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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
Not While I
Non classifié
400
Piano & claviers
Piano seul
333
Piano Facile
58
Piano, Voix
48
Piano, Voix et Guitare
36
Orgue
22
Instruments en Do
17
Piano Trio: piano, violon, violoncelle
16
1 Piano, 4 mains
8
2 Pianos, 4 mains
5
Accompagnement Piano
4
Piano Quatuor: piano, 2 violons, violoncelle
2
Piano Quintette: piano, 2 violons, alto, violoncelle
1
Piano (partie séparée)
1
+ 8 instrumentations
Retracter
Guitares
Guitare notes et tablatures
66
Guitare
47
Ukulele
18
Ligne De Mélodie, (Paroles) et Accords
5
Basse electrique
5
Dulcimer
3
Mandoline
1
3 Guitares (trio)
1
Ukulele Baryton
1
Guitare, Orchestre
1
2 Guitares (duo)
1
2 Ukuleles
1
+ 7 instrumentations
Retracter
Voix
Chorale SATB
97
Chorale 3 parties
19
Chorale 2 parties
13
Chorale SSAA
8
Chorale Unison
7
Chorale TTBB
7
Voix seule
5
Chorale
3
Voix duo, Piano
2
Voix Soprano, Piano
2
Chorale SSATTB
1
Voix Baryton, Piano
1
Voix haute
1
Voix Alto, Piano
1
Chorale SSAB a cappella
1
+ 10 instrumentations
Retracter
Vents
Flûte traversière
25
Quatuor de Saxophones: 4 saxophones
24
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
23
Clarinette
22
Flûte traversière et Piano
17
Clarinette et Piano
15
Flûte, Hautbois, Clarinette, Basson
15
Quintette de Saxophone: 5 saxophones
12
Ensemble de saxophones
10
Saxophone Soprano et Piano
9
Saxophone Alto et Piano
9
Hautbois, Piano (duo)
9
Saxophone Tenor et Piano
8
Ensemble de Clarinettes
8
Ensemble de Flûtes
7
Hautbois (partie séparée)
6
Quatuor de Clarinettes: 4 clarinettes
6
Saxophone Alto
5
Flute (partie séparée)
4
Saxophone (partie séparée)
3
Quintette de Flûte : 5 flûtes
3
3 Clarinettes (trio)
3
Saxophone Tenor
3
2 Saxophones (duo)
3
3 Saxophones (trio)
3
2 Flûtes traversières (duo)
3
Quintette de Clarinettes: 5 clarinettes
3
Trio de Flûtes: 3 flûtes
2
2 Clarinettes (duo)
2
Clarinette, Violoncelle, Piano (trio)
2
Cor Anglais
2
Saxophone Baryton, Piano
2
Quatuor de Flûtes : 4 flûtes
2
Piccolo
2
Flûte et Guitare
2
Clarinette Basse, Piano
2
Ensemble à vent
1
Saxophone et Orgue
1
Saxophone, Clarinette (duo)
1
Cor anglais, Piano
1
Flûte, Hautbois (duo)
1
Saxophone et Guitare
1
Flûte, Violon, Piano
1
Saxophone
1
+ 39 instrumentations
Retracter
Cuivres
Quatuor de Cuivres : 2 trompettes, trombone, tuba
29
Trompette
20
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
20
Trombone
18
Cor
11
Trompette, Piano
9
Ensemble de Trombones
7
Ensemble de Trompettes
5
Trombone et Piano
4
Trompette (partie séparée)
3
Cor et Piano
3
Tuba
3
Cor Anglais
2
Trombone (partie séparée)
1
Trombone, Tuba (duo)
1
Tuba et Piano
1
3 Trombones (trio)
1
Trompette, Euphonium (duo)
1
Quatuor de Cuivres
1
Ensemble de Cors
1
2 Trombones (duo)
1
Trompette, Trombone (duo)
1
Cor anglais, Piano
1
Euphonium, Piano (duo)
1
Quatuor de cuivres: 4 trombones
1
2 Trompettes (duo)
1
2 Cors (duo)
1
2 Tubas (duo)
1
Trombone basse
1
+ 24 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
40
Violon et Piano
31
Violon
20
Harpe
16
Violoncelle, Piano
15
Violoncelle
14
Alto, Piano
12
Trio à Cordes: violon, alto, violoncelle
11
Alto seul
8
Violon, Violoncelle (duo)
6
Ensemble de Violons
4
Harpe, Voix
3
Violon, Alto (duo)
3
Contre Basse
3
Contrebasse, Piano (duo)
2
2 Violoncelles (duo)
2
Ensemble d'Altos
2
2 Altos (duo)
1
Ensemble de Violoncelles
1
Trio à cordes: 3 altos
1
Trio à cordes: 3 violins
1
Alto et Harpe
1
Harpe et mandoline
1
Quintette à cordes: 2 violons, alto, violoncelle, basse
1
+ 19 instrumentations
Retracter
Orchestre & Percussions
Orchestre à Cordes
29
Orchestre d'harmonie
28
Orchestre
24
Ensemble de Percussions
19
Marimba
18
Ensemble Jazz
16
Ensemble de cuivres
16
Orchestre de chambre
12
Jazz combo
10
Cloches
10
Batterie
3
Fanfare
2
Xylophone
1
Percussion
1
2 Marimbas
1
Piano et Orchestre
1
+ 11 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
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POP ROCK - ROCK CLAS…
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Vous avez sélectionné:
Not While I
Orchestre de chambre
Partitions à imprimer
12 partitions trouvées
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1
Homage to Sibelius
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Orchestre de chambre
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INTERMÉDIAIRE/AVANCÉ
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Stanley M Hoffman
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Homage to Sibelius
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stanleymhoffman.com
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SheetMusicPlus
Chamber Orchestra - Level 4 - SKU: A0.1308171 Composed by Stanley M Hoffman. 21st Century,Classical. Score and Parts. 207 pages. Stanleymhoffman.com #89...
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Chamber Orchestra - Level 4 - SKU: A0.1308171 Composed by Stanley M Hoffman. 21st Century,Classical. Score and Parts. 207 pages. Stanleymhoffman.com #897424. Published by stanleymhoffman.com (A0.1308171). I have long wanted to compose an homage to Jean Sibelius. However, his music is copyright protected in the EU for another five years or so. Thus, I struggled with how to compose a work without any direct musical quotations, and yet which in some way captures the essence of his symphonic music. I had a breakthrough in recent weeks, and the result is an eleven-minute orchestral composition which manages to invoke his music without directly quoting it. The opening passage on which the piece is based invokes the opening of Symphony No. 6 without quoting it; also, my homage is in the key of A Minor whereas the symphony is in the key of D minor. The piece also invokes the orchestral colors of one of my other favorite pieces of Sibelius, The Swan of Tuonela. My composition is scored very closely to that one, but I ended up using two oboes; I never needed an English Horn, and I added two flutes to that scoring. Thus, the instrumentation is as follows: 2fl-2ob-1cl/bcl-2bn-4hn-3tbn-timp-bd-str; the duration is ca. 11:30. My homage also invokes the more youthful compositions of the great master, and of course features his biggest personal influence, the sounds of nature. Sibelius was a master of musical forms. He managed to create entirely original forms such as the one for Symphony No. 7. While I do not pretend to be in his league in any way, I did manage to compose a work in a four-part form, which is unusual, and not the least of which for me. The piece contains all kinds of indirect references to the music of Sibelius through the use of motifs, melodies, harmonies, ornamentation, and orchestration.While not the most original piece of music I have ever composed (that would be The City In the Sea: Choral Tone Poem), my Homage to Sibelius is among the most subtle of my works in that it contains a good deal of variation technique, and a lot of attention to detail. Like my Homage to Vaughan Williams for string orchestra, the idea was not to break new stylistic ground, but rather to pay homage to the ground broken by the master. More so than anything, my Homage to Sibelius invokes how the symphonic music of Sibelius makes me feel when I am listening to it. I hope you enjoy it.---HOMAGE TO SIBELIUS for Chamber OrchestraMusic by  Stanley M. Hoffman (b. 1959 [BMI]) Inspired by the Music of Jean Sibelius (1865–1957)NotePerformer 4 Audio and Scrolling Score Video Seeking Live PerformancesMusic:© Copyright 2023 by Stanley M. Hoffman. www(dot)stanleymhoffman(dot)comAll rights reserved.  The sheet music is available from the composer and from Sheet Music Plus.
$103.50
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
Dreams - Score Only
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Orchestre de chambre
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INTERMÉDIAIRE
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Juan Guerra González
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Dreams - Score Only
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Juan Carlos Guerra Gonzalez
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SheetMusicPlus
Chamber Orchestra - Level 3 - SKU: A0.1317400 Composed by Juan Guerra González. 21st Century,Classical. 96 pages. Juan Carlos Guerra Gonzalez #906062...
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Chamber Orchestra - Level 3 - SKU: A0.1317400 Composed by Juan Guerra González. 21st Century,Classical. 96 pages. Juan Carlos Guerra Gonzalez #906062. Published by Juan Carlos Guerra Gonzalez (A0.1317400). DREAMS (for Symphony Orchestra)SCORE ONLY Please visit www.juancarlosguerra.com/dreams to buy or rent the parts. Scored for1 Flute1 Oboe1 Clarinet in Bb1 Basoon2 Percussion Players: 1 TimpaniViolin IViolin IIViolaVioloncelloDouble BassAn easy-to-read to read and fascinating piece for a symphony orchestra with a reduced number of winds and no brass. It can be suited ideally in any setting.Program Note“Dreams†is a suite for symphony orchestra in three movements. The work was kindly commissioned by Dr. Luis VÃquez, conductor of the University of Rhode Island’s Symphony Orchestra and to whom this work is being dedicated alongside with his wife Melissa. The titles of the movements come from either an specific dream, or other topics about dreaming that I discovered in the process of writing the work. I. Cherry trees in the morningNature has always inspired me. Every year during spring my family has the tradition to visit the Brooklyn Botanic Garden to experience the cherry blossoms. I usually do not remember many of my dreams but in this particular dream I was in Japan under an esplanade of cherry trees. I remember how amazed I feel and is for sure one of my most memorable dreams. II. DreamcatcherWhile I was writing the initial ideas of for the work I came across a Journal that explored how the use of a particular chord helped reduce nightmares in patients suffering from nightmare disorders. In the study, patients were exposed to the chord C69 (A C Major with the added 6th and 9th) during therapeutic sessions. This chord is used at the beginning of the movement as it moves to explore different sonorities. In this movement you might be able to hear a representation of the “heartbeat†played by the bass drum and timpani, then a more “stressful†section will come to represent a nightmare followed again by another repetition of the C69 chord. If you feel relaxed during the performance, it is on purpose! III. A Dance in the desertDreams, in my case, are usually a mix of different non-related things. For the final movement, I decided to use that idea. I started this dance with a “oriental†style and them throughout the middle of the movement I moved it to a waltz that was influenced by my grandfather. He used to have a small orchestra and he used to play waltzes during events and private parties.I hope the music takes you through a journey of musical emotions.Juan Guerra González
$159.99
Hommage à György Ligeti - Score Only
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Orchestre de chambre
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AVANCÉ
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Amos Elkana
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Hommage à György L
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Amos Elkana
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SheetMusicPlus
Chamber Orchestra - Level 5 - SKU: A0.1371596 Composed by Amos Elkana. 21st Century,Contemporary. 31 pages. Amos Elkana #955848. Published by Amos Elkan...
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Chamber Orchestra - Level 5 - SKU: A0.1371596 Composed by Amos Elkana. 21st Century,Contemporary. 31 pages. Amos Elkana #955848. Published by Amos Elkana (A0.1371596). This piece is composed for the same exact instrumentation as Ligeti's own Chamber Concerto. I have always admired György Ligeti. I spent many hours studying his music and especially his Chamber Concerto for 13 instrumentalists. Ligeti died while I was working on this piece and I decided to make this work my homage to him. Hommage à György Ligeti was composed using a compositional method that is inspired by the idea of Fractals. A series of four numbers (5,6,4,4) dictate the micro and macro structure of the work. This method of composition can organize not only the structure of a piece but also its pitch material, rhythmic material and more but, even if strictly applied, it leaves much room for intuition on the part of the composer.
$44.00
Carol of the Bells (Hear them Ring) - Strings and piano
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Orchestre de chambre
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INTERMÉDIAIRE
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Noël
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Mykola Leontovych
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Connie Boss
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Carol of the Bells
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Connie Boss
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SheetMusicPlus
Chamber Orchestra - Level 3 - SKU: A0.801497 Composed by Mykola Leontovych. Arranged by Connie Boss. Christian,Christmas,Sacred. Score and parts. 10 pag...
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Chamber Orchestra - Level 3 - SKU: A0.801497 Composed by Mykola Leontovych. Arranged by Connie Boss. Christian,Christmas,Sacred. Score and parts. 10 pages. Connie Boss #6050829. Published by Connie Boss (A0.801497). This arrangement contains all new lyrics as the original lyrics have copyright on them. The melody does not, so we get to keep the same melody, while I have added an intro and have parts for strings that differ some from the original. Verse 1 of the lyrics are about the birth of Jesus. Verse 2 of the lyrics reflects caroling as it contain titles and lines from other public domain songs. I think you will enjoy these new lyrics almost as much as the original, especially if wanting to be more about His birth. cdboss@cvalley.net. Lyrics below:
$5.50
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
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
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
What a friend we have in Jesus (For Violin and Chamber)
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Orchestre de chambre
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INTERMÉDIAIRE/AVANCÉ
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C
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Han-Ki Kim
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What a friend we have in Jesus
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Han-Ki Kim
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SheetMusicPlus
Chamber Orchestra - Level 4 - SKU: A0.1433607 By C.C.Converse. By C.C.Converse. Arranged by Han-Ki Kim. Chamber,Christian,Classical,Religious,Sacred. 25...
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Chamber Orchestra - Level 4 - SKU: A0.1433607 By C.C.Converse. By C.C.Converse. Arranged by Han-Ki Kim. Chamber,Christian,Classical,Religious,Sacred. 25 pages. Han-Ki Kim #1013839. Published by Han-Ki Kim (A0.1433607). “What a Friend We Have in Jesus” is a Chriatian hymn written in 1855 by preacher Joseph M. Scriven. The motive for writing this poem was to comfort his mother, who was in Ireland while M.Scriven was living in Canada, when she lay sick in her bed. Scriven originally wrote this poem anonymously, and it was not until 1880 that his name became known. The hymn's melody was composed by Charles Crozat Converse in 1868. I quoted this beautiful melody and arranged it into a small violin concerto format.
$15.90
Mercadente Concerto for Flute in E minor, finale, for chamber orchestra
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Orchestre de chambre
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INTERMÉDIAIRE
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Classique
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Saverio Mercadente
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Bob Delfausse
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Mercadente Concerto for Flute
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Robert Delfausse
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SheetMusicPlus
Chamber Orchestra - Level 3 - SKU: A0.766994 Composed by Saverio Mercadente. Arranged by Bob Delfausse. Classical,Concert. Score and parts. 86 pages. Ro...
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Chamber Orchestra - Level 3 - SKU: A0.766994 Composed by Saverio Mercadente. Arranged by Bob Delfausse. Classical,Concert. Score and parts. 86 pages. Robert Delfausse #5324635. Published by Robert Delfausse (A0.766994). This arrangement includes seven winds, who get to join in on the tutti's, and at several other spots. I tried to make the strings' accompaniment patterns more interesting melodically, while not detracting from the flute solo. You'll need an outstanding flute player, but otherwise the level is intermediate and above. Duration: 6 minutes, 42 seconds.
$20.00
Songs from the Pomegranate Garden (Kantes del Verdjel de Granadas)
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Orchestre de chambre
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Ofer Ben-Amots
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Songs from the Pomegranate Gar
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The Composer's Own Press
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SheetMusicPlus
Chamber Orchestra - SKU: A0.944036 Composed by Ofer Ben-Amots. Contemporary,Jewish,World. Score and parts. 124 pages. The Composer's Own Press #4627681....
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Chamber Orchestra - SKU: A0.944036 Composed by Ofer Ben-Amots. Contemporary,Jewish,World. Score and parts. 124 pages. The Composer's Own Press #4627681. Published by The Composer's Own Press (A0.944036). Kantes del verdgel de granadas – Songs from the Pomegranate Garden A Judeo-Spanish song cycle for solo voice and chamber symphony orchestra Composer’s notes: Kantes del verdgel de granadas, or in its English translation: Songs from the Pomegranate Garden, is a cycle of five songs in the Judeo-Spanish dialect, also known as Ladino. The texts, based on folk-poetry, are magical, passionate, and encompass a wide range of human emotions and experiences. We can find in them love and longing, sorrow and death, lightheartedness and folly, as well as burning love and even sexual innuendo. The vocal part portrays different stories and a variety of human characters in each of the five songs. It, thus, ranges in expression from parlando secco to lirico espressivo. The role of the orchestra in this cycle is more than just an accompaniment; it converses with the voice, adds colors and ambience, and serves as a commentary over the sung text. Thus, the orchestral part is equal to, or at times even more predominant than the voice itself. The initiative to write this composition came in response to a specific cultural approach by which creativity based on traditional Judaic material should correspond to four stages in the artistic process: Exploration, Preservation, Interpretation, and Innovation (as translated by the Hebrew terms: חידוש – פירוש – שימור – חיפוש). The main idea behind this initiative was to conserve crucial elements within traditional Jewish folk music, and then, bring about their revival as art music through new contemporary interpretations. Thus, the musical arrangement is partially based on the traditional Ladino tunes and partially original. However, phrases based on old Ladino melodies are starkly modified and composed in such way to completely evoke personal imagery and interpretation. The songs I selected for the cycle were taken from the four-volume collection: Chants judéo-espagnols by Isaac Levy. My criteria for the selection was finding lesser-known melodies, yet most intriguing ones and with a strong Judeo-Spanish character. The five songs have various degrees of arrangement vs. original composition: songs 2 and 3, Mi korason and Entre las huertas, for example, are almost unchanged, while songs 1 and 4, Dos amantes and Malato ‘sta el hijo del rey, heavily combine the old Ladino romancero melodies with originally composed material. The concluding song (Nr. 5) is entirely original, but correspond stylistically to the Judeo-Spanish musical language. While all five songs are secular in nature, the ballad Malato ‘sta el hijo del rey (The King’s Son is Ill) has been traditionally sung - according to Isaac Levy - on the night of Tisha B’Av along the scroll of Eicha to bemoan the destruction of the Holy Temple in Jerusalem. The Judeo-Spanish text of the songs can be found below along with its English translation. Duration: ca. 24 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
In convertendo Dominus (Full Score)
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Orchestre de chambre
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INTERMÉDIAIRE
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Classique
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Baldassare Galuppi
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ed
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In convertendo Dominus
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Elizabeth Fisher Music
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SheetMusicPlus
Chamber Orchestra - Level 3 - SKU: A0.998639 Composed by Baldassare Galuppi. Arranged by ed. Elizabeth Fisher. Baroque,Classical. Score and Parts. 26 pa...
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Chamber Orchestra - Level 3 - SKU: A0.998639 Composed by Baldassare Galuppi. Arranged by ed. Elizabeth Fisher. Baroque,Classical. Score and Parts. 26 pages. Elizabeth Fisher Music #5766391. Published by Elizabeth Fisher Music (A0.998639). This five-movement work was composed by Baldassare Galuppi for the women of the Ospedale della Incurabili. It is scored for SSAA voices**, S soloist, and string orchestra. Movments I, III, and V are for SSAA chorus while movements II and IV are for Soprano soloist. The text is taken from Psalm 126. **Note: In this edition, the Alto 2 part has been transposed up one octave from the original manuscript which has the part written in the bass clef.
$14.99
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