRE/AVANCÉ
#
1871, Mayeur was also named Sa
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Louis Adolphe Mayeur
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Louis Mayeur: Grande Fantaisie
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Musik Fabrik Music Publishing
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SheetMusicPlus
Chamber Orchestra - Level 4 - SKU: A0.534136 Composed by Louis Adolphe Mayeur. Opera,Romantic Period,Standards. Score and parts. 49 pages. Musik Fabrik ...
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Chamber Orchestra - Level 4 - SKU: A0.534136 Composed by Louis Adolphe Mayeur. Opera,Romantic Period,Standards. Score and parts. 49 pages. Musik Fabrik Music Publishing #3133403. Published by Musik Fabrik Music Publishing (A0.534136). Louis Adolphe Mayeur (1837 - 1894), was a Belgium clarinetist, saxophonist, composer and conductor who spent most of his musical career in France; Entering the French Military in 1855, he was a clarinetist in the Second Régiment of the Cuirassiers (Mounted Calvary) of the Garde Impériale. A student of Klosé at the Paris Conservatory, he received his First Prize in Clarinet in 1860. One of the inner circle of Adolphe Sax (along with fellow Belgiums Jules Demersseman and Jean-Baptiste Singelée, whose “Quartet for Saxophones“ was premièred with Mayeur playing and Demersseman conducting), Mayeur took up the saxophone and was quickly engaged as the saxophone soloist in the Opera House of Brussels, La Monnaie (the Mint). Sax commissioned a number of works from Mayeur for the saxophone, which were published by his company and used in his class at the Paris Conservatory.By 1871, Mayeur was also named Saxophone Solo with the Paris Opera, performing in opears and ballets by Halévy, Meyerbeer, Thomas, Saint-Saens, Massenet, Délibes and Paladlihe. It would appear that sometime during this period, his relations with Sax became difficult, culminating in his publications of works by Buffet-Crampon, one of Sax’s rival companies and one of the main protagonists in the series of lawsuits which led to Sax’s bankrupcy. Mayeur’s own declining health lead to his death in 1894.The Grande Fantaisie de Concert sur Rigoletto dates from 1877. The contrasting sections use motifs from arias and duets from Verdi’s opera. Florid cadenzas seperate the various sections, but those passages should be played in the manner of “bel canto†ornamentation, always lyrical and songlike. This is the score and solo part for the orchestral version. Versions are available from Musik Fabrik for piano for Symhony Orchestra (on rental : 2222/2000/Timp/hp/strings) and for Concert Band (for sale). The score plus solo part for each of the versions is available for sale, as well as the individual parts for the concert band version
$25.95
WAGNER: Vorspiel to 'Die Meistersingers von Nürnberg' 13 player ensemble - PARTS ONLY
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Orchestre de chambre
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AVANCÉ
#
Classique
#
Richard Wagner
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Matthew Toogood
#
WAGNER: Vorspiel to 'Die Meist
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Matthew Toogood
#
SheetMusicPlus
Chamber Orchestra - Level 5 - SKU: A0.1094114 Composed by Richard Wagner. Arranged by Matthew Toogood. Classical,Opera,Patriotic,Romantic Period,Traditi...
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Chamber Orchestra - Level 5 - SKU: A0.1094114 Composed by Richard Wagner. Arranged by Matthew Toogood. Classical,Opera,Patriotic,Romantic Period,Traditional. Score and parts. 58 pages. Matthew Toogood #698220. Published by Matthew Toogood (A0.1094114). Commissioned for the Swiss Richard Wagner Society for a performance in the Richard Wagner Museum (Tribschen) 2022, this chamber arrangement of Richard Wagners Vorspiel (Prelude/Overture) to his opera 'Die Meistersingers von Nürnberg' endeavours to maintain the original sound and intention of the full orchestra but executed by an ensemble of 13 solo players. The arrangement is designed to pair with Wagner's original Siegfried Idyll using the same instrumentation. String parts are as close as possible to the original, thus can be expanded without modification to string sections of more players. Instrumentation: Flute, Oboe, 2 Clarinets in Bb, Bassoon, 2 Horns in F, Trumpet in C, Strings (V1, V2, Vla, Vc, DB) PARTS ONLY!! - score sold separately. A transposed Trumpet part in Bb is included. Each part is designed to be printed on a double sided A3 sheet of paper, then folded to create a booklet part of up to 4 pages. (*note exception Viola, which is adapted to help manage page turns). ALSO AVAILABLE is a 12 player ensemble, with modifications to the horn parts in order to dispense with the Trumpet.
$50.00
Overture and Minuet in C major, based on Beethoven's sketches, op. 83
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Orchestre de chambre
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Ludwig van Beethoven
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Adrian Gagiu
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Overture and Minuet in C major
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Adrian Gagiu
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SheetMusicPlus
Chamber Orchestra - Level 4 - SKU: A0.1415801 Composed by Ludwig van Beethoven. Arranged by Adrian Gagiu. Classical. 190 pages. Adrian Gagiu #997496. Pu...
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Chamber Orchestra - Level 4 - SKU: A0.1415801 Composed by Ludwig van Beethoven. Arranged by Adrian Gagiu. Classical. 190 pages. Adrian Gagiu #997496. Published by Adrian Gagiu (A0.1415801). Score and parts of a premiere realization of some of Beethoven's sketches for the first movement of another Symphony in C major before the First, dubbed 'No. 0' or Unv. 2 by some: 1. 'Overture' (Andante con moto - Allegro con brio), 2. Tempo di menuetto. Useful for people interested in Beethoven's sketches and for students of the Classical style. In 1794-1796, Beethoven made extensive concept sketches mostly for the first movement of this abortive symphony. The material is abundant and sometimes contradictory, as usual with his preliminary work, and he recycled later from this one only the main theme of the Finale of the completed Symphony No. 1. For this speculative realization, suggested by Mr. Armando Orlandi at the Centro Ricerche Musicali and dedicated to them, only the more promising sketches were utilized, and the slow introduction was assembled from the ones in cut time, while those in triple time make up now a Minuet. Virtually every bar of music here includes the sketches, also in the elaboration and coda of the 'overture', only with a few transpositions needed for assembling the sonata form and for the repeats in the Minuet. Obviously, Beethoven would have done it much differently, had he decided to continue working on this symphony, and the question remains regarding the utility of recycling material abandoned by some classical composer. However, this gives one an approximate idea of one of the many possibilities implied by the preliminary sketches for his Symphony 'No. 0'. Total duration 15 minutes. The mp3 audio clip is the first movement. Performing Rights Organization: SOCAN.
$100.00
WAGNER: Vorspiel to 'Die Meistersingers von Nürnberg' 12 player ensemble - Parts only
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Orchestre de chambre
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AVANCÉ
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Classique
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Richard Wagner
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Matthew Toogood
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WAGNER: Vorspiel to 'Die Meist
#
Matthew Toogood
#
SheetMusicPlus
Chamber Orchestra - Level 5 - SKU: A0.1092164 Composed by Richard Wagner. Arranged by Matthew Toogood. Classical,Opera,Patriotic,Romantic Period,Traditi...
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Chamber Orchestra - Level 5 - SKU: A0.1092164 Composed by Richard Wagner. Arranged by Matthew Toogood. Classical,Opera,Patriotic,Romantic Period,Traditional. Score and parts. 49 pages. Matthew Toogood #696281. Published by Matthew Toogood (A0.1092164). Commissioned for the Swiss Richard Wagner Society for a performance in the Richard Wagner Museum (Tribschen) 2022, this chamber arrangement of Richard Wagners Vorspiel (Prelude/Overture) to his opera 'Die Meistersingers von Nürnberg' retains the original sound and intention of the full orchestra but for an ensemble of 12 players. String parts are as close as possible to the original, and can be expanded without modification to string sections of more players. Instrumentation: Flute, Oboe, 2 Clarinets in Bb, Bassoon, 2 Horns, Strings (V1, V2, Vla, Vc, DB) Parts only - score sold separately Each part is designed to be printed on a double sided A3 sheet of paper, then folded to create a booklet part of up to 4 pages. (*note exception Viola, which is adapted to help manage page turns). ALSO AVAILABLE is a 13 player ensemble, with modifications to include a Trumpet and therefore be the same ensemble as Wagner's original Siegfried Idyll.
$50.00
WAGNER: Vorspiel to 'Die Meistersingers von Nürnberg' 12 players SCORE ONLY - Score Only
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Orchestre de chambre
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AVANCÉ
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Classique
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Richard Wagner
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Matthew Toogood
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WAGNER: Vorspiel to 'Die Meist
#
Matthew Toogood
#
SheetMusicPlus
Chamber Orchestra - Level 5 - SKU: A0.1094104 Composed by Richard Wagner. Arranged by Matthew Toogood. Classical,Opera,Patriotic,Romantic Period,Traditi...
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Chamber Orchestra - Level 5 - SKU: A0.1094104 Composed by Richard Wagner. Arranged by Matthew Toogood. Classical,Opera,Patriotic,Romantic Period,Traditional. Score and parts. 51 pages. Matthew Toogood #696275. Published by Matthew Toogood (A0.1094104). Commissioned for the Swiss Richard Wagner Society for a performance in the Richard Wagner Museum (Tribschen) 2022, this chamber arrangement of Richard Wagners Vorspiel (Prelude/Overture) to his opera 'Die Meistersingers von Nürnberg' retains the original sound and intention of the full orchestra but for an ensemble of 12 players. String parts are as close as possible to the original, and can be expanded without modification to string sections of more players. Instrumentation: Flute, Oboe, 2 Clarinets in Bb, Bassoon, 2 Horns, Strings (V1, V2, Vla, Vc, DB) SCORE ONLY - parts sold separately The score is designed to be printed as a booklet on double sided A3 sheets of paper. ALSO AVAILABLE is a 13 player ensemble, with modifications to include a Trumpet and therefore be the same ensemble as Wagner's original Siegfried Idyll.
$30.00
Gao's Diamond Waltz Mini Ballet
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Orchestre de chambre
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INTERMÉDIAIRE/AVANCÉ
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Johnson Gao
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Johnson Gao
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Gao's Diamond Waltz Mini Balle
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Johnson Gao
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SheetMusicPlus
Chamber Orchestra - Level 4 - SKU: A0.1466878 By Johnson Gao. By Johnson Gao. Arranged by Johnson Gao. 21st Century,Classical,Multicultural,Singer/Songw...
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Chamber Orchestra - Level 4 - SKU: A0.1466878 By Johnson Gao. By Johnson Gao. Arranged by Johnson Gao. 21st Century,Classical,Multicultural,Singer/Songwriter,Traditional,World. 291 pages. Johnson Gao #1045436. Published by Johnson Gao (A0.1466878). It took 55 days from May 3 to June 27, 2024, to complete this 29-minute MTV. The soundtrack contains 20 chapters (songs)with 291 music sheets. Some songs were originally composed for top poets like Tao Yuan-ming, Bai Juyi, Su Dong-po, Liu Bang, Du Mu, Li Bai, etc.整個工作從2024年5月3日到6月27日，歷時55天，完成了這部29分鐘的MTV。原聲帶包含20個章節（歌曲）和291張樂譜。 有些歌曲最初是為陶淵明、白居易、蘇東坡、劉邦、杜牧、李白等頂級詩人創作的。.
$4.99
The Hunt
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Orchestre de chambre
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AVANCÉ
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Franco Esteve
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The Hunt
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Franco Esteve
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SheetMusicPlus
Chamber Orchestra - Level 5 - SKU: A0.1011208 Composed by Franco Esteve. Contemporary,Film/TV. Score and parts. 17 pages. Franco Esteve #4601475. Publis...
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Chamber Orchestra - Level 5 - SKU: A0.1011208 Composed by Franco Esteve. Contemporary,Film/TV. Score and parts. 17 pages. Franco Esteve #4601475. Published by Franco Esteve (A0.1011208). The Hunt is the title track to my modern, classical crossover, concept album, The Hunt. The Hunt is the hunt of life, hunting for health, for life, for happiness, for love, for ideas, for creativity, for success. The song represents the drive, the moving, the launch, that hope, that happiness, when you set out to do something in your life.From the album booklet (as it's a concept album, each song, though independent, has an overarching story):The effort has paid off. The day is here.The mood is happy. Success awaits. Let's go.Let's do it. It's sitting there for the taking.I'm in the zone. I'm in the flow. The huntress has shown me the bounty,and I'm ready to take it, to receive it, to enjoy it. I deserve it.Though it was written with larger groups in mind or small orchestras, keeping it in a way quite simple, it can most likely be played with 2 clarinets, a cello, and a trumpet. I can imagine it can work quite nicely with a school orchestra or any small ensemble, even if some might need to make some minor adjustments to how it's played. It's meant to be played in an upbeat and happy fashion, and the trumpet should be sexy and fun. It'll be fun to hear how others interpret it.The PDF includes the full score and all 4 individual parts (Clarinet, Clarinet Section in Bb, Cellos, Trumpet Section in Bb). The music is 2 minutes and 41 seconds (2:41).Thank you for your interest in my music. I hope y’all enjoy playing it as much as I did composing it.Don’t forget to keep up to date with everything Franco Esteve:Website: http://www.francoesteve.com/Facebook: https://www.facebook.com/seefrancoesteveTwitter: https://www.twitter.com/FrancoEsteveInstagram: https://www.instagram.com/seefrancoesteveSpotify: https://open.spotify.com/artist/4VMSPHtolbzozjH4OY0I6BMy music is also available on all major, online music stores and streaming services, including:Bandcamp: https://francoesteve.bandcamp.comCDBaby: https://store.cdbaby.com/Artist/FrancoEsteveSpotify: https://open.spotify.com/artist/4VMSPHtolbzozjH4OY0I6BiTunes/Apple Music: https://itunes.apple.com/us/artist/franco-esteve/894690746I'm a BMI affiliated artist and you can contact me using the contact form at:http://www.francoesteve.com or through Facebook or Twitter. Thank you again and enjoy! :)
$9.99
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
Claude Debussy: Sérénade for violin and 17 instrments, full score and solo part only (parts on ren
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Orchestre de chambre
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Claude Debussy/Robert Orledge
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Claude Debussy: Sér&eac
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Musik Fabrik Music Publishing
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SheetMusicPlus
Chamber Orchestra - Level 4 - SKU: A0.1080705 Composed by Claude Debussy/Robert Orledge. 20th Century,Romantic Period,Standards. Score and parts. 30 pag...
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Chamber Orchestra - Level 4 - SKU: A0.1080705 Composed by Claude Debussy/Robert Orledge. 20th Century,Romantic Period,Standards. Score and parts. 30 pages. Musik Fabrik Music Publishing #4727447. Published by Musik Fabrik Music Publishing (A0.1080705). Instrumentation2 flûtes/2 flutescor anglais (doublant hautbois/doubling oboe)clarinette en La/clarinet in Abasson/bassooncor en Fa/horn in Fpercission (1 éxecutant - timbales (3)/cymbale suspendue, tambour de basque)/percussion (1 performer - timpani (3)/suspended cymbal, tambourine)harpe/harp9 cordes/9 strings (2.2.2.2.1)durée/duration: 5 minutes 30 secconds (environ/approx.) Une versions pour violon et piano ainsi qu’une version pour violon et orchestre (31CA(hb)23/2100/timb/perc/hpe/cordes)est également disponibile/A version for violin and piano as well as a version for violin and orchestra (31EH(ob)23/2100/timp/perc/strings) is also available.______________________Prmière: Edmond Agapian, violin with the Calagray (CA) Youth orchestra, cond. Gareth Jones, University of Calgary, 28 Janaury, 2011Première of the version for violin and 17 instruments: Frédéric Moisan, violin Orchestre 21 cond. Paolo Bellomio, Unveristy of Montreal, Canada, 2 March 2012Preface:In the early 1890s, Debussy composed the opening of a lyrical piece in E major for violin and piano, perhaps as a shorter companion piece for the violin Nocturne he was planning for the Belgian violinist Eugène Ysaÿe. After Debussy’s death in 1918, his second wife Emma often gave away sketch pages to performers or composers as memorials to her beloved husband , and this particular page was given to the Cuban born pianist and composer Joaquin Nin (1879-1949). It came up for sale in the catalogue of the British antiquarian dealer Lisa Cox in 2010 and although it might possibly be an early song for contralto and piano, the more dynamic idea in bar 12 strongly suggests the violin, especially as it begins on an open D string. Moreover, there is no text and in pieces of this length, Debussy usually wrote at least one word in, if only to remind himself where he had got to in any song. So my starting point was a complete 12-bar melody gently undulating in the violin’s lowest register over a sensual accompaniment, rising to a climax in bar 12 and giving me a contrasting idea that I could use as a link between sections and in the cadenza. As the B section (bars 14-26) derives directly from Debussy’s opening theme by metamorphosis, my own additions were restricted to the central section (bars 27-57) - comprising a new scherzando idea (C) and the more lyrical D (bars 36-46). C returns at bar 47, followed by the opening sections in reverse order, so that the Sérénade begins and ends with Debussy’s material and is cast in arch form (ABCDCBA). Robert OrledgeBrighton, 19 June 2019Robert Orledge was born in Bath in 1948 and educated at Clare College, Cambridge, where he gained his doctorate for his study of the composer Charles Kœchlin in 1973. Between 1971 and 1991 He rose from Lecturer to Professor in the Music Department of the University of Liverpool, publishing books on Gabriel Fauré, Claude Debussy, Charles Kœchlin and Erik Satie, as well as numerous articles, editions and reviews. As a historical musicologist, Professor Orledge specialized in the way composers composed, ,and since taking early retirement in 2004, he has concentrated on completing and orchestrating Debussy’s unfinished works, and especially his theatre projects. His completion of Debussy’s opera The Fall of the House of Usher (1908-17) was successfully premiered at the Bregenz Opera Festival in Austria in August 2006 and has since been performed in America, Portugal Germany and Holland, as well as being broadcast throughout Europe. A DVD of the Bregenz premier is available on Capriccio 93517, produced by Phylida Lloyd and conducted by Lawrence Foster. His completion of the Chinese ballet No-ja-li ou Le Palais du Silence (1914) was also premiered in 2006 in Los Angeles and ot.
$16.95
Les Indes Galantes - Prologue (Overture)
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Orchestre de chambre
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AVANCÉ
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Jean Phillipe Rameau
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Arte Nova Music Lab
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Les Indes Galantes - Prologue
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Arte Nova Music Lab
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SheetMusicPlus
Chamber Orchestra - Level 5 - SKU: A0.742472 Composed by Jean Phillipe Rameau. Arranged by Arte Nova Music Lab. Baroque,Concert,Standards,World. Score a...
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Chamber Orchestra - Level 5 - SKU: A0.742472 Composed by Jean Phillipe Rameau. Arranged by Arte Nova Music Lab. Baroque,Concert,Standards,World. Score and parts. 15 pages. Arte Nova Music Lab #4600759. Published by Arte Nova Music Lab (A0.742472). Les Indes galantes (French: The Amorous Indies) Opéra-ballet with a prologue and two entrées. Choreography: Louis Dupré. Music: Jean-Philippe Rameau. Libretto: Louis Fuzelier. Sets: Giovanni-Niccolò Servandoni. First performance: 23 August 1735, Théâtre de l'Académie de Musique, Paris. Principals: David Dumoulin, Louis Dupré, M. le Breton, M. Javellier, Marie Sallé. The premiere, including only the prologue and the first two of its four entrées (acts), was staged by the Académie Royale de Musique at itstheatre in the Palais-Royal in Paris on 23 August 1735, starring the leading singers of the Opéra, Marie Antier, Marie Pélissier, Mlle Errémans, Mlle Petitpas, Denis-François Tribou, Pierre Jélyotte, and Claude-Louis-Dominique Chassé de Chinais, and the dancers Marie Sallé and Louis Dupré. Michel Blondy provided the choreography. The ballet's Premier Menuet was used in the soundtrack of the 2006 film Marie Antoinette. Prologue: The palace of Hebe in the background and her gardens in the wings Hebe, goddess of youth, summons her followers to take part in a festival (Air: Vous, qui d'Hébé suivez les lois). Young French, Spanish, Italians and Poles rush to celebrate with a series of dances, including a musette. The ballet is interrupted by the noise of drums and trumpets. It is Bellona, goddess of war, who arrives on the stage accompanied by warriors bearing flags. Bellona calls on the youths to seek out military glory (Air and chorus: La Gloire vous appelle). Hebe prays to Cupid (L'Amour) to use his power to hold them back. Cupid descends on a cloud with his followers. He decides to abandon Europe in favour of the Indies, where love is more welcome. Taken from https://en.wikipedia.org/wiki/Les_Indes_galantes
$20.00
Speak to Your Mountain And Move it [chamber orchestra (2222.2200.timp.strings)]
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Orchestre de chambre
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FACILE
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Juan MarÃa Solare
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Speak to Your Mountain And Mov
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Juan Maria Solare
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SheetMusicPlus
Chamber Orchestra - Level 2 - SKU: A0.596576 Composed by Juan MarÃa Solare. 20th Century,Christian,Contemporary,Wedding. Score and parts. 12 pages. J...
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Chamber Orchestra - Level 2 - SKU: A0.596576 Composed by Juan MarÃa Solare. 20th Century,Christian,Contemporary,Wedding. Score and parts. 12 pages. Juan Maria Solare #4810669. Published by Juan Maria Solare (A0.596576). Meditative piece for chamber orchestra (2222.2200.timp.strings) Character: noble and majestic. Reflective, meditative. The title is an allusion to the Bible (Mark 11:23, Matthew 17:20, Matthew 21:21). If you have faith as small as a mustard seed, you can say to this mountain, ‘Move from here to there,’ and it will move. One possible interpretation is that the inner mountain symbolize those troubles and issues that you can speak to, i.e. face, and therefore solve. Listen to it on all usual streaming platforms: Spotify: https://open.spotify.com/album/5kuPwSQGnXK9CY9QNX4fks Apple Music: https://music.apple.com/us/album/speak-to-your-mountain-and-move-it-single/1462303377 Bandcamp: https://juanmariasolare.bandcamp.com/album/speak-to-your-mountain-and-move-it Nico Zwaneveld from the blog Christian Dance wrote (10 August 2019): Maybe you can appreciate the works of Hans Zimmer, Gustav Mahler, Edvard Grieg... or maybe this introduction to Juan Maria Solare will cause you to add him to the same list when you are looking for additions to your music collection... let's just say for those special moments where other music genres will not be able to bring you the same feelings of hope, serenity, calmness, nobleness, or tranquility. (http://blog.christiandance.eu/2019/08/juan-maria-solare-speak-to-your.html) As for the parts, contact the composer (www.JuanMariaSolare.com) or search (soon) in Sheet Music Plus (https://www.sheetmusicplus.com/publishers/juan-maria-solare-sheet-music/3003582?aff_id=565049)
$4.00
Russian Sailor's Dance
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Orchestre de chambre
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AVANCÉ
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Reinhold Moritzovich Gliere
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PETER J
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Russian Sailor's Dance
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PER Sonare Press
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SheetMusicPlus
Chamber Orchestra - Level 5 - SKU: A0.1433700 Composed by Reinhold Moritzovich Gliere. Arranged by PETER J. PERRY. Classical,Romantic Period,Traditional...
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Chamber Orchestra - Level 5 - SKU: A0.1433700 Composed by Reinhold Moritzovich Gliere. Arranged by PETER J. PERRY. Classical,Romantic Period,Traditional. 189 pages. PER Sonare Press #1013604. Published by PER Sonare Press (A0.1433700). This arrangement of Reinhold Gliere's Russian Sailors' Dances was scored for a smaller Chamber Orchestra to allow it to perform the work without losing the excitement and power of the original orchestration. Additionally, directors have the option to interchange and replace instruments they might not have to complete the scoring. Please consider this for your advanced students. It is a great concert closer or encore!
$100.00
Carson Cooman: The Acts of the Apostles (2009), an oratorio for baritone, chorus, congregation/audie
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Orchestre de chambre
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AVANCÉ
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Carson Cooman
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Carson Cooman: The Acts of the
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Musik Fabrik Music Publishing
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SheetMusicPlus
Chamber Orchestra - Level 5 - SKU: A0.533578 Composed by Carson Cooman. Christian,Contemporary,Spiritual. Score and parts. 189 pages. Musik Fabrik Music...
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Chamber Orchestra - Level 5 - SKU: A0.533578 Composed by Carson Cooman. Christian,Contemporary,Spiritual. Score and parts. 189 pages. Musik Fabrik Music Publishing #3025409. Published by Musik Fabrik Music Publishing (A0.533578). The Acts of the Apostles (2009), an oratorio for baritone, chorus, congregation/audience, and chamber orchestra (piano, organ, strings-suggested minimum of 3.3.3.2.1),was commissioned by The Memorial Church at Harvard University. It is dedicated to Edward Elwyn Jones and theHarvard University Choir.The biblical books of Luke and Acts form a pair of documents from a single author and with a single audience (thelikely-metaphorical “Theophilusâ€), yet they are unusual for being composed in such contrasting genres. Luke’sgospel, using Mark as a primary source throughout, features a comparable literary style to that of the otherevangelists. Acts, by contrast, is a historical monograph that charts the birth of the Church with dramatic storiesabout—and speeches from—the apostles, painting a vivid, if not necessarily chronological, picture of their victoriesand struggles. As such, it is a book that provides excellent source material for a dramatic choral libretto of this scale.Although much of Acts is focused on the ministry of Saul/Paul, this oratorio draws most of its material from thefirst third of the book, prior to and including the conversion of Saul. In the Prologue, Christ’s ascension is narratedand—following an orchestral Sinfonia—the chorus sings words of Jesus from the Sermon on the Plain in Luke’sgospel that foreshadow many of the trials the apostles go on to face. The astounding account of Pentecost follows:here, words from the book of Ruth, customarily read on the feast of Shavuot (Pentecost), are included, telling thestory of a Moabite woman who converted to the Israelite faith—a parallel to the expansion of the Christian messageto all nations by the gift of the Holy Spirit. The Prayer for Boldness, quoting Psalm 2, asks God for protection fromthe threats of persecution that the apostles will now face.Stephen, regarded as the proto-martyr of the Christian Church, offers one of the most developed speeches in Acts,only a small portion of which is presented here. Full of scriptural references, including the quotation from Isaiah“Heaven is my throne…â€, the end of the narrative is remarkable for two reasons: firstly, Stephen’s final wordsmirror those of Christ on the cross in Luke’s gospel—where Jesus forgives his executioners and prays “Father, intoyour hands I commend my spirit†(Luke 23:46); secondly, Saul is specifically mentioned as one who approved ofStephen’s stoning, indicative of the redemptive possibilities of the Christian message.The account of the baptism of the Ethiopian eunuch here in the oratorio ends with the First Song of Isaiah—whilenot quoted in Acts, it seems a fitting conclusion to the scene as Philip and the eunuch were reading Isaiah together,and the canticle has often been associated by Christians with the rite of baptism. Similarly, the story of Saul’sConversion is followed here by a Christological poem found in Paul’s letter to the Philippians, though it is likely aquotation from an earlier source. It is often regarded as the earliest extant Christian hymn.The Acts of the Apostles concludes with Luke’s realistic assessment that in spite of Paul’s energetic evangelism manyremained unconvinced by the Christian message. At the heart of both Luke’s gospel and Acts is the tension betweenthe uniquely important role of the Jewish traditions that Jesus himself practiced and the expansion of the gospel togentiles, of whom Luke himself is one. It is appropriate, therefore, to follow Paul’s message of salvation to thegentiles with the Magnificat: a canticle that emphasizes the promises of God to the people of Israel throughouthistory.Three traditional hymn texts are found in the oratorio, each set congregationally to a pre-existing tune. The first,“Spirit of mercy, truth, and love†is an eighteenth century poem that e.
$25.95
ALES STENAR, suite for violin and chamber orchestra - Score Only
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Orchestre de chambre
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AVANCÉ
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Stefano Olcese
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Stefano Olcese
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ALES STENAR, suite for violin
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Stefano Olcese
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SheetMusicPlus
Chamber Orchestra - Level 5 - SKU: A0.1145526 By Stefano Olcese. By Stefano Olcese. Arranged by Stefano Olcese. Chamber,Classical,Contemporary,Film/TV,R...
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Chamber Orchestra - Level 5 - SKU: A0.1145526 By Stefano Olcese. By Stefano Olcese. Arranged by Stefano Olcese. Chamber,Classical,Contemporary,Film/TV,Romantic Period. 28 pages. Stefano Olcese #745768. Published by Stefano Olcese (A0.1145526). ----> IMPORTANT
$19.99
Fauré: Pavane Op. 50 for Piano Sextet
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Orchestre de chambre
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INTERMÉDIAIRE
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Classique
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Gabriel Faure
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James M
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Fauré: Pavane Op. 50 fo
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jmsgu3
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SheetMusicPlus
Chamber Orchestra - Level 3 - SKU: A0.550171 Composed by Gabriel Faure. Arranged by James M. Guthrie. Holiday,Romantic Period,Standards. 29 pages. Jmsgu...
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Chamber Orchestra - Level 3 - SKU: A0.550171 Composed by Gabriel Faure. Arranged by James M. Guthrie. Holiday,Romantic Period,Standards. 29 pages. Jmsgu3 #4597213. Published by jmsgu3 (A0.550171). Pavane * павана * パヴァーム* Παβάνε * פ×ב×× ×” * Gabriel Fauré, Op. 50. Duration ca. 5:10Gabriel Fauré's Pavane Op. 50 is a short work originally composed for piano in 1887 but is better known in Fauré's version for orchestra and chorus. The piece is a pavane, a slow processional court dance that took hold in Spain in the 16th and 17th centuries and which the aristocracy used as a showcase for fancy ball gowns and ceremonial feasts. The piece's stately pace, which lends the melody its halting grace, has much to do with its frequently cited calming effect. Although Fauré described the report as carefully crafted but not otherwise important, it has become one of his most famous and commonly performed works. The Pavane is a typically frank and straightforward piece of music by Fauré, and it is around seven minutes long. The restrained use of harmony creates a delightful air of subtlety and simplicity. The piece has been reused by other composers, such as Ravel's Pavane pour une infante défunte. The Pavane Op. 50 speaks directly to the heart in its calm and collected manner. Fauré's Pavane has been used in popular culture in various ways. The piece's melody is well-known worldwide for its frequent use in films, advertising, and sporting events like the 1998 FIFA World Cup, which the BBC covered using the Pavane. The piece has also been used in popular music, with pop artists like Eric Clapton and Jon Lord using Pavan-inspired themes in songs and instrumental compositions. The Pavane Op. 50 has been featured in several films, including The Conformist (1970), The Great Beauty (2013), and The King's Speech (2010). The piece has also been used in television shows like The Crown (2016). The Pavane Op. 50 has been arranged for various instruments, including guitar, harp, and cello. The piece's haunting musical qualities that percolate directly from the orchestra through the chorus in a straight line of solemnity and reverence have made it a standard part of the concert repertoire.
$46.95
Concertino - for clarinet, mandolin and symphony orchestra
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Orchestre de chambre
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Klezmer
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Ofer Ben-Amots
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praise Him in the heights
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Concertino - for clarinet, man
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The Composer's Own Press
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SheetMusicPlus
Chamber Orchestra - SKU: A0.944032 Composed by Ofer Ben-Amots. Contemporary,Jewish,World. Score and parts. 118 pages. The Composer's Own Press #4610029....
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Chamber Orchestra - SKU: A0.944032 Composed by Ofer Ben-Amots. Contemporary,Jewish,World. Score and parts. 118 pages. The Composer's Own Press #4610029. Published by The Composer's Own Press (A0.944032). CONCERTINO, for Clarinet, Mandolin, and Orchestra CONCERTINO was officially commissioned in 2011 by the Geneva Chamber Orchestra. The composition explores the sound combination of two, seemingly opposing, instruments and sound characters: the clarinet and the mandolin. Thus, the three-movement work is a short double-concerto for clarinet and mandolin, accompanied by a chamber orchestra. The first movement, titled Psalm 148 and is a mixture of a coronation fanfare and a wild improvisatory-like dance. The music is based on the structure and ideas expressed in the 148th Psalm. For the transformation of this Psalmodic text into music I was concerned with two elements: first, the linguistic pulse of the ancient Biblical Hebrew gives the music its ever-changing meters and vibrant rhythms. The second element was the poetic concept presented in the text: Heaven vs. Earth, Universe vs. Planet, or Heights vs. Depths. The contrasting nature of these elements is described in the following verses: Hallelujah, Praise ye the LORD from the heavens; praise Him in the heights. (Psalm 148, verse 1) Praise the LORD from the earth, ye sea-monsters, and all deeps. (Psalm 148, verse 7) Finally, both Heaven and Earth join in praise together: Let them praise the name of the LORD, for His name alone is exalted; His glory is above the earth and heaven. (Psalm 148, verse 13) The musical expression of these contraries is reflected and the use of high-range and soprano instruments (flutes, clarinet, trumpets, violins) versus low-range instruments (trombone, bassoons, cellos and basses.) The second movement, Romacero Viejo (and old love song) is a slow, lyrical dirge-like melody in a Sephardic Judeo-spanish style. In this movement the mandolin plays in the manner of an Oud – a traditional pear-shaped Arabic lute. The harmony sits mostly on a single pedal note while the clarinet imitates the chant with rhythmically free ornatmental patterns. The third and final movement, Allegro con brio, is a festive klezmer dance with a traditional Bulgar (or Freylech) rhythm, where the regular 8/8 meter is constantly divided into the irregular count of: 3+3+2. In the middle of this movement the two soloists play a cadenza, which allows them to present their contrasting yet complementary instrumental characters. The movement is titled The Geneva Bulgar in honor of the City of Geneva and the wonderful memories I have been carrying with me ever since my time there as a young student at the Conservatoire de Musique. Total duration: ca. 23 min.Performance material by rental only! For demo recording, questions, or any additional information please e-mail Ofer Ben-Amots at: thecomposerspress@gmail.com
$54.00
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
Variations on a Rossini Theme op.Posth
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Orchestre de chambre
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Classique
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Frederik François Chopin
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James Strauss
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Variations on a Rossini Theme
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James Strauss
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SheetMusicPlus
Chamber Orchestra - SKU: A0.1035224 Composed by Frederik François Chopin (1810-1949). Arranged by James Strauss. Romantic Period. Score and parts. 33...
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Chamber Orchestra - SKU: A0.1035224 Composed by Frederik François Chopin (1810-1949). Arranged by James Strauss. Romantic Period. Score and parts. 33 pages. James Strauss #5806027. Published by James Strauss (A0.1035224). Unless your name is Mozart, Mendelssohn or Korngold, the first compositional steps are always the hardest. Chopin was probably no older than 14 when he set to work on a set of variations for piano and flute. Already in love with opera, he decided on the happy- ending aria, Non più mesta (No longer sad) from Rossini’s opera Cinderella. As the curtain comes down, Cinderella gleefully warbles, No longer sad beside the fire shall I sit alone, singing; my long years of heartache were but a streak of lightning, a dream, a game. We are unsure what actually prompted Chopin to select this for his unique combination of flute and piano, but it was most likely written for the composer’s father who was a capable amateur flute player. In the end, the piece was probably dedicated to Józef Cichowski, a close friend of his fathers and an amateur flautist as well. We are indeed fortunate that this early piece of Chopin juvenilia has actually survived, as Jozef Nowakowski, one of the composer’s friends, kept the single manuscript copy as a memento. For one reason or another, the work did not appear in print until 1953. This charming and fluent set of variations presents the theme and four decorated versions of the original tune. Added triplet figuration enlivens the first variation, while the second relies on a florid bel canto style to embellish the theme. Rapid downward arpeggios propel variation three, and the concluding variant displays rapid staccato figuration. Stylistically, there is nothing in this composition to suggest Chopin’s hand. You certainly won’t hear Chopin’s fingerprint in the piano part, as all the interesting bits are given to the flute. In addition, it’s the only Chopin piano part that can comfortably be played by most amateurs. Clearly, the future poet of the piano had a long way to go! Here in a Flute and orchestra version.
$29.99
Ophelia for string quartet and guitar
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Orchestre de chambre
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INTERMÉDIAIRE
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Contemporain
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David Warin Solomons
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Ophelia for string quartet and
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David Warin Solomons
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SheetMusicPlus
Chamber Orchestra - Level 3 - SKU: A0.577982 Composed by David Warin Solomons. 20th Century,Contemporary. Score and parts. 16 pages. David Warin Solomon...
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Chamber Orchestra - Level 3 - SKU: A0.577982 Composed by David Warin Solomons. 20th Century,Contemporary. Score and parts. 16 pages. David Warin Solomons #3479241. Published by David Warin Solomons (A0.577982). Based on my song setting of the scene in Shakespeare's play Hamlet in which Ophelia is losing her mind out of grief for her murdered father.
$14.00
On The road To Mandalay for Tenor and Chamber Orchestra
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Orchestre de chambre
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INTERMÉDIAIRE/AVANCÉ
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the time your soloist reaches
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Oley Speaks, Rudyard Kipling
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John Hoesly
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On The road To Mandalay for Te
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PRS&B
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SheetMusicPlus
Chamber Orchestra - Level 4 - SKU: A0.771584 Composed by Oley Speaks, Rudyard Kipling. Arranged by John Hoesly. Opera,Pop,Traditional. 113 pages. PRS&B ...
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Chamber Orchestra - Level 4 - SKU: A0.771584 Composed by Oley Speaks, Rudyard Kipling. Arranged by John Hoesly. Opera,Pop,Traditional. 113 pages. PRS&B #379228. Published by PRS&B (A0.771584). On The Road To Mandalay- for Tenor and Orchestra. From a poem by Rudyard Kipling, set to music by Oley Speaks in 1907. On the road to Mandalay…Where the flyin’ fishes play! A rousing, hugely popular ballad from the turn of the 20th Century. The publication of On The road To Mandalay sold over a million copies of sheet music. It has been recorded numerous times by artists from Frank Sinatra to Thomas Hampson. Taken from Kipling’s Barrack-Room Ballads and Other Verses, the lyric tells the story of a Cockney soldier’s remembrance of his time spent in Burma (now Myanmar), his fondness for the city and the girl he left behind. By the time your soloist reaches the final chorus, the audience will be ready to join in…let them! Solo Tenor (C- F Sharp)- 1111- 2110- Timp+4-hp- pf- str. Level: Advanced Intermediate.
$70.00
On The road To Mandalay for Baritone and Chamber Orchestra
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Orchestre de chambre
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INTERMÉDIAIRE/AVANCÉ
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the time your soloist reaches
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Oley Speaks, Rudyard Kipling
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John Hoesly
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On The road To Mandalay for Ba
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PRS&B
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SheetMusicPlus
Chamber Orchestra - Level 4 - SKU: A0.771583 Composed by Oley Speaks, Rudyard Kipling. Arranged by John Hoesly. Opera,Pop,Traditional. 109 pages. PRS&B ...
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Chamber Orchestra - Level 4 - SKU: A0.771583 Composed by Oley Speaks, Rudyard Kipling. Arranged by John Hoesly. Opera,Pop,Traditional. 109 pages. PRS&B #379227. Published by PRS&B (A0.771583). On The Road To Mandalay- for Baritone and Orchestra. From a poem by Rudyard Kipling, set to music by Oley Speaks in 1907. On the road to Mandalay…Where the flyin’ fishes play! A rousing, hugely popular ballad from the turn of the 20th Century. The publication of On The road To Mandalay sold over a million copies of sheet music. It has been recorded numerous times by artists from Frank Sinatra to Thomas Hampson. Taken from Kipling’s Barrack-Room Ballads and Other Verses, the lyric tells the story of a Cockney soldier’s remembrance of his time spent in Burma (now Myanmar), his fondness for the city and the girl he left behind. By the time your soloist reaches the final chorus, the audience will be ready to join in…let them! Solo Baritone (A Flat- D)- 1111- 2110- Timp+4-hp- pf- str. Level: Advanced Intermediate.
$70.00
Appassionato
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Orchestre de chambre
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Peter Nostrand
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Peter Nostrand
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the strings are supportive
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Appassionato
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Imagine Music - Digital
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SheetMusicPlus
Chamber orchestra - Grade 3 - SKU: IZ.OMS128 Composed by Peter Nostrand. Score and Parts. 34 pages. Imagine Music - Digital #OMS128. Published by Imagin...
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Chamber orchestra - Grade 3 - SKU: IZ.OMS128 Composed by Peter Nostrand. Score and Parts. 34 pages. Imagine Music - Digital #OMS128. Published by Imagine Music - Digital (IZ.OMS128). 9 x 12 in inches.For Chamber Orchestra (Grade 3). By Peter Nostrand. Appassionato is a story about the struggle for love. While it was composed in a traditional ABA structure, there are many elements in this composition which are not at all traditional. As the piece awakens, the oboes and flutes seem innocent and coquettish. As orchestral participation grows, one has the sense of an entire field of rich colors growing before our very ears. Enter the piano. Simple, elegant and romantic. Softly supported by the strings, the piano issues an invitation to the winds. They respond cautiously, obviously curious to see what this charming piano has in mind. The strings express an opinion. It's not what the piano wants and he presses harder. The strings and winds question each other, back and forth with triplets. Who is this piano? The mid-section is an announcement by the strings that a love relationship may be in the cards. The piano replies with passion and tenderness.With eighth notes, the strings become entangled with the piano, counseling it, guiding it. The winds using triplets put their two cents on the table. They're not so sure. The piano makes a passionate plea; the strings are supportive. The piano and the winds have a conversation. They finally dance together. In the end,.Appassionato is a musical expression of the struggle over whether or not love is worth the risk Sometimes in conflict sometimes in harmony, the piano and winds do unite. Passion has won.
$30.00
Aria: Erbarme Dich, mein Gott from Matthäuspassion (Flute Solo, Oboe d'Amore and Strings)
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Orchestre de chambre
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Johann Sebastian Bach
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Flávio Régis Cunha
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Aria: Erbarme Dich, mein Gott
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Flavio Regis Cunha
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SheetMusicPlus
Chamber Orchestra - Level 4 - SKU: A0.597237 By Johann Sebastian Bach. By Johann Sebastian Bach. Arranged by Flávio Régis Cunha. Baroque,Contest,E...
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Chamber Orchestra - Level 4 - SKU: A0.597237 By Johann Sebastian Bach. By Johann Sebastian Bach. Arranged by Flávio Régis Cunha. Baroque,Contest,Easter,Festival,Instructional,Sacred. Score and parts. 21 pages. Flavio Regis Cunha #4603489. Published by Flavio Regis Cunha (A0.597237). The St Matthew Passion (German: Matthäus-Passion), BWV 244, is a Passion, a sacred oratorio written by Johann Sebastian Bach in 1727 for solo voices, double choir and double orchestra, with libretto by Picander. It sets chapters 26 and 27 of the Gospel of Matthew (in the Luther Bible) to music, with interspersed chorales and arias. It is widely regarded as one of the masterpieces of classical sacred music. The original Latin title Passio Domini nostri J.C. secundum Evangelistam Matthæum translates to The Passion of our Lord Jesus Christ according to the Evangelist Matthew Originally for alto voice, violin solo and string orchestra. The arias are in da capo format (ternary form). Erbarme dich, for alto, and Mache dich, mein Herze, rein, for bass, are examples of such arias in Part Two of the oratorio. In these movements the singers are accompanied by one or a few solo instruments and continuo, occasionally completed by other instrument groups of the orchestra.This Aria was originally composed by J.S. Bach for Violin Solo, strings and alto solo was now arranged for Flute (optional recorder), oboe d'Amore and strings. The flute replaces the solo violin very well, just as the oboe d'Amore's sonority fits wonderfully well by replacing the traditional contralto solo.Flavio Regis Cunha is a pianist, conductor and composer from São Paulo - Brasil. He is currently finishing his doctorate at Mackenzie Presbyterian University where he works as conductor of the Mackenzie University Orchestra and resident composer. For more arrangements like this, works by commission or for any questions you can contact Flavio Regis Cunha at his facebook page: https://www.facebook.com/flavioregiscunhaIntermediate Level Fomat: Concert 9 x 12 inches. 21 pages.
$14.99
Goltermann Adagio Op 83 for Cello & Orchestra
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Orchestre de chambre
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Georg Goltermann
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Paul Wood
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Goltermann Adagio Op 83 for Ce
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MyMusicScores.com
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SheetMusicPlus
Chamber Orchestra - Level 4 - SKU: A0.1377462 Composed by Georg Goltermann. Arranged by Paul Wood. Romantic Period. 43 pages. MyMusicScores.com #962053....
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Chamber Orchestra - Level 4 - SKU: A0.1377462 Composed by Georg Goltermann. Arranged by Paul Wood. Romantic Period. 43 pages. MyMusicScores.com #962053. Published by MyMusicScores.com (A0.1377462). Goltermann's Adagio, Op. 83 for cello and orchestra is a poignant and expressive work that exemplifies the Romantic sensibilities of the 19th century. Composed in 1877, this single-movement piece showcases Goltermann's prowess in crafting emotive melodies and exploring the rich tonal palette of the cello within the context of orchestral accompaniment.The Adagio is dedicated to à Madame Henriette Fritsch-Estrangin à MarseilleThis edition also includes parts for Clarinet in B flat and Horns in F as well as the original Clarinets and Horns in CThe PDF file contains the scall and all parts.
$24.99
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
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