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Let Me Stand
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136
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190
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129
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118
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52
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46
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20
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8
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3
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2
1 Piano, 4 mains
2
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1
2 Pianos, 4 mains
1
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60
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3
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41
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13
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21
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18
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9
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7
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6
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5
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3
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3
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2
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2
Ensemble de saxophones
2
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1
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1
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2 Saxophones, Piano
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Cor anglais, Piano
1
Clarinette, Violoncelle, Piano (trio)
1
2 Flûtes traversières, Piano
1
Quintette de Saxophone: 5 saxophones
1
Flûte, Basson et Piano
1
Hautbois, Basson (duo)
1
Quintette de Clarinette: Clarinette, Quatuor à Cordes
1
Flûte, Violon
1
2 Clarinettes (duo)
1
Hautbois, Flûte
1
Clarinette et Alto
1
Clarinette Basse, Piano
1
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9
Trompette (partie séparée)
6
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3
Trombone et Piano
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2
Trompette, Violoncelle et Piano
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Trompette, Trombone (duo)
2
Trompette, Saxophone (duo)
2
Trombone
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Cor anglais, Piano
1
Ensemble de Tubas
1
4 Tubas
1
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9
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Vous avez sélectionné:
Let Me Stand
Orchestre de chambre
Partitions à imprimer
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LASCIA CH’IO PIANGA (for Soprano, String Orchestra, Archlute, Lute and Continuo)
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Orchestre de chambre
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INTERMÉDIAIRE
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Classique
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George Frideric Handel
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Flavio Regis Cunha
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LASCIA CH’IO PIANGA
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Flavio Regis Cunha
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SheetMusicPlus
Chamber Orchestra - Level 3 - SKU: A0.597301 Composed by George Frideric Handel. Arranged by Flavio Regis Cunha. Baroque,Opera,Standards,Wedding. Score ...
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Chamber Orchestra - Level 3 - SKU: A0.597301 Composed by George Frideric Handel. Arranged by Flavio Regis Cunha. Baroque,Opera,Standards,Wedding. Score and parts. 32 pages. Flavio Regis Cunha #5297443. Published by Flavio Regis Cunha (A0.597301). Lascia ch'io pianga (Let me with tears), from the opera Rinaldo, is one of the most famous and beautiful arias of the Baroque period. Its first performance was in 1711 in London. It was composed by the German composer Georg Friedrich Händel. Although he used this tune as early as 1705, in the oratorio Il Trionfo del Tempo e del Disinganno – Lascia la spina, cogli la rosa, with the libretto by Giacomo Rossi a masterpiece was created – Lascia ch'io pianga. The soprano part was based on the film Farinelli.
$12.99
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
Three Laments of Heloise for Chamber Orchestra
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Orchestre de chambre
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INTERMÉDIAIRE/AVANCÉ
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Dosia McKay
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Three Laments of Heloise for C
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Gavia Music
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SheetMusicPlus
Chamber Orchestra - Level 4 - SKU: A0.876665 Composed by Dosia McKay. 20th Century,Contemporary,Renaissance. Score and parts. 81 pages. Gavia Music #572...
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Chamber Orchestra - Level 4 - SKU: A0.876665 Composed by Dosia McKay. 20th Century,Contemporary,Renaissance. Score and parts. 81 pages. Gavia Music #57229. Published by Gavia Music (A0.876665). Three Laments of Heloise were inspired by the Letters of Abelard and Heloise, especially the character of Heloise, her crushing loss, self-denial, sacrifice, and forced conformity to the standards of medieval society. The first movement entitled Queens Envied Me My Joys is Heloise’s recollection of early days with Abelard. Every wife, every young girl desired you in absence and was on fire in your presence, writes Heloise. The pleasures of lovers which we shared have been too sweet… They are always there before my eyes, bringing with them awakened longings… The second movement If Not With You, My Heart Is Nowhere, expresses Heloise’s sense of abandonment by her lover. She writes to him: My heart was not in me but with you, and now, even more, if it is not with you it is nowhere; truly, without you I cannot exist. The third movement, My Most Wretched Soul, gives voice to Heloise’s continued struggle with her loss and the reality of the convent life. She does not see herself as a servant of God, but rather a hypocrite who remains pious on the outside and rages inwardly. Of all wretched women I am the most wretched, and amongst the unhappy I am unhappiest. How can it be called repentance for sins, however great the mortification of the flesh, if the mind still retains the will to sin and is on fire with its old desires? Modal scales and dance sequences give the Laments a Renaissance feel. Music theory students might appreciate the fact that the unifying element of the three movements is the interval of the 7th which appears very frequently in melodic and harmonic gestures and creates a feeling of ambiguity and of a lack of resolution. For chamber orchestra: Flute (or Piccolo), Oboe, Clarinet, Bassoon, Strings (Quintet, or 4,4,3,2,1, or larger), 2 Percussion: Frame Drum, Tambourine. Total duration 8:00. Possible transcriptions for period Renaissance instruments - please contact the composer. Composed in 2009. Copyright 2009 Dosia McKay / Gavia Music (ASCAP).
$100.00
Where Should a Baby Rest?
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Orchestre de chambre
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FACILE
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Philip Orem
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Where Should a Baby Rest?
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Philip Orem
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SheetMusicPlus
Chamber Orchestra - Level 2 - SKU: A0.872662 Composed by Philip Orem. Children,Contemporary,Holiday. Score and parts. 49 pages. Philip Orem #3626031. Pu...
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Chamber Orchestra - Level 2 - SKU: A0.872662 Composed by Philip Orem. Children,Contemporary,Holiday. Score and parts. 49 pages. Philip Orem #3626031. Published by Philip Orem (A0.872662). This is a sweet setting of the nursery rhyme, Where Should a Baby Rest? for alto and a small orchestra. A great addition for a children's or pops concert or as an encore.SCORE SHOULD BE PRINTED ON TABLOID SIZE PAPER. Parts are on standard letter size paper.For further information contact me at po4musik@aol.com or https://po4musik.wixsite.com/website
$65.00
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Let Me Stand
