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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
Once I Was
Non classifié
1 181
Piano & claviers
Piano seul
509
Piano, Voix et Guitare
346
Instruments en Do
304
Piano, Voix
216
Piano Facile
46
Orgue
38
1 Piano, 4 mains
12
2 Pianos, 4 mains
11
Accompagnement Piano
8
Piano Quatuor: piano, 2 violons, violoncelle
3
Piano Trio: piano, violon, violoncelle
2
Clavecin
2
Piano Quatuor: piano, violon, alto, violoncelle
2
2 Pianos, 8 mains
1
Piano (partie séparée)
1
Piano Quintette: piano, 2 violons, alto, violoncelle
1
Orgue, Trompette (duo)
1
Clavier
1
Accordéon
1
+ 14 instrumentations
Retracter
Guitares
Ligne De Mélodie, (Paroles) et Accords
58
Guitare
57
Guitare notes et tablatures
28
2 Guitares (duo)
9
Ukulele
5
Piano, Guitare (duo)
5
4 Guitares (Quatuor)
3
Mandoline
3
3 Guitares (trio)
3
Basse electrique
2
Paroles et Accords
2
Guitare, Orchestre
1
Mandoline, Guitare (duo)
1
Ensemble de guitares
1
+ 9 instrumentations
Retracter
Voix
Chorale SATB
227
Chorale 3 parties
60
Chorale 2 parties
43
Voix duo, Piano
21
Chorale TTBB
21
Chorale Unison
18
Voix Baryton, Piano
11
Chorale SSAA
9
Voix seule
7
Voix haute
6
Pack Instrumental pour Chorale
5
Voix duo
5
Voix Soprano, Piano
5
Voix Tenor, Piano
3
Chorale SSATTB
2
Voix Tenor
2
Voix Alto, Piano
1
Voix moyenne, Piano
1
Voix Soprano
1
+ 14 instrumentations
Retracter
Vents
Quintette de Saxophone: 5 saxophones
127
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
126
Ensemble de saxophones
105
Ensemble de Clarinettes
50
Quatuor de Saxophones: 4 saxophones
43
Flûte traversière et Piano
41
Quatuor de Clarinettes: 4 clarinettes
32
Flûte, Hautbois, Clarinette, Basson
32
Saxophone Alto et Piano
31
Clarinette et Piano
31
2 Saxophones (duo)
26
Clarinette
23
Flûte traversière
22
Hautbois, Piano (duo)
21
Saxophone Tenor et Piano
21
2 Clarinettes (duo)
20
Ensemble de Flûtes
19
Quintette de Flûte : 5 flûtes
18
Quatuor de Flûtes : 4 flûtes
17
Saxophone Soprano et Piano
17
2 Flûtes traversières (duo)
17
Hautbois (partie séparée)
14
Saxophone Baryton, Piano
10
Saxophone, Clarinette (duo)
8
Cor anglais, Piano
8
2 Hautbois (duo)
8
Clarinette (partie séparée)
7
Saxophone Alto
7
Saxophone Tenor
6
Clarinette, Guitare (duo)
6
Clarinette, Violon (duo)
6
Quintette de Clarinettes: 5 clarinettes
6
Flûte, Clarinette (duo)
6
Flûte et Guitare
5
Saxophone (partie séparée)
5
Hautbois, Clarinette (duo)
5
Clarinette Basse, Piano
5
Flute (partie séparée)
5
Trio de Flûtes: 3 flûtes
4
Flûte, Violon
3
Hautbois, Basson (duo)
3
3 Saxophones (trio)
3
Flûte, Alto (duo)
3
Flûte à bec Soprano
3
Flûte, Hautbois, Basson
3
Saxophone Soprano
3
Hautbois, Flûte
3
Flûte, Violon, Piano
3
Clarinette et Alto
3
Flûte, Saxophone (duo)
3
Cor Anglais
3
2 Flûtes traversières, Piano
2
Piccolo
2
Clarinette, Basson (duo)
2
3 Clarinettes (trio)
2
Clarinette, Trompette (duo)
2
2 Cors Anglais Et Pianoforte
2
Clarinette, Violoncelle (duo)
2
Hautbois, Guitare (duo)
1
Flûte, Violon, Violoncelle et Piano
1
Flûte, Clarinette et Basson
1
Saxophone et Guitare
1
Clarinette, Violoncelle, Piano (trio)
1
2 Saxophones, Piano
1
Flûte, Hautbois, Clarinette (trio)
1
Flûte, Hautbois (duo)
1
Ensemble De Flûte à bec
1
Ocarina
1
Flûte, Basson et Piano
1
Flûte à bec Soprano, Piano
1
Saxophone et Orgue
1
Quatuor de Flûtes à bec
1
Clarinette, Trombone (duo)
1
Piccolo, Piano
1
+ 69 instrumentations
Retracter
Cuivres
Quatuor de Cuivres : 2 trompettes, trombone, tuba
121
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
75
Quatuor de Cuivres: 2 trompettes, Cor, trombone
41
Ensemble de Trombones
35
Ensemble de Trompettes
27
Trompette
25
Trombone et Piano
21
Quatuor de Cuivres
20
Trompette, Piano
17
Cor et Piano
12
2 Trombones (duo)
11
2 Trompettes (duo)
10
Trompette (partie séparée)
9
Trombone
9
2 Cors (duo)
9
Cor anglais, Piano
8
Tuba et Piano
8
Trombone (partie séparée)
7
Trio de Cuivres
7
Tuba
7
Cor
7
Trompette, Saxophone (duo)
6
Ensemble de Cors
6
Euphonium, Piano (duo)
6
Trompette, Trombone (duo)
4
Quatuor de cuivres: 4 trombones
4
2 Tubas (duo)
4
Cor (partie séparée)
3
Trombone basse et Piano
3
Cor Anglais
3
Quatuor de cuivres: 4 trompettes
2
2 Euphoniums (duo)
2
Tuba (partie séparée)
2
2 Cors Anglais Et Pianoforte
2
Ensemble de Tubas
1
Bass Clef Instruments
1
2 Euphoniums et 2 Tubas
1
Trompette, Cor (duo)
1
Trombone basse
1
Cor et Orgue
1
Trombone et orchestre
1
+ 36 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
125
Violon et Piano
64
Violon
36
Trio à Cordes: violon, alto, violoncelle
28
Violoncelle, Piano
26
Alto, Piano
26
Harpe
23
2 Violoncelles (duo)
22
Violoncelle
20
Violon, Violoncelle (duo)
19
2 Violons (duo)
19
Ensemble de Violons
19
Ensemble d'Altos
18
Alto seul
12
Violon, Alto (duo)
9
Trio à Cordes: 2 violons, violoncelle
8
2 Altos (duo)
8
Contre Basse
7
Quintette à cordes: 2 violons, alto, violoncelle, basse
7
2 Harpes (duo)
4
Quatuor à cordes: 4 violons
3
4 Violoncelles
3
Alto, Violoncelle (duo)
3
Quintette à cordes: 2 violons, 2 altos, violoncelle
3
Violon, Guitare (duo)
3
Harpe, Voix
2
Harpe, Flûte (duo)
2
Piano Trio: Violon, Alto, Piano
2
Contrebasse, Piano (duo)
2
2 Contrebasses (duo)
2
Alto, Guitare (duo)
2
Harpe, Violon (duo)
1
Trio à Cordes: 3 violoncelles
1
Violoncelle, Orchestre
1
Ensemble de Violoncelles
1
Alto et Basson
1
Alto (partie séparée)
1
Contrebasse (partie séparée)
1
Violoncelle (partie séparée)
1
Violon, Clarinette, Piano (trio)
1
Harpe et Piano
1
Quatuor à cordes : 4 altos
1
+ 37 instrumentations
Retracter
Orchestre & Percussions
Orchestre d'harmonie
594
Orchestre
102
Orchestre à Cordes
94
Ensemble de cuivres
50
Orchestre de chambre
45
Ensemble Jazz
21
Ensemble de Percussions
11
Jazz combo
8
Fanfare
4
Percussion (partie séparée)
4
Quintette de Cuivres: autres combinaisons
2
Timbales (partie séparée)
2
Piano et Orchestre
2
Xylophone
1
Batterie (partie séparée)
1
Batterie
1
2 Marimbas
1
Cloches
1
Marimba
1
Orchestre, Violon
1
+ 15 instrumentations
Retracter
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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
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PIANO
SAXOPHONE
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TROMPETTE
TUBA
UKULELE
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VIOLONCELLE
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Piano Concerto No. 1 - Score Only
#
Orchestre de chambre
#
INTERMÉDIAIRE
#
Juan MarÃa Solare
#
Piano Concerto No. 1 - Score O
#
Juan Maria Solare
#
SheetMusicPlus
Chamber Orchestra - Level 3 - SKU: A0.1197642 Composed by Juan MarÃa Solare. 20th Century,Classical,Contemporary. Score and parts. 77 pages. Juan Mar...
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Chamber Orchestra - Level 3 - SKU: A0.1197642 Composed by Juan MarÃa Solare. 20th Century,Classical,Contemporary. Score and parts. 77 pages. Juan Maria Solare #796823. Published by Juan Maria Solare (A0.1197642). Juan MarÃa Solare: Piano Concerto (No. 1)PARTSPiano Concerto No. 1 - FIRST movement [score and parts]https://www.sheetmusicplus.com/title/22466227?aff_id=565049https://www.sheetmusicplus.com/title/piano-concerto-no-1-first-movement-score-and-parts-digital-sheet-music/22466227?aff_id=565049https://www.sheetmusicplus.com/22466227?aff_id=565049Piano Concerto No. 1 - SECOND movement [score and parts]https://www.sheetmusicplus.com/title/22466231?aff_id=565049Piano Concerto No. 1 - THIRD movement [score and parts]https://www.sheetmusicplus.com/title/22466233?aff_id=565049Aesthetic reflections on the piano concertoDuring the eras of classicism and romanticism, a concerto was often conceived as a confrontation between a soloist, symbolising the individual, and the orchestra, representing society. Seen in this way, a concert reflects a value system that pits the individual against the group and poses a struggle of I against you. Surely this vehemence could be explained in a Beethovenian era when the concepts of human rights and individual freedom were fragile ideals.However, it is a different scale of values that my piano concerto tries to reflect: the idea of cooperation, of teamwork and of an orchestra as a living organism whose organs are not superior to one another, more vital than others, but fulfil different functions, qualitatively speaking.Every soloist plays a leading role, but this does not imply either subordination to the rest or denigration or subjugation of the rest. The fact that the soloist is sometimes in the foreground does not imply a victory over the others. The very concept of victory is meaningless here.At times, the soloist will fulfil a leadership role, at others he or she will underpin from passivity what is happening in the orchestra, intentionally from the shadows, as a grey eminence. And at other times - why not - he will question what the majority is doing.It is not a rough relationship of me against you, but there is also a we.The composition and orchestration of this piano concerto was made possible by a grant from the Senator for Culture of the Free Hanseatic City of Bremen. This work was funded by an artist's grant as part of the Bremen-Corona-Hilfen programme.The premiere by the orchestra of the Bremer Orchestergemeinschaft is scheduled for the beginning of 2024. Duration: 17 to 20 minutes.1st movement - https://youtu.be/DNckBKzaWtc2nd movement - https://youtu.be/1Zy0ZbrdPJE3rd movement - https://youtu.be/dnYE9dWUEZg
$25.00
Piano Concerto No. 1 - FIRST movement [score and parts]
#
Orchestre de chambre
#
INTERMÉDIAIRE
#
Juan MarÃa Solare
#
Piano Concerto No. 1 - FIRST m
#
Juan Maria Solare
#
SheetMusicPlus
Chamber Orchestra - Level 3 - SKU: A0.1197728 By Juan MarÃa Solare. By Juan MarÃa Solare. 20th Century,Classical,Contemporary. Score and parts. 74...
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Chamber Orchestra - Level 3 - SKU: A0.1197728 By Juan MarÃa Solare. By Juan MarÃa Solare. 20th Century,Classical,Contemporary. Score and parts. 74 pages. Juan Maria Solare #796909. Published by Juan Maria Solare (A0.1197728). Juan MarÃa Solare: Piano Concerto No. 1 - FIRST movement [score and parts]Please find the other two movements - also in this platformThe full score (of the three movements) is also available independently HERE:https://www.sheetmusicplus.com/title/piano-concerto-no-1-score-only-digital-sheet-music/22468631?aff_id=565049Video in YouTube (score follower)Aesthetic reflections on the piano concertoDuring the eras of classicism and romanticism, a concerto was often conceived as a confrontation between a soloist, symbolising the individual, and the orchestra, representing society. Seen in this way, a concert reflects a value system that pits the individual against the group and poses a struggle of I against you. Surely this vehemence could be explained in a Beethovenian era when the concepts of human rights and individual freedom were fragile ideals.However, it is a different scale of values that my piano concerto tries to reflect: the idea of cooperation, of teamwork and of an orchestra as a living organism whose organs are not superior to one another, more vital than others, but fulfil different functions, qualitatively speaking.Every soloist plays a leading role, but this does not imply either subordination to the rest or denigration or subjugation of the rest. The fact that the soloist is sometimes in the foreground does not imply a victory over the others. The very concept of victory is meaningless here.At times, the soloist will fulfil a leadership role, at others he or she will underpin from passivity what is happening in the orchestra, intentionally from the shadows, as a grey eminence. And at other times - why not - he will question what the majority is doing.It is not a rough relationship of me against you, but there is also a we.The composition and orchestration of this piano concerto was made possible by a grant from the Senator for Culture of the Free Hanseatic City of Bremen. This work was funded by an artist's grant as part of the Bremen-Corona-Hilfen programme.The premiere by the orchestra of the Bremer Orchestergemeinschaft is scheduled for the beginning of 2024. Duration: 17 to 20 minutes.
$33.00
Piano Concerto No. 1 - SECOND movement [score and parts]
#
Orchestre de chambre
#
INTERMÉDIAIRE
#
Juan MarÃa Solare
#
Juan MarÃa Solare
#
Piano Concerto No. 1 - SECOND
#
Juan Maria Solare
#
SheetMusicPlus
Chamber Orchestra - Level 3 - SKU: A0.1197730 By Juan MarÃa Solare. By Juan MarÃa Solare. Arranged by Juan MarÃa Solare. 20th Century,Classical...
(+)
Chamber Orchestra - Level 3 - SKU: A0.1197730 By Juan MarÃa Solare. By Juan MarÃa Solare. Arranged by Juan MarÃa Solare. 20th Century,Classical,Contemporary. Score and parts. 64 pages. Juan Maria Solare #796911. Published by Juan Maria Solare (A0.1197730). Piano Concerto No. 1 - SECOND movement [score and parts]Please find the other two movements - also in this platformThe full score (of the three movements) is also available independently HERE:https://www.sheetmusicplus.com/title/piano-concerto-no-1-score-only-digital-sheet-music/22468631?aff_id=565049Video in YouTube (score follower)Aesthetic reflections on the piano concerto (by Juan MarÃa Solare)During the eras of classicism and romanticism, a concerto was often conceived as a confrontation between a soloist, symbolising the individual, and the orchestra, representing society. Seen in this way, a concert reflects a value system that pits the individual against the group and poses a struggle of I against you. Surely this vehemence could be explained in a Beethovenian era when the concepts of human rights and individual freedom were fragile ideals.However, it is a different scale of values that my piano concerto tries to reflect: the idea of cooperation, of teamwork and of an orchestra as a living organism whose organs are not superior to one another, more vital than others, but fulfil different functions, qualitatively speaking.Every soloist plays a leading role, but this does not imply either subordination to the rest or denigration or subjugation of the rest. The fact that the soloist is sometimes in the foreground does not imply a victory over the others. The very concept of victory is meaningless here.At times, the soloist will fulfil a leadership role, at others he or she will underpin from passivity what is happening in the orchestra, intentionally from the shadows, as a grey eminence. And at other times - why not - he will question what the majority is doing.It is not a rough relationship of me against you, but there is also a we.The composition and orchestration of this piano concerto was made possible by a grant from the Senator for Culture of the Free Hanseatic City of Bremen. This work was funded by an artist's grant as part of the Bremen-Corona-Hilfen programme.The premiere by the orchestra of the Bremer Orchestergemeinschaft is scheduled for the beginning of 2024. Duration: 17 to 20 minutes.
$33.00
Piano Concerto No. 1 - THIRD movement [score and parts]
#
Orchestre de chambre
#
INTERMÉDIAIRE
#
Contemporain
#
Juan MarÃa Solare
#
Piano Concerto No. 1 - THIRD m
#
Juan Maria Solare
#
SheetMusicPlus
Chamber Orchestra - Level 3 - SKU: A0.1197732 Composed by Juan MarÃa Solare. 20th Century,Classical,Contemporary. Score and parts. 53 pages. Juan Mar...
(+)
Chamber Orchestra - Level 3 - SKU: A0.1197732 Composed by Juan MarÃa Solare. 20th Century,Classical,Contemporary. Score and parts. 53 pages. Juan Maria Solare #796913. Published by Juan Maria Solare (A0.1197732). Piano Concerto No. 1 - THIRD movement [score and parts]Please find the other two movements - also in this platformThe full score (of the three movements) is also available independently HEREavailable HERE:(https://www.sheetmusicplus.com/title/piano-concerto-no-1-score-only-digital-sheet-music/22468631?aff_id=565049).Video in YouTube (score follower)Aesthetic reflections on the piano concerto (by Juan MarÃa Solare)During the eras of classicism and romanticism, a concerto was often conceived as a confrontation between a soloist, symbolising the individual, and the orchestra, representing society. Seen in this way, a concert reflects a value system that pits the individual against the group and poses a struggle of I against you. Surely this vehemence could be explained in a Beethovenian era when the concepts of human rights and individual freedom were fragile ideals.However, it is a different scale of values that my piano concerto tries to reflect: the idea of cooperation, of teamwork and of an orchestra as a living organism whose organs are not superior to one another, more vital than others, but fulfil different functions, qualitatively speaking.Every soloist plays a leading role, but this does not imply either subordination to the rest or denigration or subjugation of the rest. The fact that the soloist is sometimes in the foreground does not imply a victory over the others. The very concept of victory is meaningless here.At times, the soloist will fulfil a leadership role, at others he or she will underpin from passivity what is happening in the orchestra, intentionally from the shadows, as a grey eminence. And at other times - why not - he will question what the majority is doing.It is not a rough relationship of me against you, but there is also a we.The composition and orchestration of this piano concerto was made possible by a grant from the Senator for Culture of the Free Hanseatic City of Bremen. This work was funded by an artist's grant as part of the Bremen-Corona-Hilfen programme.The premiere by the orchestra of the Bremer Orchestergemeinschaft is scheduled for the beginning of 2024. Duration: 17 to 20 minutes.Full score available here
$33.00
Concerto for solo cello and sinfonietta op.3
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Orchestre de chambre
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AVANCÉ
#
Angus Ludfranz
#
/
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Concerto for solo cello and si
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Angus Ludfranz
#
SheetMusicPlus
Chamber Orchestra - Level 5 - SKU: A0.946916 By Angus Ludfranz. By Angus Ludfranz. Arranged by /. Contemporary,Romantic Period. Score and parts. 85 page...
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Chamber Orchestra - Level 5 - SKU: A0.946916 By Angus Ludfranz. By Angus Ludfranz. Arranged by /. Contemporary,Romantic Period. Score and parts. 85 pages. Angus Ludfranz #552652. Published by Angus Ludfranz (A0.946916). This piece was written when I was just graduated to secondary school, I was so nervous because of the brand new environment but also curious about everything, I joined the school orchestra and there was a concert for 170th school anniversary, I would never forget that concert in my life, it was the most extensive concert that I have attended (people were buying tickets to watch our performance) I was extremely nervous, but I was very happy in the percussion section. During rehearsal, I heard the amazing cello sound, that is a sound that I adored, it was the most amazing sound that I have ever heard, I was totally obsessed with the instrument, and I listen to cello concerto every day. Haydn, Dvorak, Shostakovich, Prokofiev, Schumann. I was totally obsessed with the instrument! Then I thought, why don’t I write a cello concerto by myself? That’s why I composed this piece. Hope you enjoy the piece. Your composer, A.Ludfranz.
$11.90
Concerto Grosso (2017) for chamber orchestra
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Orchestre de chambre
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INTERMÉDIAIRE/AVANCÉ
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Thomas Oboe Lee
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Allegro
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Concerto Grosso
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Thomas Oboe Lee
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SheetMusicPlus
Chamber Orchestra - Level 4 - SKU: A0.869525 Composed by Thomas Oboe Lee. 20th Century,Classical,Contemporary,Romantic Period. Score and parts. 78 pages...
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Chamber Orchestra - Level 4 - SKU: A0.869525 Composed by Thomas Oboe Lee. 20th Century,Classical,Contemporary,Romantic Period. Score and parts. 78 pages. Thomas Oboe Lee #3112103. Published by Thomas Oboe Lee (A0.869525). Instrumentation: 2222-2200-timp-stringsSteve Laven, cellist with the Boston Pro Arte Chamber Orchestra, contacted me a month ago and asked if I would be interested in writing a work to help celebrate the 40th Anniversary of the founding of the Pro Arte Chamber Orchestra. I said, Sure!!! He said it would be nice if I would consider a concerto grosso in which the principal players of the orchestra would each get a feature. I agreed that that would be a fine idea. So, on June 18th, 2017, I started working on it. And since I am on summer vacation from teaching I was able to finished the 557-measure work on July 2nd, fifteen days after I started. In 2018 just before I made plans to get the work recorded I made some revisions. One major change was that I cut the fourth movement out completely. It is now a mere 482 measures long. The work is now in three movements. 1. Introduction; Allegro 2. Presto 3. Largo Duration: ca. 17 minutes.YouTube link: https://youtu.be/xIMSFEd0p8oBandcamp link: https://thomasoboelee.bandcamp.com/album/concerto-grosso-2017PS: This is the sixth work that the PACO has performed of my music. 1. Phantasia for Elvira Shatayev (1981) with soprano Judith Kellock and Newell Hendricks.2. Harp Concerto (1985) with Ann Hobson-Pilot and Gunther Schuller.3. Symphony No. 1 ... Fallen Angels (1993, rev. 1995) with Gunther Schuller.4. Forró (1998) with Gunther Schuller.5. Daphne ... An Imaginary Ballet (2015) with Beatrice Affron.6. Concerto Grosso (2017) with Kevin Rhodes.
$9.99
La Fee Verte Bagpipe Concerto
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Orchestre de chambre
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INTERMÉDIAIRE/AVANCÉ
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Christine Southworth
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La Fee Verte Bagpipe Concerto
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Airplane Ears Music
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SheetMusicPlus
Chamber Orchestra - Level 4 - SKU: A0.1013047 Composed by Christine Southworth. 20th Century,Contemporary,World. Score and parts. 73 pages. Airplane Ear...
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Chamber Orchestra - Level 4 - SKU: A0.1013047 Composed by Christine Southworth. 20th Century,Contemporary,World. Score and parts. 73 pages. Airplane Ears Music #5802055. Published by Airplane Ears Music (A0.1013047). La Fee Verte (2013, 12 minutes) for chamber orchestra and Galician gaitasI first became obsessed with bagpipes when my grandfather, Boston Police Lieutenant David Moran, passed away. I was 14 years old, and at his funeral police pipers played, just before the rifles were fired. I was overwhelmed by the power of the instrument, of course compounded by my own sadness and emotion. Years later, a good friend died and another friend wrote him a requiem performed by 12 bagpipes, and after being in denial about his death the power of the sound again made be burst in to tears. Then I was out a Tanglewood at a Silk Road retreat and Osvaldo Golijov had brought a friend, Cristina Pato, to demonstrate her instrument, the Galician Gaita. I was blown away, for the first time the power of the instrument hit me with pure joy, I had never heard bagpipe played like this and by a woman, it was just spectacular! I immediately found a bagpipe teacher in Boston, and started learning Highland pipes, and a few years later, in 2010, went to Galicia and began studying the Gaita. This piece is dedicated to two great gaita players, Cristina Pato and my teacher Anton DaVila. La Fée Verte was commissioned by The Silk Road Project.About the ComposerChristine Southworth (b. 1978) is a composer and video artist based in Lexington, Massachusetts, dedicated to creating music born from a cross-pollination of sonic ideas. Inspired by intersections of technology and art, nature and machines, and musics from cultures around the world, her music employs sounds from man and nature, from Van de Graaff Generators to honeybees, Balinese gamelan to seismic data from volcanoes. Website: www.kotekan.com
$30.00
Concerto for Mandolin in G major
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Orchestre de chambre
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Alex Tinlin
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Alex Tinlin
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Concerto for Mandolin in G maj
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Alex Tinlin
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SheetMusicPlus
Chamber Orchestra - Level 4 - SKU: A0.1150812 By Alex Tinlin. By Johann Nepomuk Hummel. Arranged by Alex Tinlin. Classical. Score and parts. 134 pages. ...
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Chamber Orchestra - Level 4 - SKU: A0.1150812 By Alex Tinlin. By Johann Nepomuk Hummel. Arranged by Alex Tinlin. Classical. Score and parts. 134 pages. Alex Tinlin #750997. Published by Alex Tinlin (A0.1150812). My edition of Johann Nepomuk Hummels' Mandolin Concerto in G Major, originally composed for virtuoso mandolinist Bartholomeo Bortolazzi in 1799. I was assisted in editing the mandolin part by my mandolin-playing brother, Rolf Tinlin.
$5.99
TELEMANN – VIOLIN CONCERTO IN A MAJOR "THE FROGS", TWV 51:A4 (Score and parts in PDF)
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Orchestre de chambre
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AVANCÉ
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Classique
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Georg Philipp Telemann
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Sneakwood Editions
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TELEMANN – VIOLIN CONCER
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Sneakwood Editions
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SheetMusicPlus
Chamber Orchestra - Level 5 - SKU: A0.890767 Composed by Georg Philipp Telemann. Arranged by Sneakwood Editions. Baroque,Classical. Score and parts. 41 ...
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Chamber Orchestra - Level 5 - SKU: A0.890767 Composed by Georg Philipp Telemann. Arranged by Sneakwood Editions. Baroque,Classical. Score and parts. 41 pages. Sneakwood Editions #4781035. Published by Sneakwood Editions (A0.890767). Edition based on Ms. D MÜu, ms. 775Score (20 pages) and Parts (friendly performance edition): Violino principale, Violin I, Violin II, Violin III, Viola, Violoncello and Harpsichord.The Violin Concerto in A major (TWV 51:A4), which has come to light only fairly recently, does not take as its musical model the song of the nightingale (as in ‘La Bizarre’ [TWV 55:G2]) or of the goldfinch (Vivaldi), but the croaking of the common frog, also called ‘Reling’ in certain regions of Germany, whence the concerto’s subtitle. Nothing better could be expected of a composer who found inspiration even in crows and in the out-of-tune playing of village musicians! Although this concerto, which the manuscript attributes to Telemann, bears traces of his personal style, other features, such as the exceptionally high solo part, leave room for doubt. At a structurally important point in the first movement the soloist produces no more than a succession of repeated notes, ‘a-a, a-a’, which infect the other parts as well. Of course, this is the vowel that the frog croaks, given a distinctive tone-colour by use of the open A string and stopped D string. But worse is to come. In the second ritornello the orchestral violins ‘forget’ the beginning of their theme, whilst the cello inappropriately pushes its way into the foreground. The setting of the second movement (Adagio), probably a moonlit stretch of shallow water, then audibly inspires a pair of courting frogs to make sweet music together. We are given the opportunity to rejoice in their croaking offspring in the concluding Menuet and its rapid Double. This movement entirely dispenses with concertante sounds of nature and thereby betrays its origins in the suite, where it always takes its accustomed place in Telemann’s music. If we knew that a satirist was at work in this ‘Relinge’ Concerto, someone who was deliberately exhibiting all these deviations from good taste, then we could infer with some certainty that the composer is indeed Telemann. Since his own concertos ‘smack of France’ (as he puts it in his autobiography of 1718), we may most likely credit him with permitting his not at all ‘sullen old heart’ a little joke at the expense of the relevant concertos of a certain Italian composer… – Peter Huth (trans. Charles Johnston)www.snakewoodeditions.com
$18.00
Finale for Beethoven's Violin Concerto in C major WoO 5
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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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Finale for Beethoven's Violin
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Adrian Gagiu
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SheetMusicPlus
Chamber Orchestra - Level 4 - SKU: A0.1004721 Composed by Ludwig van Beethoven. Arranged by Adrian Gagiu. Classical. Score and parts. 48 pages. Adrian G...
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Chamber Orchestra - Level 4 - SKU: A0.1004721 Composed by Ludwig van Beethoven. Arranged by Adrian Gagiu. Classical. Score and parts. 48 pages. Adrian Gagiu #6204599. Published by Adrian Gagiu (A0.1004721). Beethoven's Romance No. 1 in G major for violin and orchestra op. 40 (c. 1801) was transposed in C major, arranged in the new key and appropriate tempo, and expanded to form a rondo Finale fit for his unfinished Concerto in C major, of which only about a half of a clean copy of the first movement survived as WoO 5 (1791-1792). Also, a newly composed solo cadenza was now inserted. Almost surely, the Romance No. 2 in F major op. 50 (c. 1791?) was intended as the slow movement of the Concerto (it has virtually the same scoring as WoO 5, the manuscript bears no title, and there is a thematic relation to WoO 5). The Romance No. 1 in G major was probably intended as a replacement or alternate slow movement, but it is his only composition relatable to the Concerto fragment, so I adapted it as conjecture Finale for a complete performing version of the Concerto.
$15.00
MOZART Clarinet Concerto K 622 - I. ALLEGRO // for Bb clarinet or A clarinet // Original or Modern F
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Orchestre de chambre
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AVANCÉ
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Classique
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Wolfgang Amadeus Mozart
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Marc GARETTO
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MOZART Clarinet Concerto K 622
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Marc GARETTO - Harmonie Editions
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SheetMusicPlus
Chamber Orchestra - Level 5 - SKU: A0.722926 Composed by Wolfgang Amadeus Mozart. Arranged by Marc GARETTO. Classical,Concert,Holiday,Instructional,Stan...
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Chamber Orchestra - Level 5 - SKU: A0.722926 Composed by Wolfgang Amadeus Mozart. Arranged by Marc GARETTO. Classical,Concert,Holiday,Instructional,Standards. Score and parts. 212 pages. Marc GARETTO - Harmonie Editions #4410793. Published by Marc GARETTO - Harmonie Editions (A0.722926). Mozart's Clarinet Concerto in A major, K. 622, was written in October 1791 for the clarinetist Anton Stadler. It consists of three movements, in a fast–slow–fast succession: Allegro (in A major and in sonata form)Adagio (in D major and in ternary form)Rondo: Allegro (in A major and in rondo form)
$110.00
Vivaldi - Violin Concerto in B flat major RV 375 for Violin, Strings and Cembalo
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Orchestre de chambre
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Classique
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Antonio Vivaldi
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Santino Cara
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Vivaldi - Violin Concerto in B
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Santino Cara
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SheetMusicPlus
Chamber Orchestra - SKU: A0.503075 By Antonio Vivaldi. By Antonio Vivaldi. Arranged by Santino Cara. Baroque. Score and parts. 96 pages. Published by Sa...
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Chamber Orchestra - SKU: A0.503075 By Antonio Vivaldi. By Antonio Vivaldi. Arranged by Santino Cara. Baroque. Score and parts. 96 pages. Published by Santino Cara (A0.503075). Complete score and parts of the Violin Concerto in B flat major RV 375 for Violin concertante, Strings and Cembalo. Composed in Venice presumably between 1723 and 1724 by Antonio Vivaldi. Reconstructed and elaborated in Rome in 2002 by Santino Cara. Single PDF file with full score and separate parts for: Violin concertante, Violins I and Violins II, Cellos (with solo cello), Double basses, Harpsichord. 3 Movements: 1. Calmo-Allegro non tanto, 2. Largo, 3. Allegro Source: this concert was reconstructed from the manuscript kept at the From the manuscript kept at the State Library of the University of Dresden.
$18.90
Vivaldi - Violin Concerto in D major RV 222 for Violin, Strings and Cembalo
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Orchestre de chambre
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Classique
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Antonio Vivaldi
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Santino Cara
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Vivaldi - Violin Concerto in D
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Santino Cara
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SheetMusicPlus
Chamber Orchestra - SKU: A0.503077 By Antonio Vivaldi. By Antonio Vivaldi. Arranged by Santino Cara. Baroque. Score and parts. 86 pages. Published by Sa...
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Chamber Orchestra - SKU: A0.503077 By Antonio Vivaldi. By Antonio Vivaldi. Arranged by Santino Cara. Baroque. Score and parts. 86 pages. Published by Santino Cara (A0.503077). Complete score and parts of the Violin Concerto in D major RV 222 for Violin concertante, Strings and Cembalo. Composed in Venice in 1724 by Antonio Vivaldi and dedicated to Signora Chiara. Reconstructed and elaborated in Rome in 2002 by Santino Cara. Single PDF file with full score and separate parts for: Violin concertante, Violins I and Violins II, Cellos (with solo cello), Double basses, Harpsichord. Movements: 1. Allegro non molto, 2. Andante, 3. Allegro. Source: The reconstruction of this concert was elaborated from a copy of the manuscript of 1740 kept in the State Library of the University of Dresden.
$18.90
Carson Cooman: Cerulean: Double Percussion Concerto (2004) for two solo percussionists and ensemble,
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Orchestre de chambre
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AVANCÉ
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Carson Cooman
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Carson Cooman: Cerulean: Doubl
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Musik Fabrik Music Publishing
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SheetMusicPlus
Chamber Orchestra - Level 5 - SKU: A0.533592 Composed by Carson Cooman. Contemporary,Standards. Score and parts. 87 pages. Musik Fabrik Music Publishing...
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Chamber Orchestra - Level 5 - SKU: A0.533592 Composed by Carson Cooman. Contemporary,Standards. Score and parts. 87 pages. Musik Fabrik Music Publishing #3029401. Published by Musik Fabrik Music Publishing (A0.533592). Cerulean: Double Percussion Concerto (2004) for two solo percussionists and ensemblewas commissioned by the Carnegie Mellon School of Music for percussionists Cory Cousins,Mike Perdue, and the Carnegie Mellon Contemporary Ensemble, Walter Morales, director.The work is dedicated to them and to Howard Stokar. The work is inspired by the ocean,particularly its greatest depths.The work is in two movements, played without break. The two movements explore the samemusical material (a specific collection of twelve pitches) in two very different ways. In thefirst movement, the material is presented often in row forms -- and harmonies derived from it.In the second movement, a more free approach is used to the material and it becomes moremotivic and gestural.The first movement, Different Purposes, is inspired by the vast diversity of deep-sea life.Musical objects interact with each other and ideas transform each other. Many of these deepseacreatures live in very isolated and solitary environments at the ocean's lowest points.They each exist and pursue their own purposes without any awareness of what else ishappening around them. However, despite this, they are all existing within a commonenvironmental system and are thus achieving goals together on a larger level.The second movement, Different Porpoises, is inspired by porpoises and other sea-creatureswho surface, thus providing a link to human land-bound life. The marimba establishes arhythmic ostinato which (although passed around) remains steady throughout most of themovement.InstrumentationFluteOboeClarinet in BbBass Clarinet in BbBassoonHorn in FPiano2 Solo Percussion:I: marimba, crotales, suspended cymbal, 2 spokes/bellsII: vibraphone (with motor), tubular bells, 3 bowls (indef. pitches),medium-size water gong (i.e., gong with bucket of water),3 roto-toms, conga, bass drum(each percussionist needs two bows)Violin IViolin IIViolaCello(All players except for the two solo percussion also playoracle rods in addition to their instruments.)The full score without the solo parts is also available for sale.. The parts are on rental from the publisher
$21.95
Carson Cooman: Cerulean: Double Percussion Concerto (2004) for two solo percussionists and ensemble,
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Orchestre de chambre
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AVANCÉ
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Contemporain
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Carson Cooman
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Carson Cooman: Cerulean: Doubl
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Musik Fabrik Music Publishing
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SheetMusicPlus
Chamber Orchestra - Level 5 - SKU: A0.533591 Composed by Carson Cooman. Contemporary. Score and parts. 66 pages. Musik Fabrik Music Publishing #3029399....
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Chamber Orchestra - Level 5 - SKU: A0.533591 Composed by Carson Cooman. Contemporary. Score and parts. 66 pages. Musik Fabrik Music Publishing #3029399. Published by Musik Fabrik Music Publishing (A0.533591). Cerulean: Double Percussion Concerto (2004) for two solo percussionists and ensemblewas commissioned by the Carnegie Mellon School of Music for percussionists Cory Cousins,Mike Perdue, and the Carnegie Mellon Contemporary Ensemble, Walter Morales, director.The work is dedicated to them and to Howard Stokar. The work is inspired by the ocean,particularly its greatest depths.The work is in two movements, played without break. The two movements explore the samemusical material (a specific collection of twelve pitches) in two very different ways. In thefirst movement, the material is presented often in row forms -- and harmonies derived from it.In the second movement, a more free approach is used to the material and it becomes moremotivic and gestural.The first movement, Different Purposes, is inspired by the vast diversity of deep-sea life.Musical objects interact with each other and ideas transform each other. Many of these deepseacreatures live in very isolated and solitary environments at the ocean's lowest points.They each exist and pursue their own purposes without any awareness of what else ishappening around them. However, despite this, they are all existing within a commonenvironmental system and are thus achieving goals together on a larger level.The second movement, Different Porpoises, is inspired by porpoises and other sea-creatureswho surface, thus providing a link to human land-bound life. The marimba establishes arhythmic ostinato which (although passed around) remains steady throughout most of themovement.InstrumentationFluteOboeClarinet in BbBass Clarinet in BbBassoonHorn in FPiano2 Solo Percussion:I: marimba, crotales, suspended cymbal, 2 spokes/bellsII: vibraphone (with motor), tubular bells, 3 bowls (indef. pitches),medium-size water gong (i.e., gong with bucket of water),3 roto-toms, conga, bass drum(each percussionist needs two bows)Violin IViolin IIViolaCello(All players except for the two solo percussion also playoracle rods in addition to their instruments.)The solo parts plus the full score are available for sale. The parts are on rental from the publisher
$17.95
Concerto in B minor (Concerto Grosso)
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Orchestre de chambre
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Antonio Vivaldi
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Devin Neely-Turkalj
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Concerto in B minor
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Devin Neely
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SheetMusicPlus
Chamber Orchestra - Level 4 - SKU: A0.1008068 Composed by Antonio Vivaldi. Arranged by Devin Neely-Turkalj. Baroque. Score and parts. 37 pages. Devin Ne...
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Chamber Orchestra - Level 4 - SKU: A0.1008068 Composed by Antonio Vivaldi. Arranged by Devin Neely-Turkalj. Baroque. Score and parts. 37 pages. Devin Neely #4613495. Published by Devin Neely (A0.1008068). Technically, this piece was written by Bach, but Vivaldi thought it would be a good idea to arrange this piece for 4 Violins with String Orchestra. I've managed to arrange all three movements for String Quartet (Concerto Grosso Style). Enjoy!
$19.99
Concerto for Trumpet and Orchestra (set of orchestra parts including solo)
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Orchestre de chambre
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INTERMÉDIAIRE/AVANCÉ
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Gary Friedman
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Concerto for Trumpet and Orche
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Gary Friedman
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SheetMusicPlus
Chamber Orchestra - Level 4 - SKU: A0.889881 Composed by Gary Friedman. Contemporary,Romantic Period. Score and parts. 71 pages. Gary Friedman #12907. P...
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Chamber Orchestra - Level 4 - SKU: A0.889881 Composed by Gary Friedman. Contemporary,Romantic Period. Score and parts. 71 pages. Gary Friedman #12907. Published by Gary Friedman (A0.889881). Please see Concerto for Trumpet and Orchestra (score, piano reduction, and solo trumpet parts) for Description and audio clip. The combined pdf for that plus the all of the parts was too large for SheetMusicPlus to accept, so I am providing the parts here separately.
$20.00
Do You Hear What I Hear
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Orchestre de chambre
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INTERMÉDIAIRE/AVANCÉ
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Carrie Underwood
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Dennis Ruello
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Do You Hear What I Hear
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Chicory Music
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SheetMusicPlus
Chamber Orchestra - Level 4 - SKU: A0.734392 By Carrie Underwood. By Gloria Shayne and Noel Regney. Arranged by Dennis Ruello. Christian,Gospel,Rock. Sc...
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Chamber Orchestra - Level 4 - SKU: A0.734392 By Carrie Underwood. By Gloria Shayne and Noel Regney. Arranged by Dennis Ruello. Christian,Gospel,Rock. Score and parts. 19 pages. Chicory Music #3690903. Published by Chicory Music (A0.734392). Do You Hear What I Hear? is a song written in October 1962, with lyrics by Noël Regney and music by Gloria Shayne Baker. The pair, married at the time, wrote it as a plea for peace during the Cuban Missile Crisis. Regney had been invited by a record producer to write a Christmas song, but he was hesitant due to the commercialism of the Christmas holiday. It has sold tens of millions of copies and has been covered by hundreds of artists, This Advanced Intermediate Level arrangement for Chamber orchestra is appropriate for holiday recitals, concerts and church services.Performance time is approx. 2 min. 40 sec. 2018 Holiday Contest Entry .
$18.99
Serenade Rondo (2013) for violin solo and chamber orchestra
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Orchestre de chambre
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INTERMÉDIAIRE/AVANCÉ
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Thomas Oboe Lee
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Serenade Rondo
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Thomas Oboe Lee
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SheetMusicPlus
Chamber Orchestra - Level 4 - SKU: A0.869428 Composed by Thomas Oboe Lee. 20th Century,Baroque,Classical,Contemporary,Romantic Period. Score and parts. ...
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Chamber Orchestra - Level 4 - SKU: A0.869428 Composed by Thomas Oboe Lee. 20th Century,Baroque,Classical,Contemporary,Romantic Period. Score and parts. 36 pages. Thomas Oboe Lee #2071135. Published by Thomas Oboe Lee (A0.869428). Instrumentation: oboe, english horn, 2 french horns, and strings. I met Sharon Roffman in the fall of 2011 when maestro Steven Lipsitt and the Boston Classical Orchestra premiered my Symphony No. 8 … The City of Light at Faneuil Hall in Boston, Massachusetts. Sharon was the featured concerto soloist on the same program. She was an electrifying soloist in concertos by Mozart and Haydn, respectively. She wowed every one with her chops and musicality! A year later I went to hear Sharon and the BCO again, and this time I said to Steven Lipsitt that I want to write a concerto for Sharon. He thought it was great idea, and so did she. The title Serenade Rondo has the same acronym as Sharon Roffman. So in this case, the form precedes the composition. Originally I had planned to compose the concerto in the usual three-movement format. And I thought I was going to make the last movement a rondo, something in the usual ABACA thing. But as I proceeded with the composition, I realized that the work was moving in such a way that the whole thing could be conceived of as a rondo. Ultimately Serenade Rondo ended up in this form: ABACDAAudio link: https://thomasoboelee.bandcamp.com/album/serenade-rondo-2013Video link: https://youtu.be/4UPHQlqVNp8
$9.99
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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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
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
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
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
If I come to Jesus (For Violin and Chamber)
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Orchestre de chambre
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INTERMÉDIAIRE/AVANCÉ
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W
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Han-Ki Kim
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If I come to Jesus
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Han-Ki Kim
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SheetMusicPlus
Chamber Orchestra - Level 4 - SKU: A0.1432912 By W.H.Doane. By W.H.Doane. Arranged by Han-Ki Kim. Chamber,Children,Christian,Classical,Religious. 24 pag...
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Chamber Orchestra - Level 4 - SKU: A0.1432912 By W.H.Doane. By W.H.Doane. Arranged by Han-Ki Kim. Chamber,Children,Christian,Classical,Religious. 24 pages. Han-Ki Kim #1013334. Published by Han-Ki Kim (A0.1432912). One of the best-known hymns, “If I come to Jesus” , was written in 1867 by Frances Jane Crosby(1820-1915). And, the tune was added Willam Howard Doane(1832–1915). After publication as a Hymn it became one of the most popular Christian hymns in churches around the world. Although it is a melody with a simple structure, it is especially loved by children due to its interesting progression. I quoted this beautiful melody and arranged it into a small violin concerto format.
$15.90
Jesus loves me, this I know (For Violin and Chamber)
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Orchestre de chambre
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INTERMÉDIAIRE/AVANCÉ
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W
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Han-Ki Kim
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Jesus loves me, this I know
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Han-Ki Kim
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SheetMusicPlus
Chamber Orchestra - Level 4 - SKU: A0.1432401 By W.B.Bradbury. By W.B.Bradbury. Arranged by Han-Ki Kim. Chamber,Christian,Classical,Religious,Sacred. 20...
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Chamber Orchestra - Level 4 - SKU: A0.1432401 By W.B.Bradbury. By W.B.Bradbury. Arranged by Han-Ki Kim. Chamber,Christian,Classical,Religious,Sacred. 20 pages. Han-Ki Kim #1012892. Published by Han-Ki Kim (A0.1432401). One of the best-known hymns, “Jesus Loves Me,” was written by Anna Bartlett Warner (1827–1915). And , the tune was added in 1862 by William Batchelder Bradbury (1816–1868). After publication as a Hymn it became one of the most popular Christian hymns in churches around the world. Although it is a melody with a simple structure, it is especially loved by children due to its interesting progression. I quoted this beautiful melody and arranged it into a small violin concerto format.
$15.90
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