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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
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XYLOPHONE
Man Of Your Word
Non classifié
177
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356
Piano seul
71
Piano Facile
68
Instruments en Do
42
Piano, Voix
36
Orgue
19
Accompagnement Piano
10
Piano grosses notes
3
Piano Trio: piano, violon, violoncelle
1
Accordéon
1
2 Pianos, 4 mains
1
+ 6 instrumentations
Retracter
Guitares
Guitare notes et tablatures
10
Ukulele
5
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4
Ligne De Mélodie, (Paroles) et Accords
3
Basse electrique
3
Mandoline
2
4 Guitares (Quatuor)
1
Dulcimer
1
Mandoline, Guitare (duo)
1
+ 4 instrumentations
Retracter
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Chorale SATB
88
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21
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19
Chorale Unison
13
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11
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6
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4
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2
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2
Voix Baryton, Piano
2
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1
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1
Chorale SSATTB
1
Voix Tenor
1
+ 9 instrumentations
Retracter
Vents
2 Flûtes traversières (duo)
36
Ensemble de saxophones
27
Quintette de Saxophone: 5 saxophones
13
2 Clarinettes (duo)
8
Flûte traversière et Piano
8
Ensemble de Clarinettes
7
Flûte, Hautbois, Clarinette, Basson
6
2 Hautbois (duo)
5
2 Saxophones (duo)
5
Quatuor de Clarinettes: 4 clarinettes
5
Saxophone (partie séparée)
4
Flûte et Guitare
4
Ensemble de Flûtes
4
Saxophone Alto
4
Flûte traversière
4
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
4
Saxophone Alto et Piano
3
Clarinette et Piano
3
Clarinette, Violon (duo)
3
Saxophone, Clarinette (duo)
3
Hautbois, Piano (duo)
3
Saxophone Baryton, Piano
2
Saxophone Tenor
2
Saxophone Tenor et Piano
2
Hautbois (partie séparée)
2
Cor anglais, Piano
2
Saxophone Soprano et Piano
2
Clarinette
2
Quintette de Flûte : 5 flûtes
2
Quatuor de Flûtes : 4 flûtes
2
Flûte, Saxophone (duo)
1
3 Clarinettes (trio)
1
Flûte, Clarinette (duo)
1
Quatuor de Saxophones: 4 saxophones
1
Hautbois, Flûte
1
Hautbois, Clarinette (duo)
1
Saxophone et Guitare
1
3 Flûtes à bec (trio)
1
Flûte, Trompette (duo)
1
2 Flûte à bec (duo)
1
3 Saxophones (trio)
1
Clarinette, Trompette (duo)
1
Flûte, Violon
1
Clarinette, Guitare (duo)
1
+ 39 instrumentations
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Cuivres
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
15
Quatuor de Cuivres
10
Ensemble de Trombones
6
2 Trompettes (duo)
6
2 Trombones (duo)
5
Ensemble de Trompettes
4
2 Cors (duo)
4
Quatuor de Cuivres: 2 trompettes, Cor, trombone
4
Trombone et Piano
4
Cor et Piano
3
Quatuor de Cuivres : 2 trompettes, trombone, tuba
3
Tuba
3
Ensemble de Cors
3
Tuba et Orgue
3
Trompette, Trombone (duo)
3
Trompette, Saxophone (duo)
2
Trompette
2
Trombone
2
Cor anglais, Piano
2
Trompette, Piano
2
Cor
2
2 Tubas (duo)
2
Tuba et Piano
1
Euphonium, Tuba (duo)
1
2 Euphoniums (duo)
1
+ 20 instrumentations
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Cordes
Violon et Piano
12
Quatuor à cordes: 2 violons, alto, violoncelle
11
Trio à Cordes: violon, alto, violoncelle
10
2 Violons (duo)
7
Violoncelle, Piano
6
2 Violoncelles (duo)
5
2 Altos (duo)
5
Alto, Piano
4
Violon (partie séparée)
3
Violoncelle
3
Contrebasse, Piano (duo)
3
Violon
3
Contre Basse
2
Violon, Alto (duo)
2
2 Contrebasses (duo)
2
Alto seul
2
Quintette à cordes: 2 violons, 2 altos, violoncelle
2
Ensemble d'Altos
2
Ensemble de Violons
2
Contrebasse (partie séparée)
2
2 Violons, Piano
1
Violoncelle (partie séparée)
1
Trio à Cordes: 2 violons, violoncelle
1
Alto (partie séparée)
1
Quintette à cordes: 2 violons, alto, violoncelle, basse
1
Harpe
1
Violon, Violoncelle (duo)
1
Harpe, Voix
1
+ 23 instrumentations
Retracter
Orchestre & Percussions
Orchestre d'harmonie
16
Orchestre à Cordes
16
Orchestre
10
Ensemble de cuivres
9
Ensemble Jazz
5
Orchestre de chambre
3
Batterie
2
Jazz combo
2
Cloches
1
+ 4 instrumentations
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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
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Crtitères actifs :
Man Of Your Word
Orchestre de chambre
Partitions à imprimer
3 partitions trouvées
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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
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
BH013REC - Recorder Quartet Songs, Book 13 (>70 pages)
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Orchestre de chambre
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INTERMÉDIAIRE
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Carl Van Pevenage
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BH013REC - Recorder Quartet So
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Carl Van Pevenage
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SheetMusicPlus
Chamber Orchestra - Level 3 - SKU: A0.921172 Composed by Carl Van Pevenage. Classical,Folk,Pop,Romantic Period. Score and parts. 98 pages. Carl Van Peve...
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Chamber Orchestra - Level 3 - SKU: A0.921172 Composed by Carl Van Pevenage. Classical,Folk,Pop,Romantic Period. Score and parts. 98 pages. Carl Van Pevenage #3011791. Published by Carl Van Pevenage (A0.921172). The chansonnettes are easy songs of different styles (folk, classical, pop, romantic, Christmas carols, etc). This book contains 10 songs arranged for Recorder or String Quartets, but can be played by any SATB group with 4 the same or mixed instruments.. All sound is computer generated. Playing it, will bring the music to live.Song list:Chansonnette 121 Picure paints a thousand wordsChansonnette 122 To delicate to flyChansonnette 123 Le the cat out of the badChansonnette 124 Your guess is as good as mineChansonnette 125 Pastorale: In harmony with natureChansonnette 126 Once in a blue moonChansonnette 127 A gentle tapping at the windowChansonnette 128 Folk dance: The speedy spiky waltzChansonnette 129 Danno DannoChansonnette 130 A funny dance at the palace
$9.95
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Man Of Your Word
