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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
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SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
XYLOPHONE
Other Father Song
Non classifié
142
Piano & claviers
Piano seul
60
Piano, Voix
34
Piano, Voix et Guitare
11
Piano Facile
8
Instruments en Do
7
Accompagnement Piano
4
1 Piano, 4 mains
3
Orgue
2
2 Pianos, 4 mains
1
Piano Trio: piano, violon, violoncelle
1
+ 5 instrumentations
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Guitares
Ligne De Mélodie, (Paroles) et Accords
7
Guitare
3
Guitare notes et tablatures
1
Voix
Chorale SATB
36
Chorale 3 parties
11
Voix Alto, Piano
10
Voix duo
4
Chorale 2 parties
4
Chorale SSAA
3
Chorale TTBB
3
Voix duo, Piano
2
Voix haute
2
Voix moyenne, Piano
1
Chorale Unison
1
Voix Tenor, Piano
1
+ 7 instrumentations
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Vents
Saxophone Alto et Piano
20
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
11
Hautbois, Piano (duo)
9
Flûte traversière et Piano
6
Ensemble de saxophones
4
Quintette de Saxophone: 5 saxophones
4
Clarinette et Piano
4
Saxophone Tenor et Piano
4
Flûte, Hautbois, Clarinette, Basson
3
Saxophone Baryton, Piano
3
2 Flûtes traversières (duo)
3
Quatuor de Clarinettes: 4 clarinettes
3
Ensemble de Clarinettes
2
Cor anglais, Piano
2
Clarinette
2
Saxophone (partie séparée)
2
Saxophone Soprano et Piano
2
Quatuor de Saxophones: 4 saxophones
2
Flûte traversière
2
Saxophone Tenor
1
Ensemble de Flûtes
1
Clarinette Basse, Piano
1
Hautbois (partie séparée)
1
2 Saxophones (duo)
1
Flute (partie séparée)
1
2 Clarinettes, Piano
1
Clarinette, Basson, Piano (trio)
1
Clarinette (partie séparée)
1
Quintette de Flûte : 5 flûtes
1
Saxophone Alto
1
Quatuor de Flûtes : 4 flûtes
1
Saxophone Soprano
1
+ 27 instrumentations
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Cuivres
Quatuor de cuivres: 4 trombones
12
Trombone et Piano
9
Quatuor de Cuivres : 2 trompettes, trombone, tuba
5
Quatuor de Cuivres: 2 trompettes, Cor, trombone
4
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
4
Cor et Piano
3
Cor anglais, Piano
2
Trompette
2
Trompette (partie séparée)
2
Ensemble de Trombones
2
Trompette, Trombone, Piano
1
Tuba et Piano
1
+ 7 instrumentations
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Cordes
Violon et Piano
16
Alto, Piano
9
Violoncelle, Piano
4
Harpe
3
Quatuor à cordes: 2 violons, alto, violoncelle
3
Harpe, Flûte (duo)
2
Piano Trio: Violon, Alto, Piano
2
Trio à Cordes: violon, alto, violoncelle
2
Violoncelle
2
Violon, Violoncelle (duo)
2
Harpe, Voix
2
Alto seul
1
Violon
1
Ensemble de Violons
1
Ensemble d'Altos
1
+ 10 instrumentations
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Orchestre & Percussions
Orchestre à Cordes
7
Orchestre d'harmonie
6
Orchestre de chambre
3
Orchestre
2
Jazz combo
1
Ensemble Jazz
1
Ensemble de cuivres
1
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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
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CHORALE - CHAN…
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Other Father Song
Orchestre de chambre
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Carson Cooman: The Acts of the Apostles (2009), an oratorio for baritone, chorus, congregation/audie
Orchestre de chambre
Chamber Orchestra - Level 5 - Digital Download SKU: A0.533578 Composed by Carson Co…
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Chamber Orchestra - Level 5 - Digital Download SKU: A0.533578 Composed by Carson Cooman. Christian,Contemporary,Spiritual. Score and parts. 189 pages. Musik Fabrik Music Publishing #3025409. Published by Musik Fabrik Music Publishing (A0.533578). The Acts of the Apostles (2009), an oratorio for baritone, chorus, congregation/audience, and chamber orchestra (piano, organ, strings-suggested minimum of 3.3.3.2.1),was commissioned by The Memorial Church at Harvard University. It is dedicated to Edward Elwyn Jones and theHarvard University Choir.The biblical books of Luke and Acts form a pair of documents from a single author and with a single audience (thelikely-metaphorical “Theophilusâ€), yet they are unusual for being composed in such contrasting genres. Luke’sgospel, using Mark as a primary source throughout, features a comparable literary style to that of the otherevangelists. Acts, by contrast, is a historical monograph that charts the birth of the Church with dramatic storiesabout—and speeches from—the apostles, painting a vivid, if not necessarily chronological, picture of their victoriesand struggles. As such, it is a book that provides excellent source material for a dramatic choral libretto of this scale.Although much of Acts is focused on the ministry of Saul/Paul, this oratorio draws most of its material from thefirst third of the book, prior to and including the conversion of Saul. In the Prologue, Christ’s ascension is narratedand—following an orchestral Sinfonia—the chorus sings words of Jesus from the Sermon on the Plain in Luke’sgospel that foreshadow many of the trials the apostles go on to face. The astounding account of Pentecost follows:here, words from the book of Ruth, customarily read on the feast of Shavuot (Pentecost), are included, telling thestory of a Moabite woman who converted to the Israelite faith—a parallel to the expansion of the Christian messageto all nations by the gift of the Holy Spirit. The Prayer for Boldness, quoting Psalm 2, asks God for protection fromthe threats of persecution that the apostles will now face.Stephen, regarded as the proto-martyr of the Christian Church, offers one of the most developed speeches in Acts,only a small portion of which is presented here. Full of scriptural references, including the quotation from Isaiah“Heaven is my throne…â€, the end of the narrative is remarkable for two reasons: firstly, Stephen’s final wordsmirror those of Christ on the cross in Luke’s gospel—where Jesus forgives his executioners and prays “Father, intoyour hands I commend my spirit†(Luke 23:46); secondly, Saul is specifically mentioned as one who approved ofStephen’s stoning, indicative of the redemptive possibilities of the Christian message.The account of the baptism of the Ethiopian eunuch here in the oratorio ends with the First Song of Isaiah—whilenot quoted in Acts, it seems a fitting conclusion to the scene as Philip and the eunuch were reading Isaiah together,and the canticle has often been associated by Christians with the rite of baptism. Similarly, the story of Saul’sConversion is followed here by a Christological poem found in Paul’s letter to the Philippians, though it is likely aquotation from an earlier source. It is often regarded as the earliest extant Christian hymn.The Acts of the Apostles concludes with Luke’s realistic assessment that in spite of Paul’s energetic evangelism manyremained unconvinced by the Christian message. At the heart of both Luke’s gospel and Acts is the tension betweenthe uniquely important role of the Jewish traditions that Jesus himself practiced and the expansion of the gospel togentiles, of whom Luke himself is one. It is appropriate, therefore, to follow Paul’s message of salvation to thegentiles with the Magnificat: a canticle that emphasizes the promises of God to the people of Israel throughouthistory.Three traditional hymn texts are found in the oratorio, each set congregationally to a pre-existing tune. The first,“Spirit of mercy, truth, and love†is an eighteenth century poem that e.
$25.95
23.88 €
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Orchestre de chambre
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Carson Cooman
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Carson Cooman: The Acts of the Apostles
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Musik Fabrik Music Publishing
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SheetMusicPlus
Clémence de Grandval: Ronde de Nuit for orchestra, score and parts
Orchestre de chambre
Chamber Orchestra - Level 4 - Digital Download SKU: A0.534651 Composed by Clémen…
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Chamber Orchestra - Level 4 - Digital Download SKU: A0.534651 Composed by Clémence de Grandval. Romantic Period. Score and parts. 73 pages. Musik Fabrik Music Publishing #5721673. Published by Musik Fabrik Music Publishing (A0.534651). Maria-Félicie-Clémence de Grandval (1828–1907) was born on January 28, 1828 at Saint-Rémy-des-Monts, France and died on January 15, 1907 in Paris.After the death of her mother, Louise Adèle du Temple de Mésières, her father the Baron de Reiset, a military officer remarried with an Englishwoman and moved his family to London. After beginning her musical studiesprivately, she studied the piano with the German composer Friedrich von Flotow, who was a family friend. Returning to France, she studied the piano briefly with Chopin and composition with Camille Saint-Saëns. At first writing mostly sacred music, most of her public success was due to her comic operas: la Comtesse Eva, la Pénitente, Piccolino and Mazeppa. She also wrote orchestral music, chamber music, and over 60 songs (to poets such as Sully-Prudhomme, Michel Carré, Henri Meilhac, Georges Hartmann, Charles Grandmougin and Louis Gallet.) She is chieflyknown today for her music for wind instruments, especially for the oboe.Scored for 2222/2000/strings, this item is the score and complete parts. The score only is availabel as a seperate item.
$103.95
95.67 €
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Orchestre de chambre
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Clémence de Grandval
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Clémence de Grandval: Ronde de Nuit for orchestra, score and parts
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Musik Fabrik Music Publishing
#
SheetMusicPlus
Clémence de Grandval: Ronde de Nuit for orchestra, score only
Orchestre de chambre
Chamber Orchestra - Level 4 - Digital Download SKU: A0.534650 Composed by Clémen…
(+)
Chamber Orchestra - Level 4 - Digital Download SKU: A0.534650 Composed by Clémence de Grandval. Romantic Period. Score and parts. 25 pages. Musik Fabrik Music Publishing #5721669. Published by Musik Fabrik Music Publishing (A0.534650). Maria-Félicie-Clémence de Grandval (1828–1907) was born on January 28, 1828 at Saint-Rémy-des-Monts, France and died on January 15, 1907 in Paris.After the death of her mother, Louise Adèle du Temple de Mésières, her father the Baron de Reiset, a military officer remarried with an Englishwoman and moved his family to London. After beginning her musical studiesprivately, she studied the piano with the German composer Friedrich von Flotow, who was a family friend. Returning to France, she studied the piano briefly with Chopin and composition with Camille Saint-Saëns. At first writing mostly sacred music, most of her public success was due to her comic operas: la Comtesse Eva, la Pénitente, Piccolino and Mazeppa. She also wrote orchestral music, chamber music, and over 60 songs (to poets such as Sully-Prudhomme, Michel Carré, Henri Meilhac, Georges Hartmann, Charles Grandmougin and Louis Gallet.) She is chieflyknown today for her music for wind instruments, especially for the oboe.Scored for 2222/2000/strings. The score and complete parts are for sale as a seperate item.
$19.95
18.36 €
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Orchestre de chambre
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Clémence de Grandval
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Clémence de Grandval: Ronde de Nuit for orchestra, score only
#
Musik Fabrik Music Publishing
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SheetMusicPlus
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