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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
Row Song
Non classifié
1 440
Piano & claviers
Piano seul
616
Piano, Voix
465
Piano Facile
351
Piano, Voix et Guitare
284
Instruments en Do
82
Orgue
42
Piano grosses notes
36
1 Piano, 4 mains
14
Accompagnement Piano
13
Piano Trio: piano, violon, violoncelle
11
Accordéon
5
Piano Quatuor: piano, 2 violons, violoncelle
5
Piano Quatuor: piano, violon, alto, violoncelle
5
2 Pianos, 4 mains
4
Clavecin
3
2 Pianos, 8 mains
2
Piano Quintette: piano, 2 violons, alto, violoncelle
2
Piano (partie séparée)
1
+ 13 instrumentations
Retracter
Guitares
Guitare notes et tablatures
94
Guitare
55
Ukulele
52
Basse electrique
49
Ligne De Mélodie, (Paroles) et Accords
45
Paroles et Accords
34
Piano, Guitare (duo)
9
Mandoline
7
Banjo
5
2 Guitares (duo)
4
4 Guitares (Quatuor)
3
Dulcimer
2
Guitare (partie séparée)
2
3 Guitares (trio)
1
Ukulele Baryton
1
+ 10 instrumentations
Retracter
Voix
Chorale SATB
511
Chorale 3 parties
203
Chorale 2 parties
142
Chorale TTBB
140
Chorale Unison
118
Chorale SSAA
86
Voix duo, Piano
18
Voix Alto, Piano
18
Voix duo
15
Voix haute
15
Voix Soprano, Piano
13
Voix Baryton, Piano
13
Chorale
12
Voix seule
7
Voix moyenne, Piano
4
Voix Tenor, Piano
3
Voix Mezzo-Soprano, Piano
2
Voix Tenor
1
Chorale SSAB, Piano
1
Soli, choeur mixte et accompagnement
1
Voix basse
1
Chorale SSATTB
1
Voix, Guitare
1
+ 18 instrumentations
Retracter
Vents
2 Saxophones (duo)
326
Saxophone, Clarinette (duo)
166
2 Clarinettes (duo)
133
2 Flûtes traversières (duo)
117
Clarinette, Violon (duo)
109
Quatuor de Saxophones: 4 saxophones
109
Clarinette, Trompette (duo)
93
Flûte, Clarinette (duo)
71
Flûte, Hautbois, Clarinette, Basson
69
2 Hautbois (duo)
63
Flûte traversière et Piano
62
Hautbois, Clarinette (duo)
61
Hautbois, Basson (duo)
61
Clarinette et Alto
57
Hautbois, Piano (duo)
56
Flûte, Violon
53
Flûte, Saxophone (duo)
52
Saxophone Alto
52
Clarinette
52
Hautbois, Flûte
51
Saxophone (partie séparée)
50
Flûte traversière
49
Quatuor de Clarinettes: 4 clarinettes
47
Clarinette et Piano
47
Saxophone Tenor
46
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
45
Flûte, Trompette (duo)
44
Saxophone Alto et Piano
42
Saxophone Tenor et Piano
40
Saxophone Soprano et Piano
39
Flûte, Alto (duo)
35
Hautbois (partie séparée)
30
3 Saxophones (trio)
27
Quintette de Saxophone: 5 saxophones
19
3 Clarinettes (trio)
17
Saxophone
16
Quatuor de Flûtes : 4 flûtes
16
Flûte et Guitare
15
Saxophone Baryton, Piano
14
Ensemble de Clarinettes
13
Trio de Flûtes: 3 flûtes
13
Saxophone Soprano
10
Flûte à bec Soprano
10
Harmonica
10
Quintette de Clarinettes: 5 clarinettes
9
Clarinette (partie séparée)
8
Hautbois
7
Ensemble de Flûtes
7
Cor anglais, Piano
7
Cor Anglais
7
Quintette de Flûte : 5 flûtes
6
Clarinette, Guitare (duo)
6
Ocarina
6
Flûte, Hautbois, Clarinette (trio)
5
Flûte à bec Alto
5
Saxophone Baryton
4
Clarinette Basse, Piano
4
Clarinette, Basson (duo)
4
3 Hautbois
3
2 Flûte à bec (duo)
3
Flûte, Hautbois, Basson
3
Flûte, Hautbois (duo)
3
Hautbois, Clarinette, Basson (trio d'anches)
3
Ensemble de saxophones
3
Clarinette, Violoncelle (duo)
3
Piccolo, Piano
3
Flûte à bec Soprano, Piano
2
Hautbois et alto (duo)
2
Hautbois, Violoncelle
2
Flûte, Violon, Piano
2
Flûte, Clarinette et Basson
2
Flûte, Violoncelle
2
Flûte à bec Alto, Piano
2
Flûte, Basson et Piano
2
Hautbois, violon (duo)
2
Flûte à bec Tenor
1
Ensemble De Flûte à bec
1
Flûte, Violoncelle, Piano (trio)
1
Quatuor de Flûtes à bec
1
Flûte, Clarinette, Cor, Basson (Quartet)
1
Flûte, Clarinette, Piano (trio)
1
Flûte à Bec
1
Saxophone, Basson (duo)
1
Flûte, Alto et Piano
1
Flute (partie séparée)
1
Cornemuse
1
Flûte, Violon et Violoncelle
1
Flûte à Bec, Piano
1
Saxophone et Guitare
1
2 Clarinettes, Piano
1
Piccolo
1
2 Saxophones, Piano
1
Clarinette Basse
1
+ 88 instrumentations
Retracter
Cuivres
Trompette, Saxophone (duo)
118
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
75
Trompette
72
2 Trombones (duo)
62
Quatuor de Cuivres : 2 trompettes, trombone, tuba
57
Trompette, Trombone (duo)
57
2 Trompettes (duo)
56
Trombone et Piano
47
Trombone
44
Trompette, Piano
42
Cor et Piano
37
Cor
25
Quatuor de Cuivres: 2 trompettes, Cor, trombone
18
Quatuor de Cuivres
16
Trompette (partie séparée)
13
Tuba et Piano
13
Trombone (partie séparée)
10
Tuba
9
Quatuor de cuivres: 4 trombones
8
Euphonium, Piano (duo)
8
Cor anglais, Piano
7
Cor Anglais
7
Cor (partie séparée)
5
3 Trombones (trio)
4
2 Cors (duo)
4
Trio de Cuivres
4
3 Trompettes (trio)
3
Ensemble de Trombones
3
Euphonium
2
Trompette, Cor (duo)
2
Quatuor de cuivres: 4 cors
2
Tuba (partie séparée)
2
Quatuor de cuivres: 4 trompettes
2
Tuba ou Euphonium ou Saxhorn
1
2 Tubas (duo)
1
Ensemble de Tubas
1
Trombone basse et Piano
1
+ 32 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
311
Violon, Violoncelle (duo)
156
Violon
88
Violon et Piano
85
Trio à Cordes: 2 violons, violoncelle
81
Violon, Alto (duo)
80
2 Violons (duo)
78
Violoncelle
76
2 Violoncelles (duo)
68
2 Altos (duo)
65
Violoncelle, Piano
52
Alto, Piano
47
Trio à Cordes: violon, alto, violoncelle
44
Alto seul
40
Harpe
35
Contre Basse
15
Alto (partie séparée)
9
Contrebasse, Piano (duo)
8
2 Harpes (duo)
8
Quintette à cordes: 2 violons, alto, violoncelle, basse
8
Piano Trio: Violon, Alto, Piano
7
Alto, Violoncelle (duo)
7
Contrebasse (partie séparée)
7
Trio à Cordes: 3 violoncelles
5
Trio à cordes: 3 altos
5
Trio à cordes: 3 violins
5
Violon (partie séparée)
4
Quatuor à cordes: 4 violons
4
4 Violoncelles
3
Violon, Basson (duo)
3
Violoncelle (partie séparée)
3
2 Violons, Piano
2
Harpe, Voix
2
Trio à Cordes: 2 violons, alto
1
Violon, Guitare (duo)
1
+ 30 instrumentations
Retracter
Orchestre & Percussions
Orchestre d'harmonie
316
Ensemble de cuivres
78
Fanfare
62
Orchestre à Cordes
50
Orchestre
49
Ensemble Jazz
47
Batterie
34
Orchestre de chambre
18
Cloches
18
Jazz combo
12
Percussion (partie séparée)
6
Ensemble de Percussions
4
Percussion
2
Marimba
1
Quintette de Cuivres: autres combinaisons
1
Timbales
1
Batterie (partie séparée)
1
+ 12 instrumentations
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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
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VIOLON
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Vous avez sélectionné:
Row Song
Orchestre de chambre
Partitions à imprimer
18 partitions trouvées
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1
Songs from the Pomegranate Garden (Kantes del Verdjel de Granadas)
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Orchestre de chambre
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Ofer Ben-Amots
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Songs from the Pomegranate Gar
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The Composer's Own Press
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SheetMusicPlus
Chamber Orchestra - SKU: A0.944036 Composed by Ofer Ben-Amots. Contemporary,Jewish,World. Score and parts. 124 pages. The Composer's Own Press #4627681....
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Chamber Orchestra - SKU: A0.944036 Composed by Ofer Ben-Amots. Contemporary,Jewish,World. Score and parts. 124 pages. The Composer's Own Press #4627681. Published by The Composer's Own Press (A0.944036). Kantes del verdgel de granadas – Songs from the Pomegranate Garden A Judeo-Spanish song cycle for solo voice and chamber symphony orchestra Composer’s notes: Kantes del verdgel de granadas, or in its English translation: Songs from the Pomegranate Garden, is a cycle of five songs in the Judeo-Spanish dialect, also known as Ladino. The texts, based on folk-poetry, are magical, passionate, and encompass a wide range of human emotions and experiences. We can find in them love and longing, sorrow and death, lightheartedness and folly, as well as burning love and even sexual innuendo. The vocal part portrays different stories and a variety of human characters in each of the five songs. It, thus, ranges in expression from parlando secco to lirico espressivo. The role of the orchestra in this cycle is more than just an accompaniment; it converses with the voice, adds colors and ambience, and serves as a commentary over the sung text. Thus, the orchestral part is equal to, or at times even more predominant than the voice itself. The initiative to write this composition came in response to a specific cultural approach by which creativity based on traditional Judaic material should correspond to four stages in the artistic process: Exploration, Preservation, Interpretation, and Innovation (as translated by the Hebrew terms: חידוש – פירוש – שימור – חיפוש). The main idea behind this initiative was to conserve crucial elements within traditional Jewish folk music, and then, bring about their revival as art music through new contemporary interpretations. Thus, the musical arrangement is partially based on the traditional Ladino tunes and partially original. However, phrases based on old Ladino melodies are starkly modified and composed in such way to completely evoke personal imagery and interpretation. The songs I selected for the cycle were taken from the four-volume collection: Chants judéo-espagnols by Isaac Levy. My criteria for the selection was finding lesser-known melodies, yet most intriguing ones and with a strong Judeo-Spanish character. The five songs have various degrees of arrangement vs. original composition: songs 2 and 3, Mi korason and Entre las huertas, for example, are almost unchanged, while songs 1 and 4, Dos amantes and Malato ‘sta el hijo del rey, heavily combine the old Ladino romancero melodies with originally composed material. The concluding song (Nr. 5) is entirely original, but correspond stylistically to the Judeo-Spanish musical language. While all five songs are secular in nature, the ballad Malato ‘sta el hijo del rey (The King’s Son is Ill) has been traditionally sung - according to Isaac Levy - on the night of Tisha B’Av along the scroll of Eicha to bemoan the destruction of the Holy Temple in Jerusalem. The Judeo-Spanish text of the songs can be found below along with its English translation. Duration: ca. 24 min.Performance material by rental only! For demo recording, questions, or any additional information please e-mail Ofer Ben-Amots at: thecomposerspress@gmail.com
$54.00
BH017REC - Recorder Quartet Songs, Book 17 (>70 pages)
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Orchestre de chambre
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INTERMÉDIAIRE
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Carl Van Pevenage
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BH017REC - Recorder Quartet So
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Carl Van Pevenage
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SheetMusicPlus
Chamber Orchestra - Level 3 - SKU: A0.921199 Composed by Carl Van Pevenage. Classical,Folk,Pop,Romantic Period,World. Score and parts. 110 pages. Carl V...
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Chamber Orchestra - Level 3 - SKU: A0.921199 Composed by Carl Van Pevenage. Classical,Folk,Pop,Romantic Period,World. Score and parts. 110 pages. Carl Van Pevenage #4324595. Published by Carl Van Pevenage (A0.921199). The chansonnettes are easy songs of different styles (folk, classical, pop, romantic, Christmas carols, etc). This book contains 10 songs arranged for Recorder or String Quartets, but can be played by any SATB group with 4 the same or mixed instruments.. All sound is computer generated. Playing it, will bring the music to live.Song list:Chansonnette 16 1 Fun song: A goodie Chansonnette 162 The grasshopper Chansonnette 163 Pop song: Little by little grow the bananas Chansonnette 164 Crying for freedom Chansonnette 165 Largo: A spicy relax Chansonnette 166 Romantic song: A reed cutters rest Chansonnette 167 Folk song: A middle age evening Chansonnette 168 Christmas carol: Night walks 1 Chansonnette 169 Christmas carol: White trees Chansonnette 170 Little trippling feet Chansonnette 170B Little waltzing feet.
$9.95
Tomorrow
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Orchestre de chambre
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FACILE
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Comédie Musicale
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Charles Strouse
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Stephen DeCesare
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Tomorrow
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Exultet Music
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SheetMusicPlus
Chamber Orchestra - Level 2 - SKU: A0.611596 Composed by Charles Strouse. Arranged by Stephen DeCesare. Broadway. Score and parts. 21 pages. Exultet Mus...
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Chamber Orchestra - Level 2 - SKU: A0.611596 Composed by Charles Strouse. Arranged by Stephen DeCesare. Broadway. Score and parts. 21 pages. Exultet Music #2329793. Published by Exultet Music (A0.611596). One of the most popular songs in the Broadway repertoire: Tomorrow from the hit Broadway musical Annie has now been arranged for Saxophone Quartet (Soprano Sax, Alto Sax, Tenor Sax, Baritone Sax) and chamber instruments (Bb-Clarinet, Bb-Trumpet, Trombone, Acoustic Guitar), and Piano. A wonderful addition for your school concert program. .
$40.00
Separazione (Parting) - Version for Voice and Orchestra
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Orchestre de chambre
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INTERMÉDIAIRE
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Classique
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Giovanni Sgambati
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Stanley M
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Separazione
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stanleymhoffman.com
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SheetMusicPlus
Chamber Orchestra - Level 3 - SKU: A0.1317212 Composed by Giovanni Sgambati. Arranged by Stanley M. Hoffman. Classical,Romantic Period. 26 pages. Stanle...
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Chamber Orchestra - Level 3 - SKU: A0.1317212 Composed by Giovanni Sgambati. Arranged by Stanley M. Hoffman. Classical,Romantic Period. 26 pages. Stanleymhoffman.com #905884. Published by stanleymhoffman.com (A0.1317212). Sgambati/Hoffman, arr. - Separazione (Parting) Arranged for Voice & OrchestraItalian Folk SongEdited, and provided with accompaniment by Giovanni Sgambati (1841–1914)English singing translation, SATB vocal/orchestral arrangement, and edition by Stanley M. HoffmanArrangement: © Copyright 2023 by Stanley M. Hoffman. www.stanleymhoffman.com  All rights reserved.---TEXTDolorosa partenza,ahi! quanto e dura!Quanto è grande per me la pena amara!Full of sadness is this parting,ah! how hard it is to leave you!Oh, how sore is the pain, the sorrow it gives me!---#music #arrangement #Italian #FolkSong #Sgambati #artsong #parting #voice #piano #satb  #MixedChorus #chorus #voice #VocalMusic  #orchestra #orchestralmusic.
$13.00
Separazione (Parting) - Version for SATB Chorus and Orchestra
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Orchestre de chambre
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INTERMÉDIAIRE
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Classique
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Giovanni Sgambati
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Stanley M Hoffman
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Separazione
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stanleymhoffman.com
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SheetMusicPlus
Chamber Orchestra - Level 3 - SKU: A0.1317209 Composed by Giovanni Sgambati. Arranged by Stanley M Hoffman. Classical,Romantic Period. 26 pages. Stanley...
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Chamber Orchestra - Level 3 - SKU: A0.1317209 Composed by Giovanni Sgambati. Arranged by Stanley M Hoffman. Classical,Romantic Period. 26 pages. Stanleymhoffman.com #905881. Published by stanleymhoffman.com (A0.1317209). Sgambati/Hoffman, arr. - Separazione (Parting) Arranged for SATB Chorus & OrchestraSeparazione (Parting)Italian Folk SongEdited, and provided with accompaniment byGiovanni Sgambati (1841–1914)English singing translation, SATB choral/orchestral arrangement, and edition by Stanley M. HoffmanArrangement: © Copyright 2023 by Stanley M. Hoffman. www.stanleymhoffman.com  All rights reserved.---TEXTDolorosa partenza,ahi! quanto e dura!Quanto è grande per me la pena amara!Full of sadness is this parting,ah! how hard it is to leave you!Oh, how sore is the pain, the sorrow it gives me!---#music #arrangement #Italian #FolkSong #Sgambati #artsong #parting #voice #piano #satb  #MixedChorus #chorus #choral #ChoralMusic #choralarrangement #orchestra #orchestralmusic.
$13.00
Press Play
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Orchestre de chambre
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AVANCÉ
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Till MacIvor Meyn
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Press Play
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Till MacIvor Meyn
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SheetMusicPlus
Chamber Orchestra - Level 5 - SKU: A0.1027496 Composed by Till MacIvor Meyn. 20th Century,Contemporary,Pop. Score and parts. 86 pages. Till MacIvor Meyn...
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Chamber Orchestra - Level 5 - SKU: A0.1027496 Composed by Till MacIvor Meyn. 20th Century,Contemporary,Pop. Score and parts. 86 pages. Till MacIvor Meyn #550691. Published by Till MacIvor Meyn (A0.1027496). Submitted for 2015 Areon Flutes International Chamber Music Composition Competition, ‘Press Play’ was composed for internationally renowned bassoonist Scott Pool. When I was growing up in the 1980s, I had a rather large cassette tape collection with many different types of music; my friends and I spent much of our time browsing through each other’s sets and listening to diverse rock albums. ‘Press Play’ is designed to represent the format of an EP album, though the music contained is a mix of styles. Track 1 is a chorale-style introductory movement that features the bassoon in brief solo passages between the chordal string sections. Hit Single is basically a pop song for bassoon and strings. In Deep Cut, the instruments explore a slow contrapuntal texture; the title refers to an obscure type of track on an album that radio stations are less likely to air, except perhaps on late night shows. Deep Cut accelerates in the second half, and moves almost directly into Hidden Track, named for a type of song that some albums hide after all the popular songs are over. Hidden Track also features an acceleration from beginning to end, and has a style and format similar to process music.
$26.00
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
Barbara Allen for piccolo and orchestra
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Orchestre de chambre
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INTERMÉDIAIRE/AVANCÉ
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Reinhold Behringer
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David Warin Solomons
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Barbara Allen for piccolo and
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David Warin Solomons
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SheetMusicPlus
Chamber Orchestra - Level 4 - SKU: A0.1470559 By Reinhold Behringer. By Traditional. Arranged by David Warin Solomons. Contemporary,Traditional. 44 page...
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Chamber Orchestra - Level 4 - SKU: A0.1470559 By Reinhold Behringer. By Traditional. Arranged by David Warin Solomons. Contemporary,Traditional. 44 pages. David Warin Solomons #1048222. Published by David Warin Solomons (A0.1470559). An arrangement for piccolo and orchestra of the Barbara Allen folk song with many interesting cadences, harmonies and countermelodies.In Scarlet Town where I was born,There was a fair maid dwelling,Made every youth cry, “Well-a-day”,Her name was Barbara Allen.All in the merry month of May,When green buds they were swelling,Young Willy Grove on his death bed lay,For love of Barbara Allen.He sent his man down unto her then,To the town where she was dwelling.“You must come to my master dear,If your name's Barbara Allen.”So slowly, slowly she came up,And slowly she came nigh him,And all she said when there she came,“Young man I think you’re dying.”[“A dying man, no, no,” said he,“One kiss from thee would cure me.”“One kiss from me thou never shalt have,If your poor heart was breaking.”]He turned his face unto the wall,And death was drawing nigh him,“Adieu, adieu, my dear friends all,And be kind to Barbara Allen.”As she was walking o’er the fields,She heard the dead-bell knellin’;And every stroke did seem to say“Unworthy Barbara Allen!”When he was laid dead in his grave,Her heart was struck with sorrow,“Oh mother, mother make my bed,For I shall die tomorrow.”And on her death bed she lay,She begged to be buried by him,And so repented of the day,That she did e’er deny him.“Farewell”, she said, “You virgins all,And shun the fault I fell in.Hence forth take warning by the fall,Of cruel Barbara Allen.”.
$16.00
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
To Idleness for string quartet and guitar
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Orchestre de chambre
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INTERMÉDIAIRE
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Contemporain
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David Warin Solomons
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To Idleness for string quartet
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David Warin Solomons
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SheetMusicPlus
Chamber Orchestra - Level 3 - SKU: A0.576889 Composed by David Warin Solomons. 20th Century,Contemporary. Score and parts. 23 pages. David Warin Solomon...
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Chamber Orchestra - Level 3 - SKU: A0.576889 Composed by David Warin Solomons. 20th Century,Contemporary. Score and parts. 23 pages. David Warin Solomons #485761. Published by David Warin Solomons (A0.576889). Instrumental quintet based on my choral setting of Dave Dunning's poem To Idleness. The pdf file contains score and parts. The sound sample is an electronic preview. These are the words of the original poem: When autumn harvests are full grown and luscious fruits to me are shown, piled plump and rich till stomachs groan when autumn harvests are full grown ripe juices puddle on the tongue, and winter I forget in gurgling song. once when the fresh new spring was here I lavished though to sow the year oh dreaming seasons never interfere with worldly bounty, scorned the prudent song and prayed March winds to buffet time along Soon in the heat of summer haze I floundered on through deep green maize, where heavy herds lowed as they grazed, I saw that I would reap in thought among the rich; and time moved on with busy song, now in the heat of summer Now winter creeps between the sashes and rain upon the window lashes while wild wind moans round rafters dashes and I to annual poverty belong, yet know that spring flows richly on in song When autumn harvests are full grown and luscious fruits to me are shown, piled plump and rich till stomachs groan when autumn harvests are full grown ripe juices puddle on the tongue, and winter I forget in gurgling song.
$12.00
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
When She Loved Me
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Orchestre de chambre
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INTERMÉDIAIRE/AVANCÉ
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Sarah McLachlan
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When She Loved Me
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www.studio-orchestrations.com
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SheetMusicPlus
Chamber Orchestra - Level 4 - SKU: A0.1430293 By Sarah McLachlan. By Randy Newman. Arranged by John Langley / Studio Orchestrations. Broadway,Children,C...
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Chamber Orchestra - Level 4 - SKU: A0.1430293 By Sarah McLachlan. By Randy Newman. Arranged by John Langley / Studio Orchestrations. Broadway,Children,Contemporary,Film/TV,Musical/Show,Singer/Songwriter. 28 pages. Www.studio-orchestrations.com #1010934. Published by www.studio-orchestrations.com (A0.1430293). What a privilege to share an arrangement of this perfect song, sung by Sarah McLachlan in Toy Story 2 in 1999. If Toy Story and Toy Story 2 hadn't already entirely induced a nostalgic empathy from its audience for the life of old toys we used to play with, Jessie's heartfelt song of her memories with 'Emily' tugs the heart strings to make grown men cry. Randy Newman wrote a perfect little gem in this short but iconic moment in movie history. In the most respectful way the write and the song do so little SO well. The orchestration is sparse but completely appropriate and supportive. This arrangement follows the original soundtrack as closely as possible and would make a wonderful addition to a kids or education concert or an evening of film, musicals or just a celebration of great song writers. Thank you Randy Newman for your wonderful understated genius for using musical simplicity to unpack human complexity.
$140.00
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
Clocks
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Orchestre de chambre
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FACILE
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Coldplay
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Timothy Sullivan
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Clocks
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SullivanWorks
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SheetMusicPlus
Chamber Orchestra - Level 2 - SKU: A0.1502754 By Coldplay. By Chris Martin, Guy Berryman, Jon Buckland, and Will Champion. Arranged by Timothy Sullivan....
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Chamber Orchestra - Level 2 - SKU: A0.1502754 By Coldplay. By Chris Martin, Guy Berryman, Jon Buckland, and Will Champion. Arranged by Timothy Sullivan. 21st Century,Contemporary,Contest,Festival,Pop,Rock. 40 pages. SullivanWorks #1077784. Published by SullivanWorks (A0.1502754). Here is the perfect piece for any school with a strings and band program! Clocks by Coldplay is a huge international hit with an unforgettable rhythmic/melodic riff that is as much fun to play as it is to listen to. Your students will love the music and learn from the challenge of mastering this song. You've heard it as a pop song or instrumental, now hear it as an ear-grabbing piece for orchestra! With a simple and very accessible instrumentation, any school could start rehearsals tomorrow!Instrumentation: Flute, Clarinet, Alto Sax, Tenor Sax, Trumpet, Horn, Trombone, Tuba, Piano and Drum kt.
$60.00
Fauré: Pavane Op. 50 for Piano Sextet
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Orchestre de chambre
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INTERMÉDIAIRE
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Classique
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Gabriel Faure
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James M
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Fauré: Pavane Op. 50 fo
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jmsgu3
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SheetMusicPlus
Chamber Orchestra - Level 3 - SKU: A0.550171 Composed by Gabriel Faure. Arranged by James M. Guthrie. Holiday,Romantic Period,Standards. 29 pages. Jmsgu...
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Chamber Orchestra - Level 3 - SKU: A0.550171 Composed by Gabriel Faure. Arranged by James M. Guthrie. Holiday,Romantic Period,Standards. 29 pages. Jmsgu3 #4597213. Published by jmsgu3 (A0.550171). Pavane * павана * パヴァーム* Παβάνε * פ×ב×× ×” * Gabriel Fauré, Op. 50. Duration ca. 5:10Gabriel Fauré's Pavane Op. 50 is a short work originally composed for piano in 1887 but is better known in Fauré's version for orchestra and chorus. The piece is a pavane, a slow processional court dance that took hold in Spain in the 16th and 17th centuries and which the aristocracy used as a showcase for fancy ball gowns and ceremonial feasts. The piece's stately pace, which lends the melody its halting grace, has much to do with its frequently cited calming effect. Although Fauré described the report as carefully crafted but not otherwise important, it has become one of his most famous and commonly performed works. The Pavane is a typically frank and straightforward piece of music by Fauré, and it is around seven minutes long. The restrained use of harmony creates a delightful air of subtlety and simplicity. The piece has been reused by other composers, such as Ravel's Pavane pour une infante défunte. The Pavane Op. 50 speaks directly to the heart in its calm and collected manner. Fauré's Pavane has been used in popular culture in various ways. The piece's melody is well-known worldwide for its frequent use in films, advertising, and sporting events like the 1998 FIFA World Cup, which the BBC covered using the Pavane. The piece has also been used in popular music, with pop artists like Eric Clapton and Jon Lord using Pavan-inspired themes in songs and instrumental compositions. The Pavane Op. 50 has been featured in several films, including The Conformist (1970), The Great Beauty (2013), and The King's Speech (2010). The piece has also been used in television shows like The Crown (2016). The Pavane Op. 50 has been arranged for various instruments, including guitar, harp, and cello. The piece's haunting musical qualities that percolate directly from the orchestra through the chorus in a straight line of solemnity and reverence have made it a standard part of the concert repertoire.
$46.95
When I Survey the Wondrous Cross - Orchestration
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Orchestre de chambre
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INTERMÉDIAIRE
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Isaac Watts / Lowell Mason
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Robert Myers
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When I Survey the Wondrous Cro
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WheatMyer Music
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SheetMusicPlus
Chamber Orchestra - Level 3 - SKU: A0.976713 Composed by Isaac Watts / Lowell Mason. Arranged by Robert Myers. Christian,Holiday,Love,Sacred. Score and ...
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Chamber Orchestra - Level 3 - SKU: A0.976713 Composed by Isaac Watts / Lowell Mason. Arranged by Robert Myers. Christian,Holiday,Love,Sacred. Score and parts. 49 pages. WheatMyer Music #4775721. Published by WheatMyer Music (A0.976713). When I Survey the Wondrous Cross, written by the Father of English Hymnody, Isaac Watts, in 1707 and later matched with Lowell Mason’s 1824 tune, HAMBURG, has long stood at the forefront of English hymnody.This arrangement, taken from my Passion Week cantata, Wounded, Bleeding, Still Proceeding, allows the full talent-spectrum of the Body of Christ to contemplate His sacrifice and offer their devotion.The first two stanzas feature an alto/soprano duet, set in a minor key with frequent diminished and augmented chords to reflect the despair and loss of a witness to the crucifixion. The entire third stanza, set for SATB chorus, never really moves off the F minor tonic until the end. That, and the relentless pounding of the bass line, ponders the witnesses' anguish and our vicarious experience of it through Scripture. So, sing these stanzas sadly – they are sad! When the choir enters, be sure to observe the swelling crescendos/diminuendos as the sorrow and love mingle together.The fourth stanza offers optional congregational participation and may be used to provide a responsorial to the Word of God or a preparation for the Table. The choir sings this stanza in four part harmony as the congregation joins on the melody. It stays in a major key and closely follows the traditional consonances used in Lowell Mason’s harmonization; thus, the choral parts will feel familiar and the congregational melody will flow naturally. Take the text literally (Love so amazing, so divine, demands my soul, my life, my all.) and sing it firmly, enthusiastically, passionately, but never triumphantly. Sing it as a song of personal devotion to commit all that you have, all that you are, and all that you will ever be, to the one who humbled Himself by becoming obedient to the point of death, even death on a cross (Phil 2:8b) so that we might become the righteousness of God in Him (2 Cor 5:21)The music is well within the grasp of any ensemble competent with traditional SATB anthems. The instrumental accompaniments are straightforward yet very colorful, suitable for high school or higher level players. When I Survey the Wondrous Cross is an unapologetic Christian worship anthem suitable for sacred services, yet it does not compromise on artistic expression.This is the orchestral accompaniment for the choral octavo version sold separately. This version includes full score and all instrumental parts.
$60.00
Air On The G String (BWV 1068) / Fugue c minor (BWV 847)
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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
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Air On The G String
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Uwe Roessler
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SheetMusicPlus
Chamber Orchestra - Level 4 - SKU: A0.1103957 Composed by Johann Sebastian Bach. Arranged by Uwe Roessler Rössler Rassler. 20th Century,Baroque,Conte...
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Chamber Orchestra - Level 4 - SKU: A0.1103957 Composed by Johann Sebastian Bach. Arranged by Uwe Roessler Rössler Rassler. 20th Century,Baroque,Contemporary,Contest,Festival,Jazz. Score and parts. 32 pages. Uwe Roessler #707241. Published by Uwe Roessler (A0.1103957). This arrangement consists of two parts which can be played either seperately, or consecutively: the famous “Air On The G String†(BWV 1068, as in the 1871 arrangement by August Wilhemj), inspired by Jaques Loussier´s “Play Bachâ€- version, and the fugue c-minor from the Well-Tempered Piano (BWV 847), inspired by the magnificent Turtle Island String Quartet´s incomparable swinging rendition (hence the video link). There are several options of playing this arrangement: “Air†has two parts which can be repeated – thus, violin1 and cello can distribute the theme. Of course, these repetitions are optional. If you want to play the Air only – there is an optional ending in bar 22. If you want to play only the fugue – start from bar 23 (intro), or from bar 30 (theme). Or you choose to play Air and fugue consecutively. The arrangement works great either ways ;-). Piano voice is written out. However, there are also chord symbols for your own voicings. Minimal instrumentation: piano trio (violin1, cello, piano). Comes with full score and all individual parts. Optional voices for violin 2 and bass, clarinet Bb, guitar, and drums included. Professional sheet material. I´ve listed quite a lot of songs, so far: Movie Themes and classic Pop songs for this kind of instrumentation, and others. Browse ;-) Have fun with my arrangements!
$30.00
Prospice for Tenor and Orchestra
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Orchestre de chambre
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INTERMÉDIAIRE/AVANCÉ
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William Kersten
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Prospice for Tenor and Orchest
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William Kersten
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SheetMusicPlus
Chamber Orchestra - Level 4 - SKU: A0.1309918 Composed by William Kersten. Classical,Opera,Romantic Period. 59 pages. William Kersten #899051. Published...
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Chamber Orchestra - Level 4 - SKU: A0.1309918 Composed by William Kersten. Classical,Opera,Romantic Period. 59 pages. William Kersten #899051. Published by William Kersten (A0.1309918). Heroic operatic song for tenor with orchestral accompaniment, based on the poem by Robert Browning.
$6.99
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