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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
Song of the Express Men
Non classifié
581
Piano & claviers
Instruments en Do
293
Piano, Voix et Guitare
276
Piano seul
205
Piano Facile
54
Piano, Voix
42
Piano Trio: piano, violon, violoncelle
10
Piano Quatuor: piano, violon, alto, violoncelle
5
Orgue
4
1 Piano, 4 mains
3
Orgue, Piano (duo)
3
Accordéon
2
Orgue, Trompette (duo)
1
Piano Quintette: piano, 2 violons, alto, violoncelle
1
Piano Quatuor: piano, 2 violons, violoncelle
1
Accompagnement Piano
1
+ 10 instrumentations
Retracter
Guitares
Ligne De Mélodie, (Paroles) et Accords
46
Guitare
30
Ukulele
9
Guitare notes et tablatures
6
2 Guitares (duo)
4
Banjo
3
Mandoline
3
2 Ukuleles
2
Dulcimer
2
Ensemble de guitares
1
+ 5 instrumentations
Retracter
Voix
Chorale SATB
95
Chorale 3 parties
32
Chorale TTBB
15
Chorale 2 parties
10
Chorale SSAA
10
Chorale Unison
8
Voix Soprano, Piano
5
Voix duo
2
Voix haute
1
Chorale SSAATTBB
1
Soli, choeur mixte et accompagnement
1
Chorale
1
Chorale SSATB
1
+ 8 instrumentations
Retracter
Vents
2 Saxophones (duo)
87
Hautbois, Piano (duo)
56
Saxophone, Clarinette (duo)
52
Clarinette et Piano
48
Flûte traversière et Piano
46
Saxophone Alto
41
Saxophone Alto et Piano
41
Flûte traversière
37
Clarinette, Violon (duo)
35
Flûte, Violon, Piano
32
Clarinette
30
Saxophone Soprano et Piano
28
Flûte, Clarinette (duo)
27
Hautbois, Basson (duo)
27
2 Flûtes traversières (duo)
24
Clarinette, Trompette (duo)
23
2 Clarinettes (duo)
23
Saxophone Tenor et Piano
22
Clarinette et Alto
21
Hautbois, Clarinette (duo)
21
Saxophone (partie séparée)
20
Saxophone Baryton, Piano
20
Quatuor de Saxophones: 4 saxophones
19
Hautbois (partie séparée)
19
Hautbois, Flûte
18
Saxophone Tenor
18
Flûte, Violon
18
Quintette de Saxophone: 5 saxophones
18
Saxophone
17
Flûte, Hautbois, Clarinette, Basson
17
Flûte, Saxophone (duo)
17
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
15
Flûte, Alto (duo)
14
Flûte à bec Soprano
14
Clarinette, Violoncelle (duo)
10
2 Hautbois (duo)
10
Flûte, Trompette (duo)
10
Hautbois, Violoncelle
9
Flûte, Violoncelle
9
Hautbois
9
Quintette de Clarinettes: 5 clarinettes
8
Saxophone Baryton
7
2 Flûte à bec (duo)
7
Saxophone Soprano
7
Cor Anglais
6
Flûte, Hautbois, Clarinette (trio)
5
Quatuor de Clarinettes: 4 clarinettes
5
Flûte à Bec
4
Hautbois, Clarinette, Basson (trio d'anches)
4
3 Saxophones (trio)
4
3 Clarinettes (trio)
4
Flûte à bec Tenor
4
Flûte à bec Alto
4
Clarinette, Basson (duo)
4
Ensemble de Clarinettes
3
Quatuor de Flûtes : 4 flûtes
3
Flûte, Basson et Piano
3
Hautbois et alto (duo)
3
Saxophone et Orgue
2
Trio de Flûtes: 3 flûtes
2
Flute, harpe et violon
2
Quintette de Flûte : 5 flûtes
2
Hautbois, Violon, Piano
2
Hautbois, violon (duo)
2
Ensemble de saxophones
2
Flûte, Harpe et Violoncelle
2
Clarinette Basse, Piano
2
Cor anglais, Piano
2
Flûte, Trombone (duo)
1
Ensemble de Flûtes
1
Flûte, Violoncelle, Piano (trio)
1
Cor anglais et Harpe (duo)
1
Clarinette, Contrebasse (duo)
1
Flûte, Hautbois (duo)
1
Clarinette, Guitare (duo)
1
Flûte, Hautbois, Piano (trio)
1
Quatuor de Flûtes à bec
1
Flûte traversière, Orgue (duo)
1
Cornemuse
1
5 Flûtes à bec
1
Clarinette, Orgue
1
Piccolo
1
Flûte, Alto et Piano
1
Clarinette, Trombone (duo)
1
Flûte, Hautbois, Basson
1
Flûte et Guitare
1
+ 81 instrumentations
Retracter
Cuivres
Trombone et Piano
46
Cor et Piano
45
Trompette, Saxophone (duo)
38
Trompette
30
Trompette, Piano
29
Trombone
28
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
27
Tuba et Piano
26
Tuba
23
Trompette, Trombone (duo)
21
Cor
21
2 Trombones (duo)
9
Quatuor de Cuivres: 2 trompettes, Cor, trombone
8
2 Trompettes (duo)
6
2 Tubas (duo)
6
Cor Anglais
6
Quatuor de Cuivres
5
Trompette (partie séparée)
4
Euphonium
4
Cor, Violoncelle (duo)
3
Euphonium, Piano (duo)
2
Quatuor de cuivres: 4 trombones
2
Trompette, Cor (duo)
2
Cor anglais, Piano
2
Trombone, Orgue
1
Trompette et Guitare
1
Cor anglais et Harpe (duo)
1
Quatuor de Cuivres : 2 trompettes, trombone, tuba
1
3 Trombones (trio)
1
Trio de Cuivres
1
Ensemble de Trompettes
1
Tuba et Orgue
1
Ensemble de Cors
1
+ 28 instrumentations
Retracter
Cordes
Violon et Piano
71
Violoncelle, Piano
63
Alto, Piano
63
Violon, Violoncelle (duo)
52
Quatuor à cordes: 2 violons, alto, violoncelle
46
Violoncelle
36
Violon
34
Alto seul
32
Violon, Alto (duo)
24
Contrebasse, Piano (duo)
22
Contre Basse
21
2 Violons (duo)
13
Quintette à cordes: 2 violons, alto, violoncelle, basse
12
2 Violoncelles (duo)
12
Alto (partie séparée)
9
Violon, Basson (duo)
8
2 Contrebasses (duo)
8
Harpe
7
Trio à Cordes: violon, alto, violoncelle
7
Alto, Violoncelle (duo)
6
Piano Trio: Violon, Alto, Piano
5
2 Altos (duo)
5
Violon, Guitare (duo)
5
Violon (partie séparée)
3
Quintette à cordes: 2 violons, 2 altos, violoncelle
3
Alto et Basson
3
Harpe, Violon, Violoncelle
2
Violon, Clarinette, Piano (trio)
2
Harpe, Flûte (duo)
2
Quintette à cordes : 2 violons, alto et 2 violoncelles
2
Alto, Orgue
1
Violoncelle, Orgue
1
Harpe, Voix
1
Violoncelle, Contrebasse (duo)
1
2 Harpes (duo)
1
Autoharp
1
Trio à Cordes: 3 violoncelles
1
Violoncelle, Basse continue
1
Flûte, Contrebasse (duo)
1
+ 34 instrumentations
Retracter
Orchestre & Percussions
Orchestre d'harmonie
32
Orchestre à Cordes
12
Orchestre
11
Ensemble de cuivres
10
Orchestre de chambre
8
Ensemble de Percussions
4
Ensemble Jazz
4
Quintette à cordes : 2 Violons, Alto, Violoncelle, Contrebasse, Clavier
2
Jazz combo
1
Xylophone
1
Fanfare
1
+ 6 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
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Vous avez sélectionné:
Song of the Express Men
Orchestre de chambre
Partitions à imprimer
8 partitions trouvées
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1
"On the beaches of Tijuana"
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Orchestre de chambre
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INTERMÉDIAIRE/AVANCÉ
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Luis Carlos Diaz
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Luis Carlos Diaz
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"On the beaches of Tijuan
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azdi
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SheetMusicPlus
Chamber Orchestra - Level 4 - SKU: A0.1029901 Composed by Luis Carlos Diaz. Arranged by Luis Carlos Diaz. 20th Century,Contemporary,Film/TV. Score and p...
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Chamber Orchestra - Level 4 - SKU: A0.1029901 Composed by Luis Carlos Diaz. Arranged by Luis Carlos Diaz. 20th Century,Contemporary,Film/TV. Score and parts. 67 pages. Azdi #5983045. Published by azdi (A0.1029901). On the beaches of Tijuana August 2018 It is a sound work for chamber orchestral ensemble based on the traditional and anonymous Son Istmeño La Llorona. Developed under a minimalist aesthetic influenced by ambient and experimental music. It fuses the themes of the traditional son with melodic and rhythmic motifs of popular Mexican rock songs also inspired by this traditional rhythm: La muerte chiquita by Café Tacuba and Llorona by Caifanes. It is structured similar to the format of a rock song. Start with a long base note or drone. Introduction (intro) about a descending harmony in the key of La Menor. A melody as a verse and a different melody as choir. Both melodies are presented and performed by different instruments with variations and different combinations of accompaniment and instrumentation. Variations of the thematic patterns and the ¨intro¨. A rhythmic-melodic experiment towards the end on the same descending harmonic progression as the solo part in a rock song. It ends with a fading orchestral atmosphere (outro). All oriented towards a minimalist style setting focused on melodic lines and emotional expressiveness. For a chamber orchestra. Ideally a string septet consisting of: 2 violins. 2 violas. 2 cellos. 1 double bass. Breaths: 1 trombone. 1 trumpet. 1 transverse flute. 1 Picollo flute. 1 Clarinet. 1 Oboe. Percussion of a determined note. It can be a vibraphone. Xylophone (preferably) or marimba. If it is not possible to use this type of instrument, that part is played an octave up on a piano. The number of instruments can be increased for each of the parts if needed and be convenient for the chamber orchestra in question. The Tempo can vary between 95 and 115 bpm. The work is designed so that it can be performed mainly by youth and children's orchestras. Dedicated to Tijuana beaches. pre.cjk { font-family: WenQuanYi Micro Hei Mono, monospace; }p { margin-bottom: 0.1in; line-height: 115%; }
$22.00
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
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
Concertino - for clarinet, mandolin and symphony orchestra
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Orchestre de chambre
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Klezmer
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Ofer Ben-Amots
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Concertino - for clarinet, man
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The Composer's Own Press
#
SheetMusicPlus
Chamber Orchestra - SKU: A0.944032 Composed by Ofer Ben-Amots. Contemporary,Jewish,World. Score and parts. 118 pages. The Composer's Own Press #4610029....
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Chamber Orchestra - SKU: A0.944032 Composed by Ofer Ben-Amots. Contemporary,Jewish,World. Score and parts. 118 pages. The Composer's Own Press #4610029. Published by The Composer's Own Press (A0.944032). CONCERTINO, for Clarinet, Mandolin, and Orchestra CONCERTINO was officially commissioned in 2011 by the Geneva Chamber Orchestra. The composition explores the sound combination of two, seemingly opposing, instruments and sound characters: the clarinet and the mandolin. Thus, the three-movement work is a short double-concerto for clarinet and mandolin, accompanied by a chamber orchestra. The first movement, titled Psalm 148 and is a mixture of a coronation fanfare and a wild improvisatory-like dance. The music is based on the structure and ideas expressed in the 148th Psalm. For the transformation of this Psalmodic text into music I was concerned with two elements: first, the linguistic pulse of the ancient Biblical Hebrew gives the music its ever-changing meters and vibrant rhythms. The second element was the poetic concept presented in the text: Heaven vs. Earth, Universe vs. Planet, or Heights vs. Depths. The contrasting nature of these elements is described in the following verses: Hallelujah, Praise ye the LORD from the heavens; praise Him in the heights. (Psalm 148, verse 1) Praise the LORD from the earth, ye sea-monsters, and all deeps. (Psalm 148, verse 7) Finally, both Heaven and Earth join in praise together: Let them praise the name of the LORD, for His name alone is exalted; His glory is above the earth and heaven. (Psalm 148, verse 13) The musical expression of these contraries is reflected and the use of high-range and soprano instruments (flutes, clarinet, trumpets, violins) versus low-range instruments (trombone, bassoons, cellos and basses.) The second movement, Romacero Viejo (and old love song) is a slow, lyrical dirge-like melody in a Sephardic Judeo-spanish style. In this movement the mandolin plays in the manner of an Oud – a traditional pear-shaped Arabic lute. The harmony sits mostly on a single pedal note while the clarinet imitates the chant with rhythmically free ornatmental patterns. The third and final movement, Allegro con brio, is a festive klezmer dance with a traditional Bulgar (or Freylech) rhythm, where the regular 8/8 meter is constantly divided into the irregular count of: 3+3+2. In the middle of this movement the two soloists play a cadenza, which allows them to present their contrasting yet complementary instrumental characters. The movement is titled The Geneva Bulgar in honor of the City of Geneva and the wonderful memories I have been carrying with me ever since my time there as a young student at the Conservatoire de Musique. Total duration: ca. 23 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
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
Thierry Pélicant: Concerto for Bassoon and Orchestra,orchestral score
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Orchestre de chambre
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AVANCÉ
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Contemporain
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Thierry Pélicant
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Thierry Pélicant: Conce
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Musik Fabrik Music Publishing
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SheetMusicPlus
Chamber Orchestra - Level 5 - SKU: A0.534690 Composed by Thierry Pélicant. 20th Century,Contemporary. Score and parts. 96 pages. Musik Fabrik Music P...
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Chamber Orchestra - Level 5 - SKU: A0.534690 Composed by Thierry Pélicant. 20th Century,Contemporary. Score and parts. 96 pages. Musik Fabrik Music Publishing #6230969. Published by Musik Fabrik Music Publishing (A0.534690). A four-movement concerto for bassoon and orchestra (PIC22(CA)22/2100/Timp/2perc/strings) by the noted French composer. Duration is about 16 minutes. This file is the orchestral score only. The piano reduction and solo part. is also available for sale. The parts are on rental from the publisher. Thierry Pélicant was born in 1957 at Sainte-Adresse, France. After studying the organ and the horn, his meeting with Jean-Claude Hartemann, the Musical Director of the Opéra Comique in Paris lead him to decide to explore conducting. He was the student of Haremann for fifteen years. He is the Musical Director of the André Messager Orchestre and has also directed the Orchestre Philharmonique de l’Oise since 1980, one of the oldest French orchestras, since it was founded in 1750. A passionate supporter of French music, Pélicant reconstructed the Messe solennelle of L.V.A Boïeldieu and Te Deum of 1792 by Philidor and premièred and recorded the Suite Parnassienne, Massenet’s last work. At the same time, he has also served the music of our time in premièring or recording the works of Dazzi, Marchand, Braconnier, Bénard, Drouin, Preschez, etc. As a composer, musical grammar and stylistic debates only interest him from afar. As a true gourmet (since cooking is another of his passions), he strives to write the music that pleases him, that would be enjoyable to play and which would be enjoyable to hear, hopefully with real pleasure and in which he tries to express the emotions and the pleasant or surprising states of being which, to hime, these works are tied. Through this process, he has created concertos (for oboe, for bassoon, for organ, for contrabass), Escales & paysages, ma monumental literary concerto for narrator, piano and orchestra, composed with his friend Dominique Preschez, Operas (Histoires comme ça, Ribouldingue, Élise et le fantôme) ; With the poet Luis Porquet, he wrote the song cycle Ombre légère (for soprano, harp and orchestre), Rhapsodie du Havre (for tenor and chamber orchestra, a commission from the Forum de Normandie to commemorate the 500 years of the founding of the city Le Havre), Et de toi, Bethleem, Christmas oratorio for baritone, chorus and orchestra and, finally, commissioned by the Orchestre de l’Oise in honor of the centennial of the First World War 14, fresque de la Grande Guerre, for the tenor Daniel Gà lvez-Vallejo, children’s chorus and orchestra. In the area of chamber music, he has written a sonata for horn and piano, for the Festival de Giverny, Borée, (quintet for oboe and strings), Sextuor d’été, , and Milonga, (septet inspired by the World of Tango Music). Published in 2005, his novel Carnets de Walter Crane, explores the sufferings of a composer who has the obligation to write a string quartet ..
$29.95
Amazing Grace
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Orchestre de chambre
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INTERMÉDIAIRE
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Musique Sacrée
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Christian contemporain
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Traditional
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Thomas Quigley
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Amazing Grace
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Thomas Quigley
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SheetMusicPlus
Chamber Orchestra - Level 3 - SKU: A0.732454 Composed by Traditional. Arranged by Thomas Quigley. Christian,Concert,Sacred. Score and parts. 45 pages. T...
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Chamber Orchestra - Level 3 - SKU: A0.732454 Composed by Traditional. Arranged by Thomas Quigley. Christian,Concert,Sacred. Score and parts. 45 pages. Thomas Quigley #6704065. Published by Thomas Quigley (A0.732454). One of the most popular Hymns is beautifully arranged, effectively portaying the sentiments of the song. From the quiet, subdued opening verse to the rich, warm expressive ending, the music unfolds wonderfully with fine contrasts and rich warm soothing harmonies. Suitable for middle grade orchestras, it is an enriching piece to perform, capable of highlighting the expressive playing of your orchestra. Impressive!
$59.95
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