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42
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32
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30
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29
2 Violons (duo)
28
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28
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23
Harpe
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Violon
19
Violoncelle
17
Alto seul
10
Trio à Cordes: 2 violons, violoncelle
6
Quintette à cordes: 2 violons, alto, violoncelle, basse
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Contre Basse
5
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Violon (partie séparée)
5
Alto (partie séparée)
3
Ensemble de Violons
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Quatuor à cordes: 4 violons
3
Trio à Cordes: violon, alto, violoncelle
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2 Contrebasses (duo)
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Violoncelle (partie séparée)
2
Contrebasse (partie séparée)
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Alto, Violoncelle (duo)
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4 Violoncelles
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Trio à Cordes: 3 violoncelles
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Harpe, Violon (duo)
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Violoncelle, Contrebasse (duo)
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PERCUSSIONS & ORCHESTRES
Orchestre d'harmonie
166
Orchestre
31
Orchestre à Cordes
20
Fanfare
9
Cloches
9
Marimba
8
Ensemble de cuivres
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Batterie
6
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6
Xylophone, Piano
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Ensemble Jazz
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4
Jazz combo
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Piano et Orchestre
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Vous avez sélectionné:
Simply Red
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Bunny Rabbits for Chamber Orchestra - Score only in Tabloid format
Orchestre de chambre
Chamber Orchestra - Level 3 - Digital Download SKU: A0.578875 Composed by David War…
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Chamber Orchestra - Level 3 - Digital Download SKU: A0.578875 Composed by David Warin Solomons. 20th Century,Contemporary. Score and parts. 7 pages. David Warin Solomons #1791985. Published by David Warin Solomons (A0.578875). This letter to my grandmother is a recollection of her final years in the 1970s. She suffered from Parkinsons and became very frustrated with the fact that her body simply didn't follow the commands of her brain. But she was always a very polite, gentle and yet determined person - others in this situation might have used swear words, but, when she found herself immobilised, my gran would simply shout Bunny Rabbits!. This would make us laugh and she would laugh along with us. The frustration is represented in the music by the Delians melodic fragment DEFGEDE (in the D Dorian mode) interrupted by the timpani, and eventually other instruments, repeating the frustrated bunny rabbits theme. Finally - following her Christian beliefs, her soul goes up to an afterlife in which she is released from the frustration and the bunny rabbits, who have a final grumble on brass and timpani and give way to an ethereal minor chord with a major sixth, as suggested by the Dorian mode. The sound sample here is an electronic preview. The piece was premiered on 30 January 2016 by the Octava Chamber Orchestra along with various other short movements composed by other members of the Delian Society as part of Delian Suite No 8.
$5.00
4.48 €
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Orchestre de chambre
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David Warin Solomons
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Bunny Rabbits for Chamber Orchestra - Score only in Tabloid format
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David Warin Solomons
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SheetMusicPlus
Requiem
Orchestre de chambre
Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra - Digital Dow…
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Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra - Digital Download 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
50.19 €
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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
Triple Concerto
Orchestre de chambre
2 Ob. - Pk. (auch Trgl.) - Str. 3 violins and chamber orchestra - difficult - Digital Down…
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2 Ob. - Pk. (auch Trgl.) - Str. 3 violins and chamber orchestra - difficult - Digital Download SKU: S9.Q6420 Composed by Olli Mustonen. This edition: piano reduction with solo parts. Violin Library. Downloadable, Piano reduction with solo parts. Duration 17 minutes. Schott Music - Digital #Q6420. Published by Schott Music - Digital (S9.Q6420). Mustonen is one of the composing piano virtuosos of the young generation. What is remarkable in his works is that he does not give priority to 'his instrument'. He has composed pieces for strings, sonatas with piano accompaniment, orchestral works and even a piece for guitar which refers to the history of his home country Finland. In his 'Triple Concerto', the three highly virtuoso solo violins compete with a colourfully orchestrated string orchestra. As a special feature, timpani and triangle are used in an effective and sophisticated way. We now publish the piano score of this frequently performed work. Even this chamber music version reveals the spirited and simply beautiful music of Mustonen.
$40.99
36.75 €
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Orchestre de chambre
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Olli Mustonen
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Triple Concerto
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Schott Music - Digital
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SheetMusicPlus
Mountains Of The Moon
Orchestre de chambre
Chamber Orchestra - Level 3 - Digital Download SKU: A0.1181592 By The Grateful Dead…
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Chamber Orchestra - Level 3 - Digital Download SKU: A0.1181592 By The Grateful Dead. By Jerry Garcia and Robert Hunter. Arranged by Lee Johnson. 20th Century,Chamber,Contemporary,Contest,Festival,Folk. Score and Parts. 40 pages. Lee Johnson Music #781381. Published by Lee Johnson Music (A0.1181592). MOUNTAINS of the MOON - for string orchestra and harp - is inspired by and written in tribute to the music of the Grateful Dead and comes from the world-renowned Dead Symphony no. 6 by composer and arranger Lee Johnson. It is a modern cross-over symphony recorded by the Russian National Orchestra and conducted by Lee Johnson that charted at #20 on Billboard’s Best Classical Albums. Dead Symphony no. 6 has been performed by the Baltimore Symphony Orchestra, The Cabrillo Festival Orchestra, The Indianapolis Symphony Orchestra, The California Symphony Orchestra, and many others both professional and academic. It has been broadcast on Sirius/XM, WNYC, NPR, and dozens of syndicated radio programs and stations. Each movement may be purchased and performed separately.If your orchestra would like to do a complete performance of Dead Symphony no. 6, simply use the following order:If I Had the World To GiveSt. StephenHere Comes SunshineMountains of the MoonBlues for AllahSugar MagnoliaTo Lay Me DownBird SongChina DollDead Overture and FinaleFor more information on composer Lee Johnson please visit: www.leejohnsonmusic.comKings Bishop Productions YouTube Channel Â
$49.99
44.81 €
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Orchestre de chambre
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The Grateful Dead
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Lee Johnson
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Mountains Of The Moon
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Lee Johnson Music
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SheetMusicPlus
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