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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
Opening Theme
Non classifié
252
Piano & claviers
Piano seul
295
Piano Facile
72
Piano, Voix
22
Orgue
21
Piano, Voix et Guitare
20
Instruments en Do
7
Piano grosses notes
6
1 Piano, 4 mains
6
Piano Trio: piano, violon, violoncelle
6
Accordéon
2
2 Pianos, 4 mains
2
Piano Quatuor: piano, 2 violons, violoncelle
1
Orgue, Trompette (duo)
1
+ 8 instrumentations
Retracter
Guitares
Guitare
10
Guitare notes et tablatures
9
Ligne De Mélodie, (Paroles) et Accords
3
Basse electrique
2
4 Guitares (Quatuor)
1
Ukulele
1
+ 1 instrumentations
Retracter
Voix
Chorale SATB
57
Chorale 3 parties
25
Chorale Unison
7
Voix duo, Piano
6
Chorale 2 parties
6
Chorale TTBB
5
Chorale SSAA
5
Voix seule
3
Voix haute
1
Voix duo
1
+ 5 instrumentations
Retracter
Vents
Quatuor de Saxophones: 4 saxophones
28
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
27
Clarinette et Piano
19
Flûte traversière et Piano
16
Saxophone Alto et Piano
16
Saxophone Tenor et Piano
16
Flûte, Hautbois, Clarinette, Basson
15
Quintette de Saxophone: 5 saxophones
15
Quatuor de Clarinettes: 4 clarinettes
15
2 Saxophones (duo)
14
Hautbois, Piano (duo)
13
3 Saxophones (trio)
12
Quatuor de Flûtes : 4 flûtes
12
Saxophone Baryton, Piano
10
Quintette de Clarinettes: 5 clarinettes
9
Ensemble de Flûtes
9
Clarinette
9
Saxophone Alto
9
2 Flûtes traversières (duo)
9
Ensemble de Clarinettes
9
Clarinette (partie séparée)
7
Clarinette Basse, Piano
7
2 Clarinettes (duo)
6
Trio de Flûtes: 3 flûtes
6
Flûte traversière
6
Saxophone Soprano et Piano
5
Ensemble de saxophones
5
Saxophone Tenor
5
3 Clarinettes (trio)
5
Saxophone (partie séparée)
5
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4
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4
Hautbois (partie séparée)
4
3 Flûtes à bec (trio)
4
Quatuor de Flûtes à bec
3
Cor anglais, Piano
3
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3
5 Flûtes à bec
2
Flûte, Basson et Piano
2
Flûte à bec Alto
2
Saxophone et Orgue
2
Hautbois, Clarinette, Basson (trio d'anches)
2
Clarinette, Basson (duo)
2
Ensemble De Flûte à bec
2
Hautbois, Basson (duo)
1
Hautbois, Flûte
1
Flûte et Guitare
1
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1
Flute, harpe et violon
1
Flûte traversière, Orgue (duo)
1
Hautbois
1
2 Hautbois (duo)
1
Clarinette, Orgue
1
3 Hautbois
1
Flûte à Bec, Piano
1
Flûte, Hautbois (duo)
1
Flûte, Hautbois, Basson
1
Flute (partie séparée)
1
+ 53 instrumentations
Retracter
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Trombone et Piano
22
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
21
Quatuor de Cuivres : 2 trompettes, trombone, tuba
16
Trompette, Piano
13
Cor et Piano
9
Euphonium, Piano (duo)
8
Tuba et Piano
7
Trompette
5
Ensemble de Cors
5
2 Cors (duo)
5
4 Tubas
5
Quatuor de cuivres: 4 trombones
5
Quatuor de cuivres: 4 cors
5
Ensemble de Trompettes
4
Trombone
4
Quatuor de Cuivres
4
Trombone (partie séparée)
3
Cor
3
Ensemble de Trombones
3
Cor anglais, Piano
3
Trompette (partie séparée)
3
2 Trombones (duo)
3
Trompette, Cor (duo)
3
Quatuor de cuivres: 4 trompettes
2
2 Euphoniums et 2 Tubas
2
3 Tubas (trio)
2
Tuba (partie séparée)
2
Cor (partie séparée)
2
Tuba
2
Trompette, Trombone (duo)
2
2 Trompettes (duo)
2
Trombone, Cor (duo)
2
Trombone, Orgue
1
Euphonium, Tuba (duo)
1
2 Tubas (duo)
1
+ 30 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
63
Violon et Piano
21
Violoncelle, Piano
21
Violon
20
Trio à Cordes: violon, alto, violoncelle
12
Alto, Piano
11
Trio à Cordes: 2 violons, violoncelle
10
2 Violons (duo)
9
Violon, Violoncelle (duo)
7
Violoncelle
6
2 Violoncelles (duo)
6
Contrebasse, Piano (duo)
6
Trio à Cordes: 3 violoncelles
5
Violon (partie séparée)
5
2 Altos (duo)
4
Alto seul
4
Trio à Cordes: 2 violons, alto
4
4 Violoncelles
3
Trio à cordes: 3 altos
3
Harpe
3
Alto (partie séparée)
3
Trio à cordes: 3 violins
3
Contre Basse
3
Alto, Violoncelle (duo)
3
Quatuor à cordes: 4 violons
2
Contrebasse (partie séparée)
2
Quintette à cordes: 2 violons, alto, violoncelle, basse
2
Piano Trio: Violon, Alto, Piano
2
Quatuor à cordes : 4 altos
2
Violoncelle (partie séparée)
2
Violon, Alto (duo)
2
Ensemble de Violoncelles
1
Alto et Basson
1
Violoncelle, Orgue
1
Alto, Orgue
1
4 Contrebasses
1
+ 31 instrumentations
Retracter
Orchestre & Percussions
Orchestre d'harmonie
412
Orchestre
52
Orchestre à Cordes
32
Cloches
28
Ensemble de cuivres
19
Ensemble Jazz
10
Fanfare
9
Orchestre de chambre
7
Percussion (partie séparée)
3
Xylophone, Piano
3
Jazz combo
2
Ensemble de Percussions
2
Marimba
2
Percussion
1
Timbales (partie séparée)
1
+ 10 instrumentations
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1
Claude Debussy: Sérénade for violin and 17 instrments, full score and solo part only (parts on ren
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Orchestre de chambre
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Claude Debussy/Robert Orledge
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Claude Debussy: Sér&eac
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Musik Fabrik Music Publishing
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SheetMusicPlus
Chamber Orchestra - Level 4 - SKU: A0.1080705 Composed by Claude Debussy/Robert Orledge. 20th Century,Romantic Period,Standards. Score and parts. 30 pag...
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Chamber Orchestra - Level 4 - SKU: A0.1080705 Composed by Claude Debussy/Robert Orledge. 20th Century,Romantic Period,Standards. Score and parts. 30 pages. Musik Fabrik Music Publishing #4727447. Published by Musik Fabrik Music Publishing (A0.1080705). Instrumentation2 flûtes/2 flutescor anglais (doublant hautbois/doubling oboe)clarinette en La/clarinet in Abasson/bassooncor en Fa/horn in Fpercission (1 éxecutant - timbales (3)/cymbale suspendue, tambour de basque)/percussion (1 performer - timpani (3)/suspended cymbal, tambourine)harpe/harp9 cordes/9 strings (2.2.2.2.1)durée/duration: 5 minutes 30 secconds (environ/approx.) Une versions pour violon et piano ainsi qu’une version pour violon et orchestre (31CA(hb)23/2100/timb/perc/hpe/cordes)est également disponibile/A version for violin and piano as well as a version for violin and orchestra (31EH(ob)23/2100/timp/perc/strings) is also available.______________________Prmière: Edmond Agapian, violin with the Calagray (CA) Youth orchestra, cond. Gareth Jones, University of Calgary, 28 Janaury, 2011Première of the version for violin and 17 instruments: Frédéric Moisan, violin Orchestre 21 cond. Paolo Bellomio, Unveristy of Montreal, Canada, 2 March 2012Preface:In the early 1890s, Debussy composed the opening of a lyrical piece in E major for violin and piano, perhaps as a shorter companion piece for the violin Nocturne he was planning for the Belgian violinist Eugène Ysaÿe. After Debussy’s death in 1918, his second wife Emma often gave away sketch pages to performers or composers as memorials to her beloved husband , and this particular page was given to the Cuban born pianist and composer Joaquin Nin (1879-1949). It came up for sale in the catalogue of the British antiquarian dealer Lisa Cox in 2010 and although it might possibly be an early song for contralto and piano, the more dynamic idea in bar 12 strongly suggests the violin, especially as it begins on an open D string. Moreover, there is no text and in pieces of this length, Debussy usually wrote at least one word in, if only to remind himself where he had got to in any song. So my starting point was a complete 12-bar melody gently undulating in the violin’s lowest register over a sensual accompaniment, rising to a climax in bar 12 and giving me a contrasting idea that I could use as a link between sections and in the cadenza. As the B section (bars 14-26) derives directly from Debussy’s opening theme by metamorphosis, my own additions were restricted to the central section (bars 27-57) - comprising a new scherzando idea (C) and the more lyrical D (bars 36-46). C returns at bar 47, followed by the opening sections in reverse order, so that the Sérénade begins and ends with Debussy’s material and is cast in arch form (ABCDCBA). Robert OrledgeBrighton, 19 June 2019Robert Orledge was born in Bath in 1948 and educated at Clare College, Cambridge, where he gained his doctorate for his study of the composer Charles Kœchlin in 1973. Between 1971 and 1991 He rose from Lecturer to Professor in the Music Department of the University of Liverpool, publishing books on Gabriel Fauré, Claude Debussy, Charles Kœchlin and Erik Satie, as well as numerous articles, editions and reviews. As a historical musicologist, Professor Orledge specialized in the way composers composed, ,and since taking early retirement in 2004, he has concentrated on completing and orchestrating Debussy’s unfinished works, and especially his theatre projects. His completion of Debussy’s opera The Fall of the House of Usher (1908-17) was successfully premiered at the Bregenz Opera Festival in Austria in August 2006 and has since been performed in America, Portugal Germany and Holland, as well as being broadcast throughout Europe. A DVD of the Bregenz premier is available on Capriccio 93517, produced by Phylida Lloyd and conducted by Lawrence Foster. His completion of the Chinese ballet No-ja-li ou Le Palais du Silence (1914) was also premiered in 2006 in Los Angeles and ot.
$16.95
The Disqualification of Harry Semantix as Trial Juror for East County - Score Only
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Orchestre de chambre
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AVANCÉ
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Igor Korneitchouk
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The Disqualification of Harry
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Studio at the Post
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SheetMusicPlus
Chamber Orchestra - Level 5 - SKU: A0.1126484 Composed by Igor Korneitchouk. 20th Century,Contemporary. Score and parts. 40 pages. Studio at the Post #7...
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Chamber Orchestra - Level 5 - SKU: A0.1126484 Composed by Igor Korneitchouk. 20th Century,Contemporary. Score and parts. 40 pages. Studio at the Post #727154. Published by Studio at the Post (A0.1126484). Score only (see A727154 for Parts) Duration: 11 - 12 minutes, 37 pp. Description: In Korneitchouk's mischievously titled quasi-concerto for saxophone and orchestra, The Disqualification of Harry Semantix as Trial Juror for East County, the concept of Truth and Lie is explored musically, as well as metaphorically implying something deeper. The Truth (the opening theme after an introduction pieces it together) is slowly mutated into its opposite, the Lie -- upside down, backward, twice as long and strident (the closing theme just before the double cadenza at the end of the piece). The double cadenza, is in fact a cadenza for the saxophone played over a wild orchestral stretto -- a kind of orchestral cadenza -- both simultaneously intoning bits and pieces of either theme, and seems to ask: Can Truth coexist with its Lie? or perhaps, Can Truth exist without its Lie? The first incarnation of The Disqualification of Harry... (available on CD from Old King Cole Productions) appears as a duo for saxophone and piano and has only more recently been orchestrated. The composer tells us that the idea for this piece initially germinated from his own frustrations of having to serve jury duty and being disqualified as a potential juror for answering honestly during jury selection. East County is to be understood as Any County..
$15.04
The Disqualification of Harry Semantix as Trial Juror for East County (Parts only)
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Orchestre de chambre
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AVANCÉ
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Igor Korneitchouk
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The Disqualification of Harry
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Studio at the Post
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SheetMusicPlus
Chamber Orchestra - Level 5 - SKU: A0.1126491 Composed by Igor Korneitchouk. 20th Century,Contemporary. Score and parts. 111 pages. Studio at the Post #...
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Chamber Orchestra - Level 5 - SKU: A0.1126491 Composed by Igor Korneitchouk. 20th Century,Contemporary. Score and parts. 111 pages. Studio at the Post #727166. Published by Studio at the Post (A0.1126491). Parts only (see A727154 for Score). Duration: 11 - 12 minutes, 23 Parts including soloist, parts averaging 3 -5 pp., soloist part 9 pp. Description: In Korneitchouk's mischievously titled quasi-concerto for saxophone and orchestra, The Disqualification of Harry Semantix as Trial Juror for East County, the concept of Truth and Lie is explored musically, as well as metaphorically implying something deeper. The Truth (the opening theme after an introduction pieces it together) is slowly mutated into its opposite, the Lie -- upside down, backward, twice as long and strident (the closing theme just before the double cadenza at the end of the piece). The double cadenza, is in fact a cadenza for the saxophone played over a wild orchestral stretto -- a kind of orchestral cadenza -- both simultaneously intoning bits and pieces of either theme, and seems to ask: Can Truth coexist with its Lie? or perhaps, Can Truth exist without its Lie? The first incarnation of The Disqualification of Harry... (available on CD from Old King Cole Productions) appears as a duo for saxophone and piano and has only more recently been orchestrated. The composer tells us that the idea for this piece initially germinated from his own frustrations of having to serve jury duty and being disqualified as a potential juror for answering honestly during jury selection. East County is to be understood as Any County..
$5.02
Carson Cooman: Symphony No. 3, “Ave Maris Stella” (2005) for chamber orchestra, score only
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Orchestre de chambre
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AVANCÉ
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Christian contemporain
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Musique Sacrée
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Carson Cooman
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Carson Cooman: Symphony No. 3,
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Musik Fabrik Music Publishing
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SheetMusicPlus
Chamber Orchestra - Level 5 - SKU: A0.533672 Composed by Carson Cooman. Contemporary,Sacred. Score and parts. 54 pages. Musik Fabrik Music Publishing #3...
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Chamber Orchestra - Level 5 - SKU: A0.533672 Composed by Carson Cooman. Contemporary,Sacred. Score and parts. 54 pages. Musik Fabrik Music Publishing #3037097. Published by Musik Fabrik Music Publishing (A0.533672). Symphony No. 3, “Ave Maris Stella†(2005) was written for the Duquesne ContemporaryEnsemble and is dedicated to composer David Stock. Throughout his career, Stock has beena tireless and generous advocate on behalf of new music and living composers. This work isdedicated to him in tribute – as both an important American composer and a significantcontributor to America’s contemporary musical life.The work’s basic source material is the plainchant Ave maris stella (“Hail, star of the seaâ€) –appropriate because of Duquesne’s standing and history as a Catholic university. When thecomposition of this work first began, the original plan was for a celebratory and vibrant piece.As the planning progressed, however, personal circumstances intervened and began to changethe work’s tone – becoming substantially bleaker and more obsessive.The title of the first movement, Pentimento, is defined as “an underlying image in a painting,as an earlier painting, that shows through when the top layer of paint has become transparentwith age.†The melodic and harmonic material for the movement is entirely drawn from theplainchant source, although it is completely transformed and covered up – as in a pentimento.At various points, one can begin to hear the original plainchant “peek out†in subtle ways.The opening section of the movement obsesses again and again on what sounds like a“beginning†– as though it is trying to begin again and again. After a brief bassoon cadenza, afast and driving section starts, marked “sinister.†After driving through a series oftransformations on the plainchant material, a bridge passage leads to further attempts at the“beginning†again. Finally, these attempts are given up, and the plainchant material (theunderlying layer) begins to show through quietly – in preparation for the next movement.In the second movement, Interrupted Motet, the plainchant theme is used in a morestraightforward fashion. After the opening declamatory statements, the following sectionsmove between more free developmental techniques, based on the first movement’stransformations, and “motet†sections – using cantus firmus methods and textures fromRenaissance music. The tone and palate is, however, much darker and more obsessive.There is a brooding ponderousness to these contrapuntal developments. The final motetsection ends in a rageful shout, the plainchant material is presented again in full force, and thepent-up energy dissipates to the close.FluteOboeClarinet in BbBass Clarinet in BbBassoonHorn in F/BbTrumpet in CTrombonePercussion (1 player):tubular bells, vibraphone(Percussionist needs one rosined bow for vibraphone.)PianoViolin IViolin IIViolaCelloContrabass(single strings)This is the score only. The complete parts and each seperate part are also available as seperate items.
$25.95
Trumpet Concerto
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Orchestre de chambre
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AVANCÉ
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Julian Harvey
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Trumpet Concerto
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Julian Harvey
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SheetMusicPlus
Chamber Orchestra - Level 5 - SKU: A0.1456078 Composed by Julian Harvey. 21st Century,Classical,Contemporary. 127 pages. Julian Harvey #1034125. Publish...
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Chamber Orchestra - Level 5 - SKU: A0.1456078 Composed by Julian Harvey. 21st Century,Classical,Contemporary. 127 pages. Julian Harvey #1034125. Published by Julian Harvey (A0.1456078). This work is written for solo trumpet in C and small orchestra. It consists of three movements: Introduction and Fugue, Romanza and Rondo. There is a maestoso return of the opening trumpet theme from the first movement in the Rondo. The Concerto was premiered by the Chicago Chamber Orchestra under the direction of Dieter Kober with Ross Beacraft as the soloist.
$20.00
Bach: Aria 'Mache dich, mein Herze, rein' for Bass Solo and Chamber Baroque Orchestra
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Orchestre de chambre
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Johann Sebastian Bach and Neth
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Flavio Regis Cunha
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Bach: Aria 'Mache dich, mein H
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Flavio Regis Cunha
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SheetMusicPlus
Chamber Orchestra - Level 4 - SKU: A0.1283479 By Johann Sebastian Bach and Netherlands Bach Society. By Johann Sebastian Bach. Arranged by Flavio Regis ...
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Chamber Orchestra - Level 4 - SKU: A0.1283479 By Johann Sebastian Bach and Netherlands Bach Society. By Johann Sebastian Bach. Arranged by Flavio Regis Cunha. Baroque,Contest,Easter,Festival,Instructional,Sacred. Score and Parts. 51 pages. Flavio Regis Cunha #874665. Published by Flavio Regis Cunha (A0.1283479). Bach: Aria 'Mache dich, mein Herze, rein' for Bass Solo and Chamber Baroque Orchestra from the St Matthew Passion (BWV 244).Discover timeless music with the Bach classic - 'Mache dich, mein Herze, Rein'! Enjoy the intricate and vibrant performance of the piece from the renowned Netherlands Bach Society. Perfect for both professional orchestras and soloists – as well for the joy of schools performing the revered composer's masterpiece. Get the perfect accompaniment for your performance with the authentic sheet music available now!The aria 'Mache dich, mein Herze, rein' from the St Matthew Passion (BWV 244), performed here by the Netherlands Bach Society and conducted by Jos van Veldhoven for All of Bach. The St Matthew Passion tells the story of the last days of Jesus. He is betrayed, tried, crucified and buried. The lyrics were compiled by Picander (the pseudonym of Christian Friedrich Henrici), probably in close consultation with Bach himself. For their theme, they took the story as told by St Matthew the Evangelist. As different groups or people have their say, the singers get different roles – Christ, Judas, Peter, a slave girl, the pupils, the high priests, the people and the soldiers, etc. At key moments in the story, Bach and Picander added chorales and arias as a reflection of the biblical story. The action is suspended and the events are placed in the theological context of Bach’s day. The chorale lyrics and melodies come from the Lutheran hymn book, and were well known to the congregation in Leipzig. Even though Bach’s harmonies were new, everyone would have recognised the melody and the words. The lyrics for the opening and closing choruses and the arias were brand new, however. Both the arias and the chorales often link up seamlessly with the evangelical words. Advanced IntermediateFormat: Concert, 9 x 12 inches51 pagesProgram NotesMache dich, mein Herze, rein is a deeply poignant and emotional piece from the renowned work by Johann Sebastian Bach, St Matthew Passion (BWV 244). Written as a part of the 16th passion oratorio as a love song sung by Jesus to his disciples, this piece brilliantly conveys the struggle of redemption and longing for peace.Accompanied by a chamber baroque orchestra, the stark vocal line is delivered with an intense intricacy by the bass solo. Each note is carefully laden with sincere emotion, imbuing within the words a sense of longing and deep sorrow. As the piece progresses, the reprise of the chorus adds a layer of reflection to the message, driving home the power of the connection between Christ and his disciples.Mache dich, mein Herze, rein is a highly moving and truly remarkable piece of music that has rightly earned a place amongst Bach's most renowned works. Mache dich, mein Herze, rein is one of the most stunningly tender and moving chorales from Johann Sebastian Bach's monumental oratorio the St Matthew Passion (BWV 244). Originally written with a full choral accompaniment for the Easter Week Vespers of 1729, Bach's skilful reworking of the melody for bass and chamber baroque orchestra in the St Matthew Passion gives the solo voice a unique poignancy and fragility. The Lutheran chorale on which Bach based his composition speaks of hearts needing to be cleansed of sin and sorrow as they prepare to meet the Savior - an idea timeless in its poignancy and universality. Bach's arrangement is akin to a prayer of reflection and contemplation, the music's restrained dynamics and sighing counterpoint creating an atmosphere of resignation and acceptance. Mache dich, mein Herze, rein is a sublime masterpiece of sacred music, truly embodying the spirit of Easter.
$18.99
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