English version
Parcourir Free-scores.com
Partitions Gratuites
Instruments
ACCORDEON
ALTO
AUTRES INST…
BALALAIKA
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
BUGLE
CHANT - CHO…
CHARANGO
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
CONTREBASSE
COR
COR ANGLAIS
CORNEMUSE
CORNET
DOBRO - GUI…
DULCIMER
EUPHONIUM
FANFARE - B…
FLUTE
FLUTE A BEC
FLUTE A DIX…
FLUTE DE PA…
FORMATION M…
GUITARE
GUITARE PED…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH, THEOR…
MANDOLINE
MARIMBA
ORCHESTRE
ORGUE
OUD
PARTITIONS …
PAS DE PART…
PERCU. ORCH…
PERCUSSION
PIANO
SAXOPHONE
SYNTHE
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIELLE A RO…
VIOLE DE GA…
VIOLON
VIOLONCELLE
XYLOPHONE
Page d'accueil
Instrumentations
Compositeurs
Nouveautés
Partitions de Noël
Genres Musicaux
Genres Musicaux
Autres Services
Autres Services
Top 100
Portées musicales
Metronome
Achats pour Musiciens
Partitions Numériques
Librairie Musicale
Matériel de musique
Idées cadeaux
A propos de free-scores.com
Partitions
Gratuites
5 320
Partitions
Numériques
71
Librairie
Musicale
0
Matériel
de Musique
10 278
Partitions numériques
Accès après achat
Expédition postale
Téléchargement
TRI ET FILTRES
TRI ET FILTRES
Tri et filtres :
--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
style (tous)
AFRICAIN
AMERICANA
ASIE
BLUEGRASS
BLUES
CELTIQUE - IRISH - S…
CHANSON FRANÇAISE
CHRISTIAN (contempor…
CLASSIQUE - BAROQUE …
COMEDIES MUSICALES -…
CONTEMPORAIN - 20-21…
CONTEMPORAIN - NEW A…
COUNTRY
EGLISE - SACRE
ENFANTS : EVEIL - IN…
FILM - TV
FILM WALT DISNEY
FINGERSTYLE - FINGER…
FLAMENCO
FOLK ROCK
FOLKLORE - TRADITION…
FUNK
GOSPEL - SPIRITUEL -…
HALLOWEEN
JAZZ
JAZZ MANOUCHE - SWIN…
JEUX VIDEOS
KLEZMER - JUIVE
LATIN - BOSSA - WORL…
LATIN POP ROCK
MARIAGE - AMOUR - BA…
MEDIEVAL - RENAISSAN…
METAL - HARD
METHODE : ACCORDS ET…
METHODE : ETUDES
METHODE : TECHNIQUES
NOËL
OLD TIME - EARLY ROC…
OPERA
PATRIOTIQUE
POLKA
POP ROCK - POP MUSIC
POP ROCK - ROCK CLAS…
POP ROCK - ROCK MODE…
PUNK
RAGTIME
REGGAE
SOUL - R&B - HIP HOP…
TANGO
THANKSGIVING
Vendeurs (tous)
Musicnotes
Note4Piano
Noviscore
Profs-edition
Quickpartitions
SheetMusicPlus
Tomplay
Virtualsheetmusic
Pertinence
Ventes
Prix - au +
Prix + au -
Nouveautes
A-Z
difficulté (tous)
débutant
facile
intermédiaire
avancé
expert
avec audio
avec vidéo
avec play-along
Non classifié
3872
PIANO & CLAVIERS
Piano Facile
3262
Piano, Voix
2770
Piano seul
1917
Piano, Voix et Guitare
1572
1 Piano, 4 mains
621
Instruments en Do
581
Orgue
126
Accompagnement Piano
96
Accordéon
39
1 Piano, 6 mains
37
Piano Trio: piano, violon, violoncelle
29
2 Pianos, 4 mains
19
Piano Quatuor: piano, violon, alto, violoncelle
11
Ligne De Mélodie, Piano
7
Piano Quintette: piano, 2 violons, alto, violoncelle
6
Piano grosses notes
4
Instrument seul et Orgue
4
Clavecin
3
2 Pianos, 8 mains
3
Piano (partie séparée)
3
2 Accordéons
2
Clavier
2
Ensemble d'Accordéons
2
Accordéon, Voix
1
Piano Quatuor: piano, 2 violons, violoncelle
1
Orgue, Voix
1
Instrumentations suivantes
Retracter
GUITARES
Guitare notes et tablatures
920
Basse electrique
392
Ukulele
343
Ligne De Mélodie, (Paroles) et Accords
270
Guitare
236
Paroles et Accords
56
Dulcimer
33
Mandoline
14
2 Guitares (duo)
13
Piano, Guitare (duo)
13
Guitare (partie séparée)
12
4 Guitares (Quatuor)
9
3 Guitares (trio)
7
Banjo
6
Ensemble de guitares
6
Guitare Pedal Steel
5
2 Dulcimers (duo)
2
Basse électrique (partie séparée)
2
Cithare
1
Ukulele Baryton
1
Instrumentations suivantes
Retracter
VOIX
Chorale SATB
1084
Chorale Unison
749
Chorale 2 parties
705
Voix seule
522
Chorale 3 parties
503
Voix duo, Piano
320
Chorale SSAA
248
Chorale TTBB
245
Pack Instrumental pour Chorale
201
Voix Alto, Piano
33
Voix Soprano, Piano
33
Voix Baryton, Piano
26
Voix duo
21
Voix Tenor, Piano
17
Voix, Guitare
16
Voix haute
15
Voix basse, Piano
15
Voix moyenne, Piano
10
Chorale
8
Chorale SSATTB
2
Voix Tenor
2
Voix Soprano
2
Chorale SSAATB
1
Chorale SSAB a cappella
1
Chorale SSATB
1
Chorale SSAATTBB
1
Instrumentations suivantes
Retracter
VENTS
Flûte traversière
463
Saxophone Alto
391
Clarinette
289
Saxophone Tenor
283
Saxophone (partie séparée)
269
Flûte traversière et Piano
233
Hautbois, Piano (duo)
199
Clarinette et Piano
193
Saxophone Alto et Piano
178
Hautbois (partie séparée)
155
Quatuor de Clarinettes: 4 clarinettes
138
2 Flûtes traversières (duo)
136
Quatuor de Saxophones: 4 saxophones
126
Saxophone Tenor et Piano
114
2 Saxophones (duo)
110
Flûte, Hautbois, Clarinette, Basson
109
2 Clarinettes (duo)
91
Clarinette (partie séparée)
79
Flute (partie séparée)
76
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
75
Quatuor de Flûtes : 4 flûtes
73
Saxophone Soprano et Piano
69
Hautbois
68
Quintette de Saxophone: 5 saxophones
62
Saxophone Baryton, Piano
59
3 Clarinettes (trio)
41
2 Hautbois (duo)
39
Hautbois, Basson (duo)
35
Saxophone Soprano
33
Flûte et Guitare
31
Flûte, Clarinette (duo)
31
Saxophone Baryton
31
Ensemble de Flûtes
30
Trio de Flûtes: 3 flûtes
29
Ensemble de Clarinettes
26
3 Saxophones (trio)
25
Quintette de Clarinettes: 5 clarinettes
25
Flûte à bec Soprano
24
Hautbois, Violoncelle
24
Clarinette Basse, Piano
24
Flûte à bec Alto
23
Ensemble de saxophones
23
Clarinette, Violon (duo)
21
Cor anglais, Piano
20
Flûte, Violoncelle
20
Flûte, Alto (duo)
19
Flûte à Bec
16
Cor Anglais
15
Saxophone, Clarinette (duo)
15
Saxophone
15
Clarinette et Alto
15
Hautbois, Clarinette (duo)
15
Clarinette, Basson (duo)
14
Flûte, Violon
14
2 Flûte à bec (duo)
13
Clarinette, Violoncelle (duo)
12
Hautbois et alto (duo)
10
Flûte, Trombone (duo)
10
Flûte, Hautbois, Clarinette (trio)
9
Quatuor de Flûtes à bec
9
5 Flûtes à bec
7
2 Flûtes traversières, Piano
7
Hautbois, violon (duo)
7
Flûte à bec Tenor
7
Ocarina
6
Hautbois, Flûte
6
Flûte, Hautbois (duo)
6
2 Clarinettes, Piano
5
Quintette de Flûte : 5 flûtes
5
Flûte, Violon, Piano
4
Harmonica
4
Clarinette Basse
4
Piccolo
4
Flûte, Basson et Piano
3
2 Saxophones, Piano
3
Clarinette, Basson, Piano (trio)
3
Ensemble à vent
3
Flûte, Clarinette et Basson
3
Ensemble De Flûte à bec
2
Flûte, Saxophone (duo)
2
Saxophone et Orgue
2
Instruments en Mib
2
Flûte, Violoncelle, Piano (trio)
2
Flûte à bec Soprano, Piano
2
Flûte irlandaise
2
Clarinette, Guitare (duo)
2
Hautbois, Harpe
2
Flûte, Hautbois, Basson
2
Clarinette, Harpe (duo)
2
Flûte, Hautbois, Piano (trio)
2
Flûte à Bec, Piano
2
Flûte, Clarinette, Piano (trio)
2
Clarinette, Orgue
2
Clarinette, Orchestre
2
Saxophone et Piano
2
Cor anglais, Guitare (duo)
1
Flûte traversière, Orchestre
1
3 Flûtes à bec (trio)
1
Hautbois, Violin, Alto et Violoncelle (Quatuor)
1
Piccolo, Piano
1
Quatuor de Clarinettes: Clarinette, Violon, Alto, Violoncelle
1
3 Hautbois
1
Hautbois, Clarinette et Piano (Trio)
1
Clarinette, Tuba
1
Flûte traversière, Orgue (duo)
1
Hautbois, Clarinette, Basson (trio d'anches)
1
Flûte, Alto et Piano
1
Clarinette, Contrebasse (duo)
1
Hautbois, Basson et Piano
1
Flûte et Trio à cordes
1
Saxophone et Guitare
1
Clarinette, Violoncelle, Piano (trio)
1
2 Flûtes à bec, Piano
1
Clarinette, Alto et Piano (trio)
1
Flûte à bec, Guitare (duo)
1
Hautbois, Violon, Piano
1
Instrumentations suivantes
Retracter
CUIVRES
Trombone
273
Cor
165
Trombone et Piano
127
Cor et Piano
114
Trombone (partie séparée)
108
Tuba
94
2 Trombones (duo)
49
2 Cors (duo)
48
Tuba et Piano
40
Cor (partie séparée)
28
Euphonium, Piano (duo)
27
Tuba (partie séparée)
27
Euphonium
24
Cor anglais, Piano
20
2 Tubas (duo)
19
Quatuor de cuivres: 4 trombones
17
Cor Anglais
15
Quatuor de cuivres: 4 cors
15
Tuba et Orgue
10
Bass Clef Instruments
7
3 Trombones (trio)
7
Trombone, Tuba (duo)
4
Ensemble de Cors
3
4 Tubas
3
Quatuor de Cuivres
3
2 Euphoniums et 2 Tubas
3
Trombone basse
3
Cor, Tuba (duo)
2
Trombone, Cor (duo)
2
G Instruments
2
Trombone, Orgue
2
Trio de Cuivres
2
Cor, Violoncelle (duo)
2
Cor anglais, Guitare (duo)
1
3 Euphoniums
1
Ensemble de Trombones
1
2 Euphoniums (duo)
1
Trombone et orchestre
1
Trompette, Euphonium (duo)
1
Instruments en Sib
1
Tuba ou Euphonium ou Saxhorn
1
Instrumentations suivantes
Retracter
CORDES
Violon
592
Quatuor à cordes: 2 violons, alto, violoncelle
478
Violoncelle
434
Violon et Piano
340
Alto seul
267
Violoncelle, Piano
217
Alto, Piano
187
2 Violons (duo)
125
Violon, Violoncelle (duo)
119
Harpe
111
2 Violoncelles (duo)
110
Contre Basse
100
Violon (partie séparée)
96
2 Altos (duo)
77
Alto (partie séparée)
75
Violon, Alto (duo)
67
Trio à Cordes: violon, alto, violoncelle
62
Quintette à cordes: 2 violons, alto, violoncelle, basse
52
Contrebasse, Piano (duo)
45
Trio à Cordes: 2 violons, violoncelle
40
Alto, Violoncelle (duo)
28
Contrebasse (partie séparée)
26
Trio à cordes: 3 violins
25
Violon, Basson (duo)
22
Violoncelle, Contrebasse (duo)
17
Violon, Guitare (duo)
17
Violoncelle (partie séparée)
14
2 Contrebasses (duo)
11
2 Harpes (duo)
10
Trio à Cordes: 3 violoncelles
9
4 Violoncelles
8
Quatuor à cordes: 4 violons
7
Flûte, Contrebasse (duo)
6
Harpe, Violon (duo)
5
Piano Trio: Violon, Alto, Piano
5
Trio à cordes
5
Violoncelle , Guitare (duo)
4
Trio à Cordes: 2 violons, alto
4
Harpe, Flûte (duo)
3
Trio à cordes: 3 altos
3
Quatuor à cordes : 4 altos
2
2 Violons, Piano
2
Violon, Tuba (duo)
2
4 Contrebasses
2
Harpe, Violoncelle (duo)
2
Harpe, Voix
1
Violoncelle, Orgue
1
Violoncelle, Basse continue
1
Alto, Orgue
1
Alto, Guitare (duo)
1
Alto et Basson
1
Ensemble de Violons
1
Instrumentations suivantes
Retracter
PERCUSSIONS & ORCHESTRES
Orchestre d'harmonie
1792
Orchestre à Cordes
266
Cloches
260
Fanfare
239
Orchestre
164
Ensemble de cuivres
92
Percussion (partie séparée)
81
Ensemble Jazz
81
Orchestre de chambre
71
Batterie
47
Ensemble de Percussions
28
Jazz combo
21
Percussion
14
Batterie (partie séparée)
10
Timbales (partie séparée)
10
Xylophone, Piano
10
Vibraphone
7
Xylophone
6
Timbales
4
2 Xylophones
4
Marimba
4
Xylophone ou Marimba ou Vibraphone
2
Caisse Claire
2
3 Percussions
1
Instrumentation Flexible
1
2 Marimbas
1
Orchestre, Violon
1
Instrumentations suivantes
Retracter
AUTRES
Papeterie
15
Formation musicale - Solfège
2
Théorie de la musique
1
Vous avez sélectionné:
Sing! - Trumpet 1
Orchestre de chambre
Partitions à imprimer
71 partitions trouvées
<
1
26
51
Stefano Maria Torchio: En Archè en o Logos - Violin 1 part
Orchestre de chambre
Chamber Orchestra - Level 5 - Digital Download SKU: A0.1022759 Composed by Stefano …
(+)
Chamber Orchestra - Level 5 - Digital Download SKU: A0.1022759 Composed by Stefano Maria Torchio. Contemporary,Sacred. Score and parts. 6 pages. Stefano Torchio #3142871. Published by Stefano Torchio (A0.1022759). S. M. Torchio: En Archè en o Logos (2007)A deep and powerful reflection on the first lines of John's Gospel and the mistery of the Creation and of the beginning. The fascinating sound of ancient Greek creates a dialectic relationship with the modern international english language. All happens wihin a very interesting proposal for an avantgarde sacred music fitted for liturgical uses too. A considerable number of singers and of strings is required in order to create an adequate sound space and colour. Particular care is required by the intonation and the creation and substain of the right tone (which are perhaps the biggest challenge by the piece) but the entire music created by the phonemata and the training about it could be very funny and very precious and helpful for an interesting growth of a very fine Choir. The piece won the International Composition Competition Anima Mundi organized by the Opera Primaziale di Pisa in 2009.Stefano Maria TorchioItalian Violinist, Composer and Conductor, spent his education between Italy and the University of Music and Performing Art in Vienna, where he studied Orchestral Conducting with U. Lajovic and J. Wildner and Choir Conducting with E. Ortner and T. Lang. Further studies made Torchio in Violin, Composition and Organ at the Music Conservatory of Padua (his home town).He won prizes by international composition competitions like the Anima Mundi of the Opera Primaziale di Pisa, the A. Casella of the Accademia Chigiana of Siena, In memoriam... Johannes XXIII of Comune di Sotto il Monte, the MiniMusicDrama of Ovada and the Composition Prize of the Music Conservatory of Padua. He also participated by seminaries and masterclasses in Composition and Conducting with important Maestri like Z. Metha, F. Luisi, B. de Billy, S. Young, G. Andretta, A. Corghi, I. Fedele, C. Ambrosini, M. Lichtfuß and R. Vaglini by important Academies and Institution like the Accademia Chigiana in Siena, the R. Romanini Foundation in Brescia and the Accademia L. Perosi in Biella. For years he carries out an intense musical activity within several fields, by playing as solo or within chamber ensembles, composing, teaching and conducting also own works.Composer's e-mail: stefanotorchio84@gmail.comYou can find me also on: facebook, instagram and twitter.
$4.00
3.66 €
#
Orchestre de chambre
#
Stefano Maria Torchio
#
Stefano Maria Torchio: En Archè en o Logos - Violin 1 part
#
Stefano Torchio
#
SheetMusicPlus
O Come All Ye Faithful (sing-along for chamber orchestra)
Orchestre de chambre
Chamber Orchestra - Level 3 - Digital Download SKU: A0.873770 Composed by John Read…
(+)
Chamber Orchestra - Level 3 - Digital Download SKU: A0.873770 Composed by John Reading, 1692. Arranged by Douglas Meyer. Christian,Christmas,Praise & Worship,Sacred. Score and parts. 25 pages. Douglas Meyer #3038915. Published by Douglas Meyer (A0.873770). A sing-along setting for chamber orchestra (1.1.2.1/2.1.1.0 strings) accompaniment with full score, parts and text for the holiday favorite O COME ALL YE FAITHFUL.
$18.95
17.32 €
#
Orchestre de chambre
#
John Reading, 1692
#
Douglas Meyer
#
O Come All Ye Faithful
#
Douglas Meyer
#
SheetMusicPlus
IAN BUTTERWORTH Suite: Sing a Song of Sixpence for chamber orchestra
Orchestre de chambre
Chamber Orchestra - Level 3 - Digital Download SKU: A0.963763 Composed by Ian Butte…
(+)
Chamber Orchestra - Level 3 - Digital Download SKU: A0.963763 Composed by Ian Butterworth. Contemporary. Score and Parts. 73 pages. Ian Butterworth #6195357. Published by Ian Butterworth (A0.963763). A suite of four well known tunes lasting 8 mins approx. (Sing a Song of Sixpence, Barbara Allen, The Skye Boat Song and Pop goes the Weasel). The orchestration (Str+1.2.0.2:2.0.0.0) is similar to many 18thC symphonies and the suite is a suitable contrast in a concert programme. A version of the suite for string orchestra is also available. Copying of individual string parts for sole use by the purchaser is permitted.
$15.99
14.62 €
#
Orchestre de chambre
#
Ian Butterworth
#
IAN BUTTERWORTH Suite: Sing a Song of Sixpence for chamber orchestra
#
Ian Butterworth
#
SheetMusicPlus
Karl Friedrich Abel - Sinfonia Op. 7 n. 1 - Secondo Movimento - Andante
Orchestre de chambre
Chamber Orchestra - Level 3 - Digital Download SKU: A0.828700 Composed by Karl Frie…
(+)
Chamber Orchestra - Level 3 - Digital Download SKU: A0.828700 Composed by Karl Friedrich Abel. Arranged by Guido Menestrina. Classical. Score and parts. 16 pages. Guido Menestrina #122893. Published by Guido Menestrina (A0.828700). Karl Friedrich Abel - Sinfonia Op. 7 n. 1 - Secondo Movimento - Adagio Edited by Guido Menestrina - Full score and single parts for 2 oboe, 2 F Horns (originally cor de chasse, tacet on 2nd movement), 2 violins, viola and cello (originally basse de violon). Abel was born in Köthen, a small German city, where his father, Christian Ferdinand Abel, had worked for years as the principal viola da gamba and cello player in the court orchestra. In 1723 Abel senior became director of the orchestra, when the previous director, Johann Sebastian Bach moved to Leipzig. The young Abel later boarded at Leipzig's Thomasschule, where he was taught by Bach. On Bach's recommendation in 1743 he was able to join Johann Adolph Hasse's court orchestra at Dresden where he remained for fifteen years.[3][5] In 1759 (or 1758 according to Chambers),[1] he went to England and became chamber-musician to Queen Charlotte, in 1764.[3][5] He gave a concert of his own compositions in London, performing on various instruments, one of which was a five-string cello known as a pentachord, which had been recently invented by John Joseph Merlin.[6] In 1762, Johann Christian Bach, the eleventh son of J.S. Bach, joined him in London, and the friendship between him and Abel led, in 1764 or 1765, to the establishment of the famous Bach-Abel concerts, England's first subscription concerts. In those concerts, many celebrated guest artists appeared, and many works of Haydn received their first English performance. For ten years the concerts were organized by Mrs. Theresa Cornelys, a retired Venetian opera singer who owned a concert hall at Carlisle House in Soho Square, then the height of fashionable events. In 1775 the concerts became independent of her, to be continued by Abel and Bach until Bach's death in 1782. Abel still remained in great demand as a player on various instruments new and old. He traveled to Germany and France between 1782 and 1785, and upon his return to London, became a leading member of the Grand Professional Concerts at the Hanover Square Rooms in Soho. Throughout his life he had enjoyed excessive living, and his drinking probably hastened his death, which occurred in London on 20 June 1787. One of Abel's works became famous due to a misattribution: in the 19th century, a manuscript symphony in the hand of Wolfgang Amadeus Mozart, was catalogued as his Symphony no. 3 in E flat, K. 18, and was published as such in the first complete edition of Mozart's works by Breitkopf & Härtel. Later, it was discovered that this symphony was actually the work of Abel, copied by the boy Mozart-evidently for study purposes-while he was visiting London in 1764. That symphony was originally published as the concluding work in Abel's Six Symphonies, Op. 7. Follow the score on youtube: https://www.youtube.com/watch?v=_urGVpH7Pls.
$7.99
7.3 €
#
Orchestre de chambre
#
Karl Friedrich Abel
#
Guido Menestrina
#
Karl Friedrich Abel - Sinfonia Op. 7 n. 1 - Secondo Movimento - Andante
#
Guido Menestrina
#
SheetMusicPlus
Telemann – Grillen-Symphonie TWV 50:1 (Score and parts PDF)
Orchestre de chambre
Chamber Orchestra - Level 4 - Digital Download SKU: A0.890768 Composed by Georg Phi…
(+)
Chamber Orchestra - Level 4 - Digital Download SKU: A0.890768 Composed by Georg Philipp Telemann. Arranged by Sneakwood Editions. Baroque,Classical. Score and parts. 34 pages. Sneakwood Editions #4781043. Published by Sneakwood Editions (A0.890768). The Concert à 9 Parties, 50:1, features an eccentric instrumentation of flute (ordinary, or that at the octave [i.e. piccolo], or the two combined), alto chalumeau, oboe, two violins almost entirely in unison, viola, two concertante contrabasses, and continuo.The work is in fact a three-movement symphony, as indicated by the original title that Telemann crossed out before he began composing: Grillen-Symphonie in the Italian, French, English, Scottish, and Polish styles. Although this title was rejected, along with the jumble of national idioms, it helps explain the music’s curiously tongue-in-cheek style (Grillen, as used in this sense, are whims) (From Music for a Mixed Taste: Style, Genre, and Meaning in Telemann’s by Steven Zohn)Edition based on manuscript by Telemann: Staatsbibliothek zu Berlin (D-B): Mus. ms. autogr. G. Ph. Telemann 3.Score (18 pp.) and parts (Flute, Oboe, Chalumeau, Double bass 1, Double bass 2, Violins 1 and 2, Viola and Basso Continuo)www.snakewoodeditions.com
$18.00
16.46 €
#
Orchestre de chambre
#
Georg Philipp Telemann
#
Sneakwood Editions
#
Telemann – Grillen-Symphonie TWV 50:1
#
Sneakwood Editions
#
SheetMusicPlus
1757-1813) PLEYEL Symphony No.1 in F Op.14 No.1
Orchestre de chambre
Chamber Orchestra - Level 4 - Digital Download SKU: A0.1495619 Composed by Ignaz Jo…
(+)
Chamber Orchestra - Level 4 - Digital Download SKU: A0.1495619 Composed by Ignaz Josef Pleyel. Arranged by Ian Butterworth. Classical. 130 pages. Ian Butterworth #1072143. Published by Ian Butterworth (A0.1495619). Pleyel (1757-1831) born in France, wrote 42 symphonies and came to London where his works rivalled those of his teacher, Haydn. Symphony No.1 is in four movements and is scored for 2 oboes, bassoon, two horns and strings. The score (42 pages) has been edited for bowing and phrasing, and the string parts may be copied for the sole use by the purchaser.ianbutterworthmusic.co.uk
$18.00
16.46 €
#
Orchestre de chambre
#
Ignaz Josef Pleyel
#
Ian Butterworth
#
1757-1813) PLEYEL Symphony No.1 in F Op.14 No.1
#
Ian Butterworth
#
SheetMusicPlus
Piano Concerto No. 1 - Score Only
Orchestre de chambre
Chamber Orchestra - Level 3 - Digital Download SKU: A0.1197642 Composed by Juan Mar…
(+)
Chamber Orchestra - Level 3 - Digital Download SKU: A0.1197642 Composed by Juan MarÃa Solare. 20th Century,Classical,Contemporary. Score and parts. 77 pages. Juan Maria Solare #796823. Published by Juan Maria Solare (A0.1197642). Juan MarÃa Solare: Piano Concerto (No. 1)PARTSPiano Concerto No. 1 - FIRST movement [score and parts]https://www.sheetmusicplus.com/title/22466227?aff_id=565049https://www.sheetmusicplus.com/title/piano-concerto-no-1-first-movement-score-and-parts-digital-sheet-music/22466227?aff_id=565049https://www.sheetmusicplus.com/22466227?aff_id=565049Piano Concerto No. 1 - SECOND movement [score and parts]https://www.sheetmusicplus.com/title/22466231?aff_id=565049Piano Concerto No. 1 - THIRD movement [score and parts]https://www.sheetmusicplus.com/title/22466233?aff_id=565049Aesthetic reflections on the piano concertoDuring the eras of classicism and romanticism, a concerto was often conceived as a confrontation between a soloist, symbolising the individual, and the orchestra, representing society. Seen in this way, a concert reflects a value system that pits the individual against the group and poses a struggle of I against you. Surely this vehemence could be explained in a Beethovenian era when the concepts of human rights and individual freedom were fragile ideals.However, it is a different scale of values that my piano concerto tries to reflect: the idea of cooperation, of teamwork and of an orchestra as a living organism whose organs are not superior to one another, more vital than others, but fulfil different functions, qualitatively speaking.Every soloist plays a leading role, but this does not imply either subordination to the rest or denigration or subjugation of the rest. The fact that the soloist is sometimes in the foreground does not imply a victory over the others. The very concept of victory is meaningless here.At times, the soloist will fulfil a leadership role, at others he or she will underpin from passivity what is happening in the orchestra, intentionally from the shadows, as a grey eminence. And at other times - why not - he will question what the majority is doing.It is not a rough relationship of me against you, but there is also a we.The composition and orchestration of this piano concerto was made possible by a grant from the Senator for Culture of the Free Hanseatic City of Bremen. This work was funded by an artist's grant as part of the Bremen-Corona-Hilfen programme.The premiere by the orchestra of the Bremer Orchestergemeinschaft is scheduled for the beginning of 2024. Duration: 17 to 20 minutes.1st movement - https://youtu.be/DNckBKzaWtc2nd movement - https://youtu.be/1Zy0ZbrdPJE3rd movement - https://youtu.be/dnYE9dWUEZg
$25.00
22.86 €
#
Orchestre de chambre
#
Juan MarÃa Solare
#
Piano Concerto No. 1 - Score Only
#
Juan Maria Solare
#
SheetMusicPlus
Piano Concerto No. 1 - FIRST movement [score and parts]
Orchestre de chambre
Chamber Orchestra - Level 3 - Digital Download SKU: A0.1197728 By Juan MarÃa Sol…
(+)
Chamber Orchestra - Level 3 - Digital Download SKU: A0.1197728 By Juan MarÃa Solare. By Juan MarÃa Solare. 20th Century,Classical,Contemporary. Score and parts. 74 pages. Juan Maria Solare #796909. Published by Juan Maria Solare (A0.1197728). Juan MarÃa Solare: Piano Concerto No. 1 - FIRST movement [score and parts]Please find the other two movements - also in this platformThe full score (of the three movements) is also available independently HERE:https://www.sheetmusicplus.com/title/piano-concerto-no-1-score-only-digital-sheet-music/22468631?aff_id=565049Video in YouTube (score follower)Aesthetic reflections on the piano concertoDuring the eras of classicism and romanticism, a concerto was often conceived as a confrontation between a soloist, symbolising the individual, and the orchestra, representing society. Seen in this way, a concert reflects a value system that pits the individual against the group and poses a struggle of I against you. Surely this vehemence could be explained in a Beethovenian era when the concepts of human rights and individual freedom were fragile ideals.However, it is a different scale of values that my piano concerto tries to reflect: the idea of cooperation, of teamwork and of an orchestra as a living organism whose organs are not superior to one another, more vital than others, but fulfil different functions, qualitatively speaking.Every soloist plays a leading role, but this does not imply either subordination to the rest or denigration or subjugation of the rest. The fact that the soloist is sometimes in the foreground does not imply a victory over the others. The very concept of victory is meaningless here.At times, the soloist will fulfil a leadership role, at others he or she will underpin from passivity what is happening in the orchestra, intentionally from the shadows, as a grey eminence. And at other times - why not - he will question what the majority is doing.It is not a rough relationship of me against you, but there is also a we.The composition and orchestration of this piano concerto was made possible by a grant from the Senator for Culture of the Free Hanseatic City of Bremen. This work was funded by an artist's grant as part of the Bremen-Corona-Hilfen programme.The premiere by the orchestra of the Bremer Orchestergemeinschaft is scheduled for the beginning of 2024. Duration: 17 to 20 minutes.
$33.00
30.17 €
#
Orchestre de chambre
#
Juan MarÃa Solare
#
Piano Concerto No. 1 - FIRST movement [score and parts]
#
Juan Maria Solare
#
SheetMusicPlus
Piano Concerto No. 1 - SECOND movement [score and parts]
Orchestre de chambre
Chamber Orchestra - Level 3 - Digital Download SKU: A0.1197730 By Juan MarÃa Sol…
(+)
Chamber Orchestra - Level 3 - Digital Download SKU: A0.1197730 By Juan MarÃa Solare. By Juan MarÃa Solare. Arranged by Juan MarÃa Solare. 20th Century,Classical,Contemporary. Score and parts. 64 pages. Juan Maria Solare #796911. Published by Juan Maria Solare (A0.1197730). Piano Concerto No. 1 - SECOND movement [score and parts]Please find the other two movements - also in this platformThe full score (of the three movements) is also available independently HERE:https://www.sheetmusicplus.com/title/piano-concerto-no-1-score-only-digital-sheet-music/22468631?aff_id=565049Video in YouTube (score follower)Aesthetic reflections on the piano concerto (by Juan MarÃa Solare)During the eras of classicism and romanticism, a concerto was often conceived as a confrontation between a soloist, symbolising the individual, and the orchestra, representing society. Seen in this way, a concert reflects a value system that pits the individual against the group and poses a struggle of I against you. Surely this vehemence could be explained in a Beethovenian era when the concepts of human rights and individual freedom were fragile ideals.However, it is a different scale of values that my piano concerto tries to reflect: the idea of cooperation, of teamwork and of an orchestra as a living organism whose organs are not superior to one another, more vital than others, but fulfil different functions, qualitatively speaking.Every soloist plays a leading role, but this does not imply either subordination to the rest or denigration or subjugation of the rest. The fact that the soloist is sometimes in the foreground does not imply a victory over the others. The very concept of victory is meaningless here.At times, the soloist will fulfil a leadership role, at others he or she will underpin from passivity what is happening in the orchestra, intentionally from the shadows, as a grey eminence. And at other times - why not - he will question what the majority is doing.It is not a rough relationship of me against you, but there is also a we.The composition and orchestration of this piano concerto was made possible by a grant from the Senator for Culture of the Free Hanseatic City of Bremen. This work was funded by an artist's grant as part of the Bremen-Corona-Hilfen programme.The premiere by the orchestra of the Bremer Orchestergemeinschaft is scheduled for the beginning of 2024. Duration: 17 to 20 minutes.
$33.00
30.17 €
#
Orchestre de chambre
#
Juan MarÃa Solare
#
Juan MarÃa Solare
#
Piano Concerto No. 1 - SECOND movement [score and parts]
#
Juan Maria Solare
#
SheetMusicPlus
Piano Concerto No. 1 - THIRD movement [score and parts]
Orchestre de chambre
Chamber Orchestra - Level 3 - Digital Download SKU: A0.1197732 Composed by Juan Mar…
(+)
Chamber Orchestra - Level 3 - Digital Download SKU: A0.1197732 Composed by Juan MarÃa Solare. 20th Century,Classical,Contemporary. Score and parts. 53 pages. Juan Maria Solare #796913. Published by Juan Maria Solare (A0.1197732). Piano Concerto No. 1 - THIRD movement [score and parts]Please find the other two movements - also in this platformThe full score (of the three movements) is also available independently HEREavailable HERE:(https://www.sheetmusicplus.com/title/piano-concerto-no-1-score-only-digital-sheet-music/22468631?aff_id=565049).Video in YouTube (score follower)Aesthetic reflections on the piano concerto (by Juan MarÃa Solare)During the eras of classicism and romanticism, a concerto was often conceived as a confrontation between a soloist, symbolising the individual, and the orchestra, representing society. Seen in this way, a concert reflects a value system that pits the individual against the group and poses a struggle of I against you. Surely this vehemence could be explained in a Beethovenian era when the concepts of human rights and individual freedom were fragile ideals.However, it is a different scale of values that my piano concerto tries to reflect: the idea of cooperation, of teamwork and of an orchestra as a living organism whose organs are not superior to one another, more vital than others, but fulfil different functions, qualitatively speaking.Every soloist plays a leading role, but this does not imply either subordination to the rest or denigration or subjugation of the rest. The fact that the soloist is sometimes in the foreground does not imply a victory over the others. The very concept of victory is meaningless here.At times, the soloist will fulfil a leadership role, at others he or she will underpin from passivity what is happening in the orchestra, intentionally from the shadows, as a grey eminence. And at other times - why not - he will question what the majority is doing.It is not a rough relationship of me against you, but there is also a we.The composition and orchestration of this piano concerto was made possible by a grant from the Senator for Culture of the Free Hanseatic City of Bremen. This work was funded by an artist's grant as part of the Bremen-Corona-Hilfen programme.The premiere by the orchestra of the Bremer Orchestergemeinschaft is scheduled for the beginning of 2024. Duration: 17 to 20 minutes.Full score available here
$33.00
30.17 €
#
Orchestre de chambre
#
Juan MarÃa Solare
#
Piano Concerto No. 1 - THIRD movement [score and parts]
#
Juan Maria Solare
#
SheetMusicPlus
The Emergence, Parts 1 & 2
Orchestre de chambre
Chamber Orchestra - Level 5 - Digital Download SKU: A0.1009779 Composed by (Gustav …
(+)
Chamber Orchestra - Level 5 - Digital Download SKU: A0.1009779 Composed by (Gustav Mahler). Arranged by Trey Demmond. 20th Century,Contemporary. Score and parts. 20 pages. TreyD Music & Media, LLC #28413. Published by TreyD Music & Media, LLC (A0.1009779). Both Parts 1 & 2 of The Emergence are joined to project the birth, glory, and fading of something truly amazing! For me, it was watching a dragonfly emerge from its pupa casing!
$55.00
50.28 €
#
Orchestre de chambre
#
(Gustav Mahler)
#
Trey Demmond
#
The Emergence, Parts 1 & 2
#
TreyD Music & Media, LLC
#
SheetMusicPlus
[Davidson] The Singing Lesson
Orchestre de chambre
Chamber Orchestra - Digital Download SKU: A0.953030 Composed by Matthew Davidson. C…
(+)
Chamber Orchestra - Digital Download SKU: A0.953030 Composed by Matthew Davidson. Contemporary,Opera. Score and parts. 175 pages. American Composers Alliance Inc. #4634691. Published by American Composers Alliance Inc. (A0.953030). An opera of three musical short stories in three acts, adapted from the short stories of Katherine Mansfield. Cast for 2 lyric sopranos, 2 dramatic mezzo-sopranos, 1 contralto, 1 tenor buffo, 1 basso buffo, with chamber orchestra of 0101 - 011(btbn)0 - 2 perc, celesta - 1001.PDF download includes score - contact sales@composers.com for any inquiries into part sales or rental.
$43.95
40.18 €
#
Orchestre de chambre
#
Matthew Davidson
#
[Davidson] The Singing Lesson
#
American Composers Alliance Inc.
#
SheetMusicPlus
Mozart orchestrated Connell - Cantate KV619 - Violin 1
Orchestre de chambre
Chamber Orchestra - Level 4 - Digital Download SKU: A0.823444 Composed by Wolfgang …
(+)
Chamber Orchestra - Level 4 - Digital Download SKU: A0.823444 Composed by Wolfgang Amadeus Mozart. Arranged by Adrian Connell. Classical. Score and parts. 5 pages. Adrian Connell #3219219. Published by Adrian Connell (A0.823444). An orchestration for soprano voice, strings and timpani of Mozart's K619 for a performance by the Bromley Oecumenical Singers in 2003.
$1.99
1.82 €
#
Orchestre de chambre
#
Wolfgang Amadeus Mozart
#
Adrian Connell
#
Mozart orchestrated Connell - Cantate KV619 - Violin 1
#
Adrian Connell
#
SheetMusicPlus
Fantazia No. 1 for Trombone or Low Brass Sextet
Orchestre de chambre
Chamber Orchestra - Level 3 - Digital Download SKU: A0.508202 Arranged by Eric Burg…
(+)
Chamber Orchestra - Level 3 - Digital Download SKU: A0.508202 Arranged by Eric Burger Music. Baroque. Score and parts. 24 pages. Eric Burger Music #3514821. Published by Eric Burger Music (A0.508202). From Psalmes, Songs, and Sonnets, No. 23, T 389 (1611) This lively work from the great composer William Byrd has great interest and challenges for your group, and will wow your audience. A multi section work with time and modal changes will delight. View the score with playback at:https://youtu.be/DxZR0yjCoJs This quality work is published by Eric Burger Music: www.EricBurgerMusic.com Each of these Trombone and Low Brass Ensemble works is arranged and transcribed with the intent of provide the musician with an opportunity to play works from notable composers otherwise not available to them, using the construct and voicings the compose intended. Please review the video for questions on range and difficulty, or go to my website and download the spreadsheet with ranges, keys, tempos and other important information. If you need parts modified to different clefs or keys, please write me direct at: EricBurgerMusic@gmail.com Custom work also available. If you are unhappy with any of my works, write me directly for a replacement.
$14.00
12.8 €
#
Orchestre de chambre
#
Eric Burger Music
#
Fantazia No. 1 for Trombone or Low Brass Sextet
#
Eric Burger Music
#
SheetMusicPlus
ALES STENAR, suite for violin and chamber orchestra - Score Only
Orchestre de chambre
Chamber Orchestra - Level 5 - Digital Download SKU: A0.1145526 By Stefano Olcese. B…
(+)
Chamber Orchestra - Level 5 - Digital Download SKU: A0.1145526 By Stefano Olcese. By Stefano Olcese. Arranged by Stefano Olcese. Chamber,Classical,Contemporary,Film/TV,Romantic Period. 28 pages. Stefano Olcese #745768. Published by Stefano Olcese (A0.1145526). ----> IMPORTANT
$19.99
18.28 €
#
Orchestre de chambre
#
Stefano Olcese
#
Stefano Olcese
#
ALES STENAR, suite for violin and chamber orchestra - Score Only
#
Stefano Olcese
#
SheetMusicPlus
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…
(+)
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
23.72 €
#
Orchestre de chambre
#
Carson Cooman
#
Carson Cooman: The Acts of the Apostles
#
Musik Fabrik Music Publishing
#
SheetMusicPlus
The Wild Beast of the Bungalow (Orchestra Score) - Score Only
Orchestre de chambre
Chamber Orchestra - Level 4 - Digital Download SKU: A0.1368170 By Rachel J Peters. …
(+)
Chamber Orchestra - Level 4 - Digital Download SKU: A0.1368170 By Rachel J Peters. By Rachel J Peters. 21st Century,Broadway,Classical,Comedy,Musical/Show,Opera. 337 pages. Rachel J Peters #952492. Published by Rachel J Peters (A0.1368170). The Wild Beast of the Bungalow is a triptych of short operas (Mermaid in the Jar, Prairie Dogs, and Fine and Dandy), which takes place entirely within an eleven-year-old Girl’s bedroom as she overhears her parents’ volatile conversations. Over the course of a few days, a mermaid, a family of stuffed prairie dogs, and singing groups of chickenpox and shingles force her to confront what it means to care for others and be cared for herself. Libretto by Royce Vavrek, based on and further inspired by the short story by Sheila Heti.CAST: 1 coloratura soprano plus eight additional principals playing multiple rolesINSTRUMENTATION: 1.0.1 (doubling BCl.).1.bar.sax/0.0.1.0/pft-perc (1)-harp-ukulele (doubling banjo)/1.0.0.1.1 (Parts must be rented separately.)DURATION: 90 minutesPAGES: 337WORLD PREMIERE: Oberlin Conservatory, Winter 2020.NOTE: All performances of this work require separate permission and licensing. Any performance without a license is a violation of copyright. To obtain performance rights and more information, please write to the composer at rachel@racheljpeters.com.
$70.00
64 €
#
Orchestre de chambre
#
Rachel J Peters
#
The Wild Beast of the Bungalow
#
Rachel J Peters
#
SheetMusicPlus
One Second to the Future - Guitar Orchestra
Orchestre de chambre
Chamber Orchestra - Level 4 - Digital Download SKU: A0.1412646 By Brent C Robitaill…
(+)
Chamber Orchestra - Level 4 - Digital Download SKU: A0.1412646 By Brent C Robitaille. By Brent C Robitaille. 21st Century,Classical. 83 pages. Brent C Robitaille #994677. Published by Brent C Robitaille (A0.1412646). One Second to the Future (Guitar Orchestra) Composer: Brent Robitaille  • “One Second to the Future†is a two-movement piece for either a single or optional double guitar orchestra with four separate parts for electric guitar and classical guitar. Two optional steel string guitar and electric bass parts are available but may be substituted if these instruments are unavailable. The total score will be around 500 measures with a running time of approximately 12-15 minutes. The piece is quite approachable for intermediate-level guitarists, with the more challenging sections arranged for the 1st and 2nd parts of the electric and classical guitar. Three overhead mics from the stage will be used to spatialize the sound into a stereo or surround sound system.  • The first movement starts with a fixed audio shortwave recording from the Canadian time signal shortwave station CHU, gently fading in for approximately 20 seconds before the guitar orchestra begins with natural and artificial harmonics.  • The second fixed audio track gently enters around the 1:00-minute mark. This track was recorded using eight amplified and non-amplified guitars in altered tunings with eight separate microphones to integrate into stereo or surround sound. The guitar's open strings were left to vibrate sympathetically as the volume increased and struck on the headstock with various rubber and metal sticks, violin bows or paint brushes to get the strings vibrating. The resulting wave files were then imported into a sampling program and filtered into the overtone series with “C†as the fundamental, emphasising the first 14 partials. This recording will be used intermittently throughout the first movement, acting primarily as a background pad.   • At approximately 3:00 minutes into the first movement, the players are asked to use a glass or metal slide to tap out rhythms based on the international Morse code. Several other standard slide guitar techniques are also integrated into this section. See instructions in the score. The first movement ends with both fixed audio tracks fading away.  • The second movement integrates a more traditional guitar playing and composition approach. Its bulk is at a robust tempo of 160 bpm and uses several rhythmic and timbral techniques, including sul tasto, sul ponticello, harmonics, golpe, string snaps, and the further use of guitar slides.  • Midway through the second movement, a rallentando proceeds to a section indicated by the tempo mark “slow motion.†At this point, a third fixed audio recording of a single vibrating guitar string slowed down by 3000% will fade in. The orchestra is instructed to play with this recording in slow motion or approximately 30 bpm. See score for details. The orchestra eventually returns to the original tempo to finish the 2nd movement.  Technical Requirements • Three mono or stereo mics from the orchestra will be required and blended with the stereo or surround sound. • A standard guitar delay and distortion pedal for electric guitar parts one and two is required. • Glass and metal guitar slides are required.   To download the fixed audio tracks, go here: https://soundcloud.com/kalymi/sets/one-second-to-the-future-guitar-orchestra-fixed-audio-tracks For fixed audio track information and information, contact me at:info@brentrobitaille.com.
$75.00
68.57 €
#
Orchestre de chambre
#
Brent C Robitaille
#
One Second to the Future - Guitar Orchestra
#
Brent C Robitaille
#
SheetMusicPlus
Mermaid in the Jar Full Score - Score Only
Orchestre de chambre
Chamber Orchestra - Level 4 - Digital Download SKU: A0.1325451 By Rachel J Peters. …
(+)
Chamber Orchestra - Level 4 - Digital Download SKU: A0.1325451 By Rachel J Peters. By Rachel J. Peters. 21st Century,Classical,Opera. 86 pages. Rachel J Peters #913678. Published by Rachel J Peters (A0.1325451). A short chamber operaLibretto by Royce Vavrek, based on the short story by Sheila Heti.Mermaid in the Jar is the first short chamber opera in the Wild Beast of the Bungalow triptych (Mermaid in the Jar, Prairie Dogs, and Fine and Dandy), which takes place entirely within an eleven-year-old Girl’s bedroom as she overhears her parents’ volatile conversations. Over the course of a few days, a mermaid, a family of stuffed prairie dogs, and singing groups of chickenpox and shingles force her to confront what it means to care for others and be cared for herself.CAST: coloratura soprano, mezzo-soprano, bass-baritone, and three additional treble voices. (If the Prologue is omitted, no bass-baritone is required.)INSTRUMENTATION: 1.0.1 (doubling BCl.).1.bar.sax/0.0.1.0/pft-perc (1)-harp-1.0.0.1.1 (Parts need to be rented separately.)DURATION: 20 minutesPAGES: 86WORLD PREMIERE: Oberlin Conservatory, Winter 2020.NOTE: All performances of this work require separate permission and licensing. Any performance without a license is a violation of copyright.. For all performance inquiries, please write to rachel@racheljpeters.com.
$28.00
25.6 €
#
Orchestre de chambre
#
Rachel J Peters
#
Mermaid in the Jar Full Score - Score Only
#
Rachel J Peters
#
SheetMusicPlus
Requiem
Orchestre de chambre
Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra - Digital Dow…
(+)
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
51.19 €
#
Orchestre de chambre
#
Harald Weiss
#
Requiem
#
Schott Music - Digital
#
SheetMusicPlus
Last Door of Light
Orchestre de chambre
1.2.0.2-2.2.0.0-timp-str(7.6.5.4.3) chamber orchestra - Digital Download SKU: S9.Q19150…
(+)
1.2.0.2-2.2.0.0-timp-str(7.6.5.4.3) chamber orchestra - Digital Download SKU: S9.Q19150 For chamber orchestra. Composed by Sir Peter Maxwell Davies. This edition: study score. Music Of Our Time. Downloadable, Study score. Op. 293. Duration 20 minutes. Schott Music - Digital #Q19150. Published by Schott Music - Digital (S9.Q19150). Peter Maxwell Davies was thinking of individual and communal vulnerability when composing this piece, especially in relation to the problem of climate change and his home in the Orkney Islands, which is under threat from rising sea levels. However, this theme is not a completely negative one: Davies claims we must all enter the last door of light but the journey is full of light and joy. The melody at the start of the work, which Davies composed in the ‘70’s and never used, could be an Island folk melody and is subject to constant transformation throughout the piece before reaching apotheosis at the end.
$21.99
20.1 €
#
Orchestre de chambre
#
Sir Peter Maxwell Davies
#
Last Door of Light
#
Schott Music - Digital
#
SheetMusicPlus
Double Bass Concerto
Orchestre de chambre
2.0.1.bcl.1.cbsn-2.0.0.0-timp.2perc(glsp, crot, vib, tub bells, tam-t, b.d)-hp-str(0.0.6.4…
(+)
2.0.1.bcl.1.cbsn-2.0.0.0-timp.2perc(glsp, crot, vib, tub bells, tam-t, b.d)-hp-str(0.0.6.4.2 preferred) solo double bass, optional 3 part bass chorus and chamber orchestra - Digital Download SKU: S9.Q47174 (Farewell to St. Petersburg). Composed by Gavin Bryars. This edition: study score. Music Of Our Time. Downloadable, Study score. Duration 28 minutes. Schott Music - Digital #Q47174. Published by Schott Music - Digital (S9.Q47174). Russian.This concerto has the unusual addition of an optional male voice choir. Many Russian elements influenced Bryars when he was writing the piece, not least the text for the bass voices which is taken from Glinka’s song cycle Farewell to St Petersburg. Bryars writes ‘The orchestration is quite light throughout, so that the singing quality of the double bass can emerge. The emphasis in terms of tessitura is on the middle register, though in the closing section there is a passage in natural harmonics. Although the piece is not designed to be a virtuoso showpiece, there is a brief cadenza in which the soloist is supported at times by other solo instruments (bass clarinet, viola, cello, bass).’.
$16.99
15.53 €
#
Orchestre de chambre
#
Gavin Bryars
#
Double Bass Concerto
#
Schott Music - Digital
#
SheetMusicPlus
Press Play
Orchestre de chambre
Chamber Orchestra - Level 5 - Digital Download SKU: A0.1027496 Composed by Till Mac…
(+)
Chamber Orchestra - Level 5 - Digital Download 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
23.77 €
#
Orchestre de chambre
#
Till MacIvor Meyn
#
Press Play
#
Till MacIvor Meyn
#
SheetMusicPlus
Companionship Full Score - Score Only
Orchestre de chambre
Chamber Orchestra - Level 4 - Digital Download SKU: A0.1371215 Composed by Rachel J…
(+)
Chamber Orchestra - Level 4 - Digital Download SKU: A0.1371215 Composed by Rachel J Peters. 21st Century,Classical,Opera. 282 pages. Rachel J Peters #929974. Published by Rachel J Peters (A0.1371215). CAST: 7 adult principals and children’s chorusINSTRUMENTATION: 1.0.1 (doubling t.sax).1/0.0.1.0/pft- perc (1)/1.1.1.1.1 (doubling elec.bass) (Parts are available separately for rental.)DURATION: 1 hour 15 minutesPAGES: 282WORLD PREMIERE: Fort Worth Opera, 2019; Premiere with Orchestra, Virginia Arts Festival, 2022Recovering from a nervous breakdown, aspiring baker Leslie Sinclair finally reaches the end of her obsessive quest to bake the perfect baguette when the 207,345th one suddenly comes to life. Companionship mirrors our contemporary world, where what we consume becomes all-consuming. Adapted from the short story by Arthur Phillips.NOTE: All performances of this work require separate permission and licensing. Any performance without a license is a violation of copyright. To obtain performance rights, please write to rachel@racheljpeters.com.
$50.00
45.71 €
#
Orchestre de chambre
#
Rachel J Peters
#
Companionship Full Score - Score Only
#
Rachel J Peters
#
SheetMusicPlus
<
1
26
51
© 2000 - 2024
Accueil
-
Nouveautés
-
Compositeurs
Mentions légales
-
Version intégrale
