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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
Teri Meri
Non classifié
154
Piano & claviers
Piano seul
135
Piano, Voix
52
Piano Facile
39
Instruments en Do
10
Orgue
6
Piano, Voix et Guitare
5
1 Piano, 4 mains
3
Accompagnement Piano
2
2 Pianos, 8 mains
1
Piano Quatuor: piano, violon, alto, violoncelle
1
+ 5 instrumentations
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Guitares
Guitare notes et tablatures
8
Guitare
7
Basse electrique
3
Ligne De Mélodie, (Paroles) et Accords
3
4 Guitares (Quatuor)
2
Mandoline
2
Dulcimer
1
Ukulele
1
+ 3 instrumentations
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Voix
Chorale SATB
49
Chorale TTBB
5
Chorale 3 parties
2
Voix haute
1
Chorale SSAA
1
Voix seule
1
Chorale Unison
1
Chorale SSAATB
1
+ 3 instrumentations
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Vents
Quintette de Saxophone: 5 saxophones
16
Flûte traversière et Piano
15
Clarinette et Piano
12
Ensemble de saxophones
10
Quatuor de Saxophones: 4 saxophones
10
Saxophone Tenor et Piano
9
Saxophone Soprano et Piano
9
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
9
Hautbois, Piano (duo)
8
Cor anglais, Piano
8
Saxophone Baryton, Piano
8
Clarinette Basse, Piano
7
Clarinette
6
Saxophone Alto et Piano
5
Quatuor de Clarinettes: 4 clarinettes
5
2 Flûtes traversières (duo)
5
3 Saxophones (trio)
4
Quintette de Flûte : 5 flûtes
4
2 Saxophones (duo)
4
Flûte traversière
4
2 Clarinettes (duo)
3
Ensemble de Clarinettes
3
Flûte, Clarinette (duo)
3
Quatuor de Flûtes : 4 flûtes
3
Flute (partie séparée)
2
Hautbois (partie séparée)
2
Clarinette, Basson (duo)
2
Quintette de Clarinettes: 5 clarinettes
2
5 Flûtes à bec
2
3 Flûtes à bec (trio)
2
3 Clarinettes (trio)
2
2 Flûte à bec (duo)
2
Saxophone Tenor
1
Ensemble de Flûtes
1
Trio de Flûtes: 3 flûtes
1
Saxophone
1
Saxophone (partie séparée)
1
Flûte à bec Soprano
1
Saxophone Alto
1
Flûte à bec Alto
1
Hautbois, Basson (duo)
1
Flûte, Hautbois, Clarinette, Basson
1
Quatuor de Flûtes à bec
1
Hautbois, Clarinette, Basson (trio d'anches)
1
+ 39 instrumentations
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Cuivres
Quatuor de Cuivres : 2 trompettes, trombone, tuba
12
Euphonium, Piano (duo)
11
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
11
Cor anglais, Piano
8
Trombone et Piano
8
Cor et Piano
7
Trompette
7
Trombone (partie séparée)
6
Quatuor de Cuivres: 2 trompettes, Cor, trombone
6
Trompette, Piano
5
Trompette (partie séparée)
5
Ensemble de Trompettes
4
Trompette, violon (duo)
3
Tuba et Piano
3
Trombone
2
Ensemble de Cors
2
Trompette, Cor (duo)
2
Ensemble de Trombones
2
2 Trombones (duo)
2
Trompette, Trombone (duo)
1
Cor
1
3 Tubas (trio)
1
Quatuor de cuivres: 4 cors
1
2 Tubas (duo)
1
Euphonium, Tuba (duo)
1
Trombone, Cor (duo)
1
2 Cors (duo)
1
4 Tubas
1
Quatuor de cuivres: 4 trombones
1
Quatuor de cuivres: 4 trompettes
1
+ 25 instrumentations
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Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
19
Violon et Piano
13
Harpe
12
Violon
9
Trio à Cordes: violon, alto, violoncelle
8
Violoncelle, Piano
8
2 Violons (duo)
8
Alto, Piano
6
Alto seul
4
Violon, Alto (duo)
3
Trio à cordes: 3 violins
3
2 Altos (duo)
3
2 Violoncelles (duo)
3
Violoncelle
2
Violon, Violoncelle (duo)
2
2 Harpes (duo)
2
Contre Basse
2
4 Violoncelles
1
Quatuor à cordes: 4 violons
1
Trio à cordes: 3 altos
1
Harpe, Flûte (duo)
1
Alto, Violoncelle (duo)
1
Ensemble d'Altos
1
Quintette à cordes: 2 violons, alto, violoncelle, basse
1
Ensemble de Violons
1
Trio à Cordes: 3 violoncelles
1
Quatuor à cordes : 4 altos
1
+ 22 instrumentations
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Orchestre & Percussions
Orchestre d'harmonie
132
Batterie
73
Orchestre à Cordes
20
Orchestre
18
Batterie (partie séparée)
15
Ensemble Jazz
14
Orchestre de chambre
9
Percussion
3
Piano et Orchestre
2
Cajon
1
Marimba
1
Jazz combo
1
Cloches
1
+ 8 instrumentations
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--INSTRUMENTS--
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ALTO
AUTOHARPE
BANJO
BASSE
BASSON
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BOUZOUKI
CHORALE - CHAN…
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Vous avez sélectionné:
Teri Meri
Orchestre de chambre
Partitions à imprimer
9 partitions trouvées
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Carson Cooman: Symphony No. 3, “Ave Maris Stella” (2005) for chamber orchestra, score only
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Orchestre de chambre
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AVANCÉ
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Christian contemporain
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Musique Sacrée
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Carson Cooman
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Carson Cooman: Symphony No. 3,
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Musik Fabrik Music Publishing
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SheetMusicPlus
Chamber Orchestra - Level 5 - SKU: A0.533672 Composed by Carson Cooman. Contemporary,Sacred. Score and parts. 54 pages. Musik Fabrik Music Publishing #3...
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Chamber Orchestra - Level 5 - SKU: A0.533672 Composed by Carson Cooman. Contemporary,Sacred. Score and parts. 54 pages. Musik Fabrik Music Publishing #3037097. Published by Musik Fabrik Music Publishing (A0.533672). Symphony No. 3, “Ave Maris Stella†(2005) was written for the Duquesne ContemporaryEnsemble and is dedicated to composer David Stock. Throughout his career, Stock has beena tireless and generous advocate on behalf of new music and living composers. This work isdedicated to him in tribute – as both an important American composer and a significantcontributor to America’s contemporary musical life.The work’s basic source material is the plainchant Ave maris stella (“Hail, star of the seaâ€) –appropriate because of Duquesne’s standing and history as a Catholic university. When thecomposition of this work first began, the original plan was for a celebratory and vibrant piece.As the planning progressed, however, personal circumstances intervened and began to changethe work’s tone – becoming substantially bleaker and more obsessive.The title of the first movement, Pentimento, is defined as “an underlying image in a painting,as an earlier painting, that shows through when the top layer of paint has become transparentwith age.†The melodic and harmonic material for the movement is entirely drawn from theplainchant source, although it is completely transformed and covered up – as in a pentimento.At various points, one can begin to hear the original plainchant “peek out†in subtle ways.The opening section of the movement obsesses again and again on what sounds like a“beginning†– as though it is trying to begin again and again. After a brief bassoon cadenza, afast and driving section starts, marked “sinister.†After driving through a series oftransformations on the plainchant material, a bridge passage leads to further attempts at the“beginning†again. Finally, these attempts are given up, and the plainchant material (theunderlying layer) begins to show through quietly – in preparation for the next movement.In the second movement, Interrupted Motet, the plainchant theme is used in a morestraightforward fashion. After the opening declamatory statements, the following sectionsmove between more free developmental techniques, based on the first movement’stransformations, and “motet†sections – using cantus firmus methods and textures fromRenaissance music. The tone and palate is, however, much darker and more obsessive.There is a brooding ponderousness to these contrapuntal developments. The final motetsection ends in a rageful shout, the plainchant material is presented again in full force, and thepent-up energy dissipates to the close.FluteOboeClarinet in BbBass Clarinet in BbBassoonHorn in F/BbTrumpet in CTrombonePercussion (1 player):tubular bells, vibraphone(Percussionist needs one rosined bow for vibraphone.)PianoViolin IViolin IIViolaCelloContrabass(single strings)This is the score only. The complete parts and each seperate part are also available as seperate items.
$25.95
Fugue and Divertimento for Chamber Orchestra
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Orchestre de chambre
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INTERMÉDIAIRE/AVANCÉ
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Javier MartÃnez Maya
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Fugue and Divertimento for Cha
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Arte Nova Music Lab
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SheetMusicPlus
Chamber Orchestra - Level 4 - SKU: A0.742331 Composed by Javier MartÃnez Maya. 20th Century,Baroque,Concert,Standards,World. Score and parts. 37 page...
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Chamber Orchestra - Level 4 - SKU: A0.742331 Composed by Javier MartÃnez Maya. 20th Century,Baroque,Concert,Standards,World. Score and parts. 37 pages. Arte Nova Music Lab #14299. Published by Arte Nova Music Lab (A0.742331). Javier MartÃnez (Pd The Liverpool Institute for Performing Arts, MA Berklee College of Music) is a recognized producer, arranger, composer and educator in Colombia and England, where he has taught advanced production, mixing, mastering and audio technology for over 20 years. An independent writer/producer and recording engineer, his credits include works and scores for Colombian TV Channels, Moscow Symphonic Orchestra, Iberoamerican Orchestra (based at Barcelona, Spain) and almost 200 albums and films. From his Ingeson Recording Studio, he’s completed film, video and multimedia original scores for clients like Nike, Honda, Chevrolet, Yoyo Music USA Inc, Mitsubishi, Mundo Arts, SAAB Miller and RCN Television. His international experience as arranger, engineer and producer includes workshops with sir Paul McCartney, Radio Head, Charlie Morgan (Elton John), and recordings at Scotland (Kim Edgar), Switzerland (Sebastian Portillo), Germany (Toby Freissler) and Spain (Iberoamerican Orchestra). Programmer and sound designer, he works with best seller music production tools, like Protools 12, Logic Pro X, Reason 6, Finale 2014, Musescore and uses top music samplers from brands like Sounds Online, Native Instruments and Vir2, among others. He has worked also with several companies as manager and director, with duties as budget organization, development of musical projects and head of producers and engineers at recording studios.
$30.00
Metamorphosis for solo flute, solo pedal or lever harp, and strings
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Orchestre de chambre
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INTERMÉDIAIRE
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Contemporain
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Adrienne Inglis
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Metamorphosis for solo flute,
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Adrienne Inglis
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SheetMusicPlus
Chamber Orchestra - Level 3 - SKU: A0.953627 Composed by Adrienne Inglis (ASCAP). Contemporary. Score and parts. 51 pages. Adrienne Inglis (ASCAP) #6383...
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Chamber Orchestra - Level 3 - SKU: A0.953627 Composed by Adrienne Inglis (ASCAP). Contemporary. Score and parts. 51 pages. Adrienne Inglis (ASCAP) #6383557. Published by Adrienne Inglis (ASCAP) (A0.953627). Celebrate women scientists!Metamorphosis (2019) by Adrienne Inglis (ASCAP) for flute, harp, and string orchestra, commissioned by Balcones Community Orchestra, celebrates the life and work of Maria Sibylla Merian (1647-1717), pioneering entomologist, naturalist, and artist.Duration 5:30 minutes.Commissioned by the Balcones Community Orchestra of Austin, Texas, Metamorphosis (2019) by Adrienne Inglis for solo flute, solo harp, and string orchestra, honors the life and work of pioneering entomologist, naturalist, and artist Maria Sibylla Merian (1647-1717). As she carefully documented in illustrated detail the life cycle of so many insects, Metamorphosis musically follows a butterfly from adult, egg, larva, pupa, and adult. The piece opens with an ostinato pattern in the strings over which the flute and harp play fluttering modal melodies. The strings and harp represent the egg stage with minimalistic layers of a single pitch. To recognize Merian’s time in Suriname and her discovery of many insect species there, a cheerful tune fashioned after traditional Arawak folk songs informs the busy larvae in the caterpillar canon. A bit of contemplative dorian polyphony laced with metamorphic machinations demonstrate the remarkable transformation of the pupa as well as Merian’s time at a devout Labadist religious commune. The butterfly emerges from the pupa with a flute/harp cadenza and then the strings underscore the adult butterfly with a return of the ostinato. The piece ends with the same ostinato as the beginning such that the piece could loop seamlessly as in a true life cycle.This performance does not include the revisions made in this version of the music: https://youtu.be/GIjQpkXl6Uc
$9.99
Claude Debussy: Sérénade for violin and 17 instrments, full score and solo part only (parts on ren
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Orchestre de chambre
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Claude Debussy/Robert Orledge
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Claude Debussy: Sér&eac
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Musik Fabrik Music Publishing
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SheetMusicPlus
Chamber Orchestra - Level 4 - SKU: A0.1080705 Composed by Claude Debussy/Robert Orledge. 20th Century,Romantic Period,Standards. Score and parts. 30 pag...
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Chamber Orchestra - Level 4 - SKU: A0.1080705 Composed by Claude Debussy/Robert Orledge. 20th Century,Romantic Period,Standards. Score and parts. 30 pages. Musik Fabrik Music Publishing #4727447. Published by Musik Fabrik Music Publishing (A0.1080705). Instrumentation2 flûtes/2 flutescor anglais (doublant hautbois/doubling oboe)clarinette en La/clarinet in Abasson/bassooncor en Fa/horn in Fpercission (1 éxecutant - timbales (3)/cymbale suspendue, tambour de basque)/percussion (1 performer - timpani (3)/suspended cymbal, tambourine)harpe/harp9 cordes/9 strings (2.2.2.2.1)durée/duration: 5 minutes 30 secconds (environ/approx.) Une versions pour violon et piano ainsi qu’une version pour violon et orchestre (31CA(hb)23/2100/timb/perc/hpe/cordes)est également disponibile/A version for violin and piano as well as a version for violin and orchestra (31EH(ob)23/2100/timp/perc/strings) is also available.______________________Prmière: Edmond Agapian, violin with the Calagray (CA) Youth orchestra, cond. Gareth Jones, University of Calgary, 28 Janaury, 2011Première of the version for violin and 17 instruments: Frédéric Moisan, violin Orchestre 21 cond. Paolo Bellomio, Unveristy of Montreal, Canada, 2 March 2012Preface:In the early 1890s, Debussy composed the opening of a lyrical piece in E major for violin and piano, perhaps as a shorter companion piece for the violin Nocturne he was planning for the Belgian violinist Eugène Ysaÿe. After Debussy’s death in 1918, his second wife Emma often gave away sketch pages to performers or composers as memorials to her beloved husband , and this particular page was given to the Cuban born pianist and composer Joaquin Nin (1879-1949). It came up for sale in the catalogue of the British antiquarian dealer Lisa Cox in 2010 and although it might possibly be an early song for contralto and piano, the more dynamic idea in bar 12 strongly suggests the violin, especially as it begins on an open D string. Moreover, there is no text and in pieces of this length, Debussy usually wrote at least one word in, if only to remind himself where he had got to in any song. So my starting point was a complete 12-bar melody gently undulating in the violin’s lowest register over a sensual accompaniment, rising to a climax in bar 12 and giving me a contrasting idea that I could use as a link between sections and in the cadenza. As the B section (bars 14-26) derives directly from Debussy’s opening theme by metamorphosis, my own additions were restricted to the central section (bars 27-57) - comprising a new scherzando idea (C) and the more lyrical D (bars 36-46). C returns at bar 47, followed by the opening sections in reverse order, so that the Sérénade begins and ends with Debussy’s material and is cast in arch form (ABCDCBA). Robert OrledgeBrighton, 19 June 2019Robert Orledge was born in Bath in 1948 and educated at Clare College, Cambridge, where he gained his doctorate for his study of the composer Charles Kœchlin in 1973. Between 1971 and 1991 He rose from Lecturer to Professor in the Music Department of the University of Liverpool, publishing books on Gabriel Fauré, Claude Debussy, Charles Kœchlin and Erik Satie, as well as numerous articles, editions and reviews. As a historical musicologist, Professor Orledge specialized in the way composers composed, ,and since taking early retirement in 2004, he has concentrated on completing and orchestrating Debussy’s unfinished works, and especially his theatre projects. His completion of Debussy’s opera The Fall of the House of Usher (1908-17) was successfully premiered at the Bregenz Opera Festival in Austria in August 2006 and has since been performed in America, Portugal Germany and Holland, as well as being broadcast throughout Europe. A DVD of the Bregenz premier is available on Capriccio 93517, produced by Phylida Lloyd and conducted by Lawrence Foster. His completion of the Chinese ballet No-ja-li ou Le Palais du Silence (1914) was also premiered in 2006 in Los Angeles and ot.
$16.95
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
Symphony No. 2, "Litanies of Love and Rain" (2004) for orchestra, study score
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Orchestre de chambre
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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Carson Cooman
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Symphony No. 2, "Litanies
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Musik Fabrik Music Publishing
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SheetMusicPlus
Chamber Orchestra - Level 4 - SKU: A0.533598 Composed by Carson Cooman. Contemporary. Score and parts. 34 pages. Musik Fabrik Music Publishing #3030255....
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Chamber Orchestra - Level 4 - SKU: A0.533598 Composed by Carson Cooman. Contemporary. Score and parts. 34 pages. Musik Fabrik Music Publishing #3030255. Published by Musik Fabrik Music Publishing (A0.533598). Symphony No. 2, Litanies of Love and Rain (2004) for orchestra is a symphonic work in onemovement. It is dedicated to Marisa Green.The work is inspired by a poem (Desiring the Solicitude of Rain) by American poet Kathleen Wakefield. The landscape of rich imagery in Wakefield's poem drives the extra-musical inspiration of this work. Musical material from the earlier vocal work is re-imagined in a purely orchestral context.Wakefield's poem contains images and messages of love and journey amidst the desire for the coming of rain. It is these ideas which provided the poetic conception of the work. Throughout the piece, the winds and brass play an extensive lyric and melodic role. A strand of singing lyricism runs throughout. Instruments are always exploring and highlighting theresonances in melodic and contrapuntal lines of other instruments. The work is cast in three sections (slow-fast-slow) plus a coda. The opening section begins with a forceful gesture that returns throughout the work as a signal. A melodic idea (containing the basic material of the work) is presented in the clarinet and it is developed throughout the rest ofthe section. A faster section emerges in a burst of energy as instruments hocket off each other.The next section is marked slow, ritualistic. The strings create an otherworldly harmonic cloud of gradually shifting and overlapping harmonies. Through this cloud, bassoon, trumpet,and flute solos emerge. Finally, the opening music is recalled in the coda as the potential energy continues to build. The work ends with a surge of anticipation -- the rain is about to come and it can be imagined just beyond the horizon.Orchestration: 2222/2200/1perc/stringsParts on rental from the publisher.
$16.95
Tantric Psalms (1997, rev. 1999) for mezzo-soprano and string quartet
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Orchestre de chambre
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INTERMÉDIAIRE/AVANCÉ
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Musique Sacrée
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Thomas Oboe Lee
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Tantric Psalms
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Thomas Oboe Lee
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SheetMusicPlus
Chamber Orchestra - Level 4 - SKU: A0.869311 Composed by Thomas Oboe Lee. 20th Century,Baroque,Classical,Contemporary,Romantic Period. Score and parts. ...
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Chamber Orchestra - Level 4 - SKU: A0.869311 Composed by Thomas Oboe Lee. 20th Century,Baroque,Classical,Contemporary,Romantic Period. Score and parts. With Om ah hum hum (Chant sung with mouth closed.). 21 pages. Thomas Oboe Lee #32293. Published by Thomas Oboe Lee (A0.869311). Program notes: Mark Ludwig came to me in the spring of 1997 wondering if I would be interested in writing a piece of music for the Hawthorne String Quartet that would bring to the attention of the world what many Tibetans are experiencing as exiles or political prisoners under the rule of the Peoples Republic of China. I told him I would be. So, he loaned me several books on Tibet, the Dalai Lamas, a video about a Tibetan ethnomusicologist who is currently in prison for spying, and a few recordings of Tibetan folk music. I found the material very intriguing and fascinating. And toward the end of a five-week residency at the American Academy in Rome that summer, I completed the first draft of Tantric Psalms. The work was completed a week later at home in Cambridge, Massachusetts. In 1999, I revisited the score and added a voice so that the beautiful Tibetan chants and prayers can be invoked. Tantric Psalms is in three sections, but organized in two movements: I. Invocation Om ah hum hum (Chant sung with mouth closed.) Prayer: Then bless me to embark ... II. Invocation Simple Song of Fun/Om ma ni pad me hum (Chant sung with mouth closed.) (Om ah hum hum. Om ah kham hum. Om ah om hum. Om ah sva hum. Om ah ah hum. Om ah ha hum. Om ah lam hum. Om ah mam hum. Om ah bam hum. Om ah tam hum. Om ah jah hum. Om ah hum hum. Om ah bam hum. Om ah hoh hum. Om ah maim hum. Om ah thlim hum. Om am om hum. Om ah om hum. Om ah om hum. Om ah hum hum. Om ah om hum. Om ah sam hum. Om ah hum hum. Om ah hum hum. Om ah hum hum. Om ah hum hum. Om ah hum hum. Om ah hum hum. Om ah hum hum. Om ah hum hum. Om ah hum hum. Om ah hum hum.) Then bless me to embark in a boat to cross the ocean of the Tantras, Through the kindness of the Captain Vajra master, Holding vows and pledges, root of all power, more dearly than life itself! Bless me to perceive all things as the deity body, Cleasing the taints of ordinary perception, Through the yoga of the first stages of Unexcelled Tantra, Changing births, deaths, and between into the three Buddha bodies! (Om ma ni pad me hum.).
$9.99
Tantric Psalms (1997, rev. 1999) for mezzo-soprano and string quartet
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Orchestre de chambre
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INTERMÉDIAIRE/AVANCÉ
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Musique Sacrée
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Thomas Oboe Lee
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Tantric Psalms
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Thomas Oboe Lee
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SheetMusicPlus
Chamber Orchestra - Level 4 - SKU: A0.869299 Composed by Thomas Oboe Lee. 20th Century,Baroque,Classical,Contemporary,Romantic Period. Score and parts. ...
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Chamber Orchestra - Level 4 - SKU: A0.869299 Composed by Thomas Oboe Lee. 20th Century,Baroque,Classical,Contemporary,Romantic Period. Score and parts. With Om ah hum hum (Chant sung with mouth closed.). 21 pages. Thomas Oboe Lee #32649. Published by Thomas Oboe Lee (A0.869299). Program notes: Mark Ludwig came to me in the spring of 1997 wondering if I would be interested in writing a piece of music for the Hawthorne String Quartet that would bring to the attention of the world what many Tibetans are experiencing as exiles or political prisoners under the rule of the Peoples Republic of China. I told him I would be. So, he loaned me several books on Tibet, the Dalai Lamas, a video about a Tibetan ethnomusicologist who is currently in prison for spying, and a few recordings of Tibetan folk music. I found the material very intriguing and fascinating. And toward the end of a five-week residency at the American Academy in Rome that summer, I completed the first draft of Tantric Psalms. The work was completed a week later at home in Cambridge, Massachusetts. In 1999, I revisited the score and added a voice so that the beautiful Tibetan chants and prayers can be invoked. Tantric Psalms is in three sections, but organized in two movements: I. Invocation Om ah hum hum (Chant sung with mouth closed.) Prayer: Then bless me to embark ... II. Invocation Simple Song of Fun/Om ma ni pad me hum (Chant sung with mouth closed.) (Om ah hum hum. Om ah kham hum. Om ah om hum. Om ah sva hum. Om ah ah hum. Om ah ha hum. Om ah lam hum. Om ah mam hum. Om ah bam hum. Om ah tam hum. Om ah jah hum. Om ah hum hum. Om ah bam hum. Om ah hoh hum. Om ah maim hum. Om ah thlim hum. Om am om hum. Om ah om hum. Om ah om hum. Om ah hum hum. Om ah om hum. Om ah sam hum. Om ah hum hum. Om ah hum hum. Om ah hum hum. Om ah hum hum. Om ah hum hum. Om ah hum hum. Om ah hum hum. Om ah hum hum. Om ah hum hum. Om ah hum hum.) Then bless me to embark in a boat to cross the ocean of the Tantras, Through the kindness of the Captain Vajra master, Holding vows and pledges, root of all power, more dearly than life itself! Bless me to perceive all things as the deity body, Cleasing the taints of ordinary perception, Through the yoga of the first stages of Unexcelled Tantra, Changing births, deaths, and between into the three Buddha bodies! (Om ma ni pad me hum.).
$9.99
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