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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 There
Non classifié
613
Piano & claviers
Piano seul
121
Piano, Voix et Guitare
23
Piano, Voix
20
Instruments en Do
11
Piano Facile
8
Orgue
5
2 Pianos, 4 mains
2
Piano Quintette: piano, 2 violons, alto, violoncelle
1
1 Piano, 4 mains
1
Piano (partie séparée)
1
+ 5 instrumentations
Retracter
Guitares
Guitare
16
Ligne De Mélodie, (Paroles) et Accords
6
2 Guitares (duo)
4
Guitare notes et tablatures
4
Mandoline
3
3 Guitares (trio)
3
4 Guitares (Quatuor)
2
Piano, Guitare (duo)
2
Guitare, Orchestre
1
+ 4 instrumentations
Retracter
Voix
Chorale SATB
59
Voix seule
5
Voix Baryton, Piano
4
Chorale 3 parties
4
Chorale 2 parties
3
Voix Tenor, Piano
2
Chorale TTBB
2
Voix Alto, Piano
1
Chorale SSAA
1
Chorale SSATTB
1
Voix duo
1
Chorale Unison
1
Voix Soprano, Piano
1
+ 8 instrumentations
Retracter
Vents
Quintette de Saxophone: 5 saxophones
93
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
70
Ensemble de saxophones
70
Ensemble de Clarinettes
29
Ensemble de Flûtes
13
Quintette de Flûte : 5 flûtes
12
2 Saxophones (duo)
12
Flûte traversière et Piano
11
2 Clarinettes (duo)
9
Saxophone Alto et Piano
9
Saxophone, Clarinette (duo)
8
Flûte, Hautbois, Clarinette, Basson
8
Flûte traversière
7
Hautbois, Piano (duo)
7
2 Flûtes traversières (duo)
7
Clarinette, Violon (duo)
6
Clarinette
6
Quatuor de Saxophones: 4 saxophones
6
Clarinette et Piano
6
2 Hautbois (duo)
5
Saxophone Tenor et Piano
5
Hautbois (partie séparée)
4
Saxophone Baryton, Piano
4
Flûte, Clarinette (duo)
4
Flûte, Saxophone (duo)
3
Cor anglais, Piano
3
Flûte, Violon
3
Flûte, Alto (duo)
3
Hautbois, Basson (duo)
3
Hautbois, Clarinette (duo)
3
Saxophone Soprano et Piano
3
Clarinette et Alto
3
2 Flûtes traversières, Piano
2
Hautbois, Flûte
2
Flute (partie séparée)
2
Trio de Flûtes: 3 flûtes
2
Clarinette, Trompette (duo)
2
Clarinette Basse, Piano
2
3 Saxophones (trio)
1
Quintette de Clarinettes: 5 clarinettes
1
Saxophone et Orgue
1
Clarinette, Violoncelle (duo)
1
Piccolo
1
Flûte à bec Soprano
1
Saxophone et Guitare
1
Quatuor de Flûtes : 4 flûtes
1
Piccolo, Piano
1
Saxophone Soprano
1
Flûte et Guitare
1
Clarinette, Basson (duo)
1
Clarinette, Trombone (duo)
1
Flûte à bec Soprano, Piano
1
Saxophone Alto
1
Flûte, Violon, Piano
1
Saxophone Tenor
1
Saxophone (partie séparée)
1
+ 51 instrumentations
Retracter
Cuivres
Quatuor de Cuivres : 2 trompettes, trombone, tuba
77
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
32
Ensemble de Trombones
27
Quatuor de Cuivres: 2 trompettes, Cor, trombone
22
Quatuor de Cuivres
16
Ensemble de Trompettes
15
Trompette
8
2 Trombones (duo)
7
Ensemble de Cors
5
Trompette, Saxophone (duo)
5
2 Trompettes (duo)
4
Euphonium, Piano (duo)
4
Trompette, Trombone (duo)
4
Trombone et Piano
4
Cor anglais, Piano
3
2 Cors (duo)
3
Cor et Piano
3
Tuba et Piano
2
Trio de Cuivres
2
2 Tubas (duo)
2
Trompette, Piano
2
Tuba
2
Quatuor de cuivres: 4 trombones
1
Trombone
1
Cor
1
Bass Clef Instruments
1
Trombone basse et Piano
1
+ 22 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
21
Violon et Piano
18
Ensemble de Violons
14
Ensemble d'Altos
14
Trio à Cordes: violon, alto, violoncelle
13
Harpe
10
2 Violoncelles (duo)
10
Violon
10
Violoncelle, Piano
8
Quintette à cordes: 2 violons, alto, violoncelle, basse
7
2 Altos (duo)
6
Alto, Piano
6
Violon, Alto (duo)
5
2 Violons (duo)
5
Violoncelle
5
Violon, Violoncelle (duo)
4
Alto seul
4
Quintette à cordes: 2 violons, 2 altos, violoncelle
2
Alto, Violoncelle (duo)
2
4 Violoncelles
2
Alto et Basson
1
Contre Basse
1
Harpe, Voix
1
Quatuor à cordes : 4 altos
1
Trio à Cordes: 2 violons, violoncelle
1
Quatuor à cordes: 4 violons
1
Ensemble de Violoncelles
1
+ 22 instrumentations
Retracter
Orchestre & Percussions
Orchestre d'harmonie
82
Orchestre à Cordes
38
Orchestre
32
Orchestre de chambre
16
Ensemble de cuivres
14
Ensemble Jazz
6
Ensemble de Percussions
1
2 Marimbas
1
Piano et Orchestre
1
+ 4 instrumentations
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FLUTE A DIX…
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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
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TROMPETTE
TUBA
UKULELE
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VIOLONCELLE
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Once I Was There
Orchestre de chambre
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1
Piano Concerto No. 1 - Score Only
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Orchestre de chambre
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INTERMÉDIAIRE
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Juan MarÃa Solare
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Piano Concerto No. 1 - Score O
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Juan Maria Solare
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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]
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Orchestre de chambre
#
INTERMÉDIAIRE
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Juan MarÃa Solare
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Piano Concerto No. 1 - FIRST m
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Juan Maria Solare
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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]
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Orchestre de chambre
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INTERMÉDIAIRE
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Juan MarÃa Solare
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Juan MarÃa Solare
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Piano Concerto No. 1 - SECOND
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Juan Maria Solare
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SheetMusicPlus
Chamber Orchestra - Level 3 - SKU: A0.1197730 By Juan MarÃa Solare. By Juan MarÃa Solare. Arranged by Juan MarÃa Solare. 20th Century,Classical...
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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]
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Orchestre de chambre
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INTERMÉDIAIRE
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Contemporain
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Juan MarÃa Solare
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Piano Concerto No. 1 - THIRD m
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Juan Maria Solare
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SheetMusicPlus
Chamber Orchestra - Level 3 - SKU: A0.1197732 Composed by Juan MarÃa Solare. 20th Century,Classical,Contemporary. Score and parts. 53 pages. Juan Mar...
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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
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Angus Ludfranz
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/
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Concerto for solo cello and si
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Angus Ludfranz
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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
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
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
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
Halloween Prelude for Small Orchestra
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Orchestre de chambre
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INTERMÉDIAIRE
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Halloween
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Film/TV
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Mark Bisson
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Halloween Prelude for Small Or
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Mark Bisson
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SheetMusicPlus
Chamber Orchestra - Level 3 - SKU: A0.900886 Composed by Mark Bisson. Film/TV,Halloween. Score and parts. 34 pages. Mark Bisson #3624157. Published by M...
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Chamber Orchestra - Level 3 - SKU: A0.900886 Composed by Mark Bisson. Film/TV,Halloween. Score and parts. 34 pages. Mark Bisson #3624157. Published by Mark Bisson (A0.900886). A short Concert piece for a school orchestra.I was trying to create a fun Halloween piece full of musical cliches. There is a tuba solo but this can be played by a trombone if necessary. I have also included the tuba part as an E flat bass part. I have included optional oboe parts (which can be covered either by clarinets or flutes) and an optional bassoon part. The piece may feel a little brass heavy due to there being 4 horn parts and 4 trumpet parts; this is a reflection of the instrumentalists I had at the time of composing it. It is, as usual, thickly scored so that it will still work even if you don’t have a full compliment of players. The Double bass part can be played on a bass guitar.PERFORMANCE AND PHOTOCOPYING I freely give my permission to make as many copies of parts etc. as needed and would be delighted to have any of my music performed (there is no charge) but please tell me how it went!
$6.99
Legacy for Chamber Orchestra
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Orchestre de chambre
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AVANCÉ
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Sy Brandon
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Legacy for Chamber Orchestra
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Sy Brandon
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SheetMusicPlus
Chamber Orchestra - Level 5 - SKU: A0.1453498 Composed by Sy Brandon. 21st Century,Contest,Festival. 235 pages. Sy Brandon #1032727. Published by Sy Bra...
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Chamber Orchestra - Level 5 - SKU: A0.1453498 Composed by Sy Brandon. 21st Century,Contest,Festival. 235 pages. Sy Brandon #1032727. Published by Sy Brandon (A0.1453498). Legacy is a three-movement composition for chamber orchestra that makes social commentary on the issue of global warming. It was commission in 2007 by the Washington Sinfonietta, Rufus Jones, conductor and rewritten for chamber orchestra in 2023. I. Conflicts - This movement begins with a cry from native cultures admonishing our neglect of the environment. The cry is interspersed with debate regarding the seriousness of global warming (woodwinds). The debate grows stronger as the cries grow weaker. The debate isquieted by a measure of repeated chords that could be the words, stop it! stop it now!” A weak cry in the English Horn brings the introduction to a close. An Allegro section follows with a rhythmic and primitive sounding section representing the underdeveloped nations that are destroying the rain forests for economic gain. This material evolves into a more harmonic and contrapuntal section representing industrialized nations reluctant to change, also for economic reasons. Things quiet down as the music takes the listener to another part of the globe, East Asia. Conflict is again present in this section. The music returns to a varied restatement of the industrialized nations music before traveling to India for a section influenced by Raga. This section builds in dissonance until we hear the repeated stop it now chords from the introduction. A brief reprise of the cries brings the movement to a close. II. Consequences - This movement evokes a somber mood that is reflective of living in a climate of extremes. The movement is in arch form as it begins and ends with open harmony reflective of barren lands that once were fertile. The middle section serves as a climax expressing the harshness of the climate. Colleen McCullough's book, A Creed for the Third Millennium was a source of inspiration for this movement. III. Sacrifice and Compromise - The movement begins with a strong section that suggests progress. It is followed by a quieter and intense section that alternates lyrical lines over a staccato ostinato creating a sense of urgency. The opening section returns and is followed by a development of the ostinato section. This section is symbolic of how ideas need to be adapted in order for progress to be made. The opening section returns once more before leading into the concluding section where there is coming together of the instruments on a long lyrical line representing more and more people working together for change. The movement ends with a sense of triumph over adversity. Score prints on legal size paper and parts on letter.
$40.00
Canticum Canticorum for Krzysztof Penderecki
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Orchestre de chambre
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AVANCÉ
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MohammadHadi Ayanbod
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Canticum Canticorum for Krzysz
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Rimorarte Edition
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SheetMusicPlus
Chamber Orchestra - Level 5 - SKU: A0.1027777 Composed by MohammadHadi Ayanbod. 20th Century,A Cappella,Contemporary,Sacred. Score and parts. 32 pages. ...
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Chamber Orchestra - Level 5 - SKU: A0.1027777 Composed by MohammadHadi Ayanbod. 20th Century,A Cappella,Contemporary,Sacred. Score and parts. 32 pages. Rimorarte Edition #5996921. Published by Rimorarte Edition (A0.1027777). Canticum Canticorum, for Grand String Orchestra & Mixed Choir, is a musical piece based on the old text with the same name from Vulgate. The Canticum Canticorum text also known as Song of Songs, the Song of Solomon, the Canticle of Canticles, (Old Greek: Άσμα Ασμάτων, same meaning as song of songs). As David Berlo once beautifully put this into words: Meanings are in people … not in the messages …. The elements and structure of a language … are only symbols …. Meanings are not transmittable … Only messages are transmittable, and meanings are not in the message, they are in the message-users! Therefore, I needed to understand and interpret the text itself, even before I wanted to try setting it to the music. However, in order to understand the text correctly, one should comprehend the origin of the text and get to know its author(s), at first. In the case of Canticum Canticorum, both the author and the origin of the text are obscure. Furthermore, even the approximate date/century/era of the birth and the cultural context in which the text was created, are far from clear. According to the scholars, the creation of the text ranges from the tenth century B.C.; the era of Solomon, up to the first century B.C., and the origin of it considers from Indian, Tamil, or Ethiopic literature to Palestinian one. Because of these vast spectra of dates and cultures, I had to read and understand the text, compare with other sources, find similarities in other languages and cultures, hermeneutically interpret it and search for those non-written or metaphorical clues that may lead to unfasten the mystery has been attached to the text. In order to achieve the most accurate and faithful interpretation of the text I also had to answer few questions regarding the style, structure, medium, architecture and techniques of the music in relation to the text. I have used string orchestra and mixed choir to render the ideas, since that is among highly versatile instrumentations capable of providing small and delicate whispers, heavenly voices, and intonation changes that is hardly-reproducible by other mediums as well as thunderous sounds. Although Canticum Canticorum is single-movement work, but still possible to distinguish three different sections: the beginning choral part that is a long fugue in 5 voices with the material of serial music which helps orchestra to enter and grow, the a-capella middle section consists of two contrasting but invisibly related atmospheres and the third section – the recapitulation of the ideas already presented, in both the text and the music. The culmination of the work; 11-parts choral, takes place in the third section, somewhere near the end of the piece. Canticum Canticorum, for Grand String Orchestra & Mixed Choir, is dedicated to the genius composer of our time, Maestro Prof. dr. h.c. Krzysztof Penderecki.
$24.99
The Egret's Wishes《白鷺鷥的願望》
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Orchestre de chambre
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Ma Shui Long 馬水é¾
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The Egret's Wishes《ç™
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SpringAutumnmusic
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SheetMusicPlus
Chamber Orchestra - SKU: A0.961999 Composed by Ma Shui Long 馬水é¾. 20th Century,Contemporary. Score and parts. 55 pages. SpringAutumnmusic ...
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Chamber Orchestra - SKU: A0.961999 Composed by Ma Shui Long 馬水é¾. 20th Century,Contemporary. Score and parts. 55 pages. SpringAutumnmusic #2341885. Published by SpringAutumnmusic (A0.961999). 《白鷺鷥的願望》，鋼ç´èˆ‡å¼¦æ¨‚å››é‡å¥ 2002å¹´ 　本曲應白鷺鷥文教基金會之委託，特別以å°ç£ç«¥è¬ <白鷺鷥>的旋律為創作之主è¦ç´ ；全曲略分為四段，動機之發展亦為單純，但æ¯ä¸€æ®µå‡åœ¨è®ŠåŒ–ä¸ï¼›å¦‚多種的ç†å¿µåœ¨ç•°ä¸æ±‚åŒä¹‹éŽç¨‹ä¸å¾—到純化，象徵白鷺鷥乘著希望之翼翻山越嶺，飛å‘安和幸ç¦çš„家園。 ※本曲首演於2002å¹´8月25æ—¥ï¼Œæ–¼åœ‹å®¶éŸ³æ¨‚å»³èˆ‰è¾¦çš„ã€Œç¬¬äºŒå±†åŠ å°å¤å£éŸ³æ¨‚節ã€ã€‚æ¼”å¥å®¶ç‚ºé‹¼ç´å¥ˆè‰¯å¸Œæ„›ï¼Œç¬¬ä¸€å°æç´Edmond Agopian，第二å°æç´å³åŸå¹³ï¼Œä¸æç´æ¥Šç‘žç‘Ÿ ，大æç´æž—浥雯。 《The Egret's Wishes》for Piano and String Quartet（2002） The Egret’s Wishes was commissioned by the Egret Cultural and Educational Foundation (ECEF). The piece consists four sections, and the composer developed the main motives and elements from the melody of a Taiwanese children's rhyme, The Little Egret, as the base of ​​this composition. Although there are always subtle differences change steadily in every section, the development of the main motives are very simple and clear in this piece, implies as if the diversities will finally purify and unite to one simple concept/idea, even they are developed in different ways. This symbolizes the little egret flies over different mountains and valleys, but always seeking the way to the only place for peace and happiness. The Egret’s Wishes was premiered in the National Cocnert Hall on 25th of August 2002. It was pragrammed in a concert of The 2nd Taiwan-Canada Summer Music Festival. The world premiere musicians were Kiai Nara (Piano), Edmond Agopian (Violin I), Meng-Ping Wu (Violin II), Jui-Se Yang (Viola) and I-Wen Lin (Cello).
$20.99
The Hunt
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Orchestre de chambre
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AVANCÉ
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Franco Esteve
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The Hunt
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Franco Esteve
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SheetMusicPlus
Chamber Orchestra - Level 5 - SKU: A0.1011208 Composed by Franco Esteve. Contemporary,Film/TV. Score and parts. 17 pages. Franco Esteve #4601475. Publis...
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Chamber Orchestra - Level 5 - SKU: A0.1011208 Composed by Franco Esteve. Contemporary,Film/TV. Score and parts. 17 pages. Franco Esteve #4601475. Published by Franco Esteve (A0.1011208). The Hunt is the title track to my modern, classical crossover, concept album, The Hunt. The Hunt is the hunt of life, hunting for health, for life, for happiness, for love, for ideas, for creativity, for success. The song represents the drive, the moving, the launch, that hope, that happiness, when you set out to do something in your life.From the album booklet (as it's a concept album, each song, though independent, has an overarching story):The effort has paid off. The day is here.The mood is happy. Success awaits. Let's go.Let's do it. It's sitting there for the taking.I'm in the zone. I'm in the flow. The huntress has shown me the bounty,and I'm ready to take it, to receive it, to enjoy it. I deserve it.Though it was written with larger groups in mind or small orchestras, keeping it in a way quite simple, it can most likely be played with 2 clarinets, a cello, and a trumpet. I can imagine it can work quite nicely with a school orchestra or any small ensemble, even if some might need to make some minor adjustments to how it's played. It's meant to be played in an upbeat and happy fashion, and the trumpet should be sexy and fun. It'll be fun to hear how others interpret it.The PDF includes the full score and all 4 individual parts (Clarinet, Clarinet Section in Bb, Cellos, Trumpet Section in Bb). The music is 2 minutes and 41 seconds (2:41).Thank you for your interest in my music. I hope y’all enjoy playing it as much as I did composing it.Don’t forget to keep up to date with everything Franco Esteve:Website: http://www.francoesteve.com/Facebook: https://www.facebook.com/seefrancoesteveTwitter: https://www.twitter.com/FrancoEsteveInstagram: https://www.instagram.com/seefrancoesteveSpotify: https://open.spotify.com/artist/4VMSPHtolbzozjH4OY0I6BMy music is also available on all major, online music stores and streaming services, including:Bandcamp: https://francoesteve.bandcamp.comCDBaby: https://store.cdbaby.com/Artist/FrancoEsteveSpotify: https://open.spotify.com/artist/4VMSPHtolbzozjH4OY0I6BiTunes/Apple Music: https://itunes.apple.com/us/artist/franco-esteve/894690746I'm a BMI affiliated artist and you can contact me using the contact form at:http://www.francoesteve.com or through Facebook or Twitter. Thank you again and enjoy! :)
$9.99
Symphony No. 8 ... City of Light (2011) 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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Symphony No. 8 ... City of Lig
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Thomas Oboe Lee
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SheetMusicPlus
Chamber Orchestra - Level 4 - SKU: A0.869356 Composed by Thomas Oboe Lee. 20th Century,Baroque,Classical,Contemporary,Romantic Period. Score and parts. ...
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Chamber Orchestra - Level 4 - SKU: A0.869356 Composed by Thomas Oboe Lee. 20th Century,Baroque,Classical,Contemporary,Romantic Period. Score and parts. 113 pages. Thomas Oboe Lee #15879. Published by Thomas Oboe Lee (A0.869356). Instrumentation: 1 flute, 1 oboe, 1 English horn, 2 bassoons, 2 French horns, timpani and strings.Program note: In the year 2010, my wife Kristin Beckwith and I went to Paris twice, the first time in May and the second time in December right after Christmas. The weather was magnificent in May. Our friends Seph and Roger met us there. Being long-time veterans of Paris, they took us all over the city: Le Marais, the Left Bank, Montmartre, Sacré Coeur, Père LaChaise cemetery, Avenue des Champs-Élysées, Jardin du Luxembourg, Jardin des Tuileries, Notre Dame cathedral, Eiffel Tower, the flea market at Porte de Clignancourt, the canal at Saint Martin, etc. Since the weather was so great we basically stayed outside the entire two weeks. My wife Kris said that we had to return next again to Paris to go inside the museums. So we did. The weather in Paris after Christmas was very damp and chilly. So we did indoor activities: Le Louvre, Musée D’Orsay, Palais Garnier, etc. We even attended a beautiful performance of Swan Lake by the Paris Opera Ballet at L’Opéra Bastille. I should also mention that on both occasions I met up with a former student of mine from Berklee, Joe Makholm. He makes a living in Paris playing jazz piano. Joe got us a gig at the Swan Bar in Montparnasse. On the first occasion we did it as a trio with a French bass player. I played flute. On the second occasion, we did it as a duo. Playing jazz in Paris? You can’t beat that!!! Early this year, Steven Lipsitt and I had a chat about my writing a new work for the Boston Classical Orchestra. My last work for the BCO was a piano concerto with Robert Levin as soloist. I told Steven that this time I wanted to write a symphony. He said, Sure. Go ahead. I told him it would be about Paris. He said he would put Mozart’s Paris Symphony on the same program. I said, Fabulous! Symphony No. 8 … City of Light (2011) is in five movements. 1. La Seine Presto, Moderato 2. Basilique du Sacré-Coeur Largo 3. Palais Garnier Allegro, Trio 4. Avenue des Champs-Élysées Allegro 5. Musée du Louvre Largo, Moderato This work is dedicated to my wife and muse, Kristin Beckwith. Audio Link: https://thomasoboelee.bandcamp.com/album/symphony-no-8-city-of-light-2011Video link: https://youtu.be/-Yn76vWg7jE
$9.99
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Once I Was There
