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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
The Call Up
Non classifié
316
Piano & claviers
Piano seul
250
Piano, Voix et Guitare
54
Piano, Voix
48
Orgue
34
Piano Facile
22
Accompagnement Piano
20
Piano grosses notes
18
2 Pianos, 4 mains
14
1 Piano, 4 mains
13
Instruments en Do
10
Piano (partie séparée)
4
Orgue, Piano (duo)
3
Piano Trio: piano, violon, violoncelle
2
1 Piano, 6 mains
1
Piano Quintette: piano, 2 violons, alto, violoncelle
1
Piano Quatuor: piano, 2 violons, violoncelle
1
Accordéon
1
+ 12 instrumentations
Retracter
Guitares
Guitare
31
Guitare notes et tablatures
18
Guitare (partie séparée)
8
Paroles et Accords
6
Basse electrique
4
Banjo
3
Ukulele
2
Ligne De Mélodie, (Paroles) et Accords
2
2 Guitares (duo)
1
4 Guitares (Quatuor)
1
+ 5 instrumentations
Retracter
Voix
Chorale SATB
148
Chorale 3 parties
31
Chorale TTBB
22
Chorale 2 parties
19
Chorale SSAA
12
Chorale Unison
6
Voix seule
6
Voix Alto, Piano
5
Voix Soprano
3
Voix duo
2
Voix moyenne, Piano
2
Voix duo, Piano
2
Voix haute
1
Chorale SSATTB
1
Voix Tenor, Piano
1
Voix Soprano, Orchestre
1
+ 11 instrumentations
Retracter
Vents
Flûte traversière et Piano
24
Saxophone (partie séparée)
22
Saxophone Alto et Piano
21
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
21
2 Saxophones (duo)
20
Clarinette et Piano
18
Saxophone Soprano et Piano
17
Hautbois, Piano (duo)
14
Quatuor de Clarinettes: 4 clarinettes
13
2 Flûtes traversières (duo)
12
Quatuor de Saxophones: 4 saxophones
10
Saxophone Tenor et Piano
9
Cor anglais, Piano
8
Quintette de Clarinettes: 5 clarinettes
8
2 Clarinettes (duo)
8
Saxophone Baryton, Piano
7
Clarinette, Violon (duo)
7
Clarinette, Trompette (duo)
6
Quintette de Saxophone: 5 saxophones
5
Hautbois (partie séparée)
5
Saxophone Alto
5
Saxophone, Clarinette (duo)
5
Quatuor de Flûtes : 4 flûtes
5
Clarinette
5
Flûte, Hautbois, Clarinette, Basson
4
Flûte traversière
4
Flute (partie séparée)
4
Clarinette Basse, Piano
4
Ensemble de Flûtes
3
Ensemble de Clarinettes
3
Hautbois, Basson (duo)
3
2 Hautbois (duo)
3
Flûte, Alto (duo)
3
Flûte, Trompette (duo)
3
Saxophone Tenor
3
Flûte, Violon
3
Trio de Flûtes: 3 flûtes
3
3 Saxophones (trio)
2
Clarinette, Basson (duo)
2
Flûte à bec Alto
2
Flûte, Saxophone (duo)
2
Hautbois, Flûte
2
Flûte à bec Alto, Piano
2
Clarinette et Alto
2
Flute, harpe et violon
2
Flûte, Clarinette (duo)
2
Flûte à bec Soprano, Piano
2
3 Clarinettes (trio)
2
Hautbois, Clarinette (duo)
1
Flûte, Violon, Piano
1
Flûte, Clarinette et Basson
1
Ensemble de saxophones
1
Flûte à Bec
1
Flûte, Violon, Violoncelle et Piano
1
Flûte, Hautbois, Basson
1
Quintette de Flûte : 5 flûtes
1
Flûte traversière, Orgue (duo)
1
Saxophone et Orgue
1
+ 53 instrumentations
Retracter
Cuivres
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
31
Trombone et Piano
21
Trombone (partie séparée)
19
Trompette (partie séparée)
15
Quatuor de Cuivres : 2 trompettes, trombone, tuba
14
Trompette
12
Euphonium, Piano (duo)
9
Cor anglais, Piano
8
Quatuor de Cuivres
7
Cor et Piano
7
Trompette, Saxophone (duo)
6
Trompette, Piano
5
2 Cors (duo)
5
Trompette, Trombone (duo)
4
Cor
4
Tuba
3
Quatuor de cuivres: 4 trombones
2
Quatuor de Cuivres: 2 trompettes, Cor, trombone
2
2 Trombones (duo)
2
Quatuor de cuivres: 4 cors
2
2 Trompettes (duo)
2
Tuba et Piano
2
Trio de Cuivres
1
Trombone basse et Piano
1
Tuba (partie séparée)
1
Tuba et Orgue
1
Ensemble de Trombones
1
Ensemble de Tubas
1
Cor (partie séparée)
1
Trompette, Euphonium (duo)
1
2 Euphoniums (duo)
1
Cor et Orgue
1
+ 27 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
43
Violon et Piano
22
Violoncelle, Piano
15
Violon
13
Alto, Piano
12
Harpe
9
Violon, Violoncelle (duo)
8
Violoncelle
5
Violon, Alto (duo)
5
Alto seul
5
2 Violoncelles (duo)
5
Contrebasse (partie séparée)
5
2 Violons (duo)
4
Quintette à cordes: 2 violons, alto, violoncelle, basse
4
Harpe, Voix
4
Trio à Cordes: violon, alto, violoncelle
3
Alto, Violoncelle (duo)
2
4 Violoncelles
2
2 Harpes (duo)
2
Violon (partie séparée)
2
Harpe, Flûte (duo)
1
Trio à cordes: 3 altos
1
Contrebasse, Piano (duo)
1
Contre Basse
1
Trio à Cordes: 2 violons, violoncelle
1
2 Altos (duo)
1
Alto, Guitare (duo)
1
Trio à Cordes: 2 violons, alto
1
+ 23 instrumentations
Retracter
Orchestre & Percussions
Orchestre d'harmonie
221
Orchestre
33
Orchestre à Cordes
30
Ensemble Jazz
28
Jazz combo
16
Ensemble de cuivres
15
Cloches
12
Batterie (partie séparée)
4
Orchestre de chambre
4
Ensemble de Percussions
4
Piano et Orchestre
1
Fanfare
1
Batterie
1
Quintette de Cuivres: autres combinaisons
1
+ 9 instrumentations
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FLUTE A DIX…
FLUTE DE PA…
FORMATION M…
GUITARE
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LUTH, THEOR…
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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
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HAUTBOIS
LIVRES
LUTH
MANDOLINE
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Vous avez sélectionné:
The Call Up
Orchestre de chambre
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Symphony No. 8 ... City of Light (2011) for chamber orchestra
Orchestre de chambre
Chamber Orchestra - Level 4 - Digital Download SKU: A0.869356 Composed by Thomas Ob…
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Chamber Orchestra - Level 4 - Digital Download SKU: A0.869356 Composed by Thomas Oboe Lee. 20th Century,Baroque,Classical,Contemporary,Romantic Period. Score and parts. 113 pages. Thomas Oboe Lee #15879. Published by Thomas Oboe Lee (A0.869356). Instrumentation: 1 flute, 1 oboe, 1 English horn, 2 bassoons, 2 French horns, timpani and strings.Program note: In the year 2010, my wife Kristin Beckwith and I went to Paris twice, the first time in May and the second time in December right after Christmas. The weather was magnificent in May. Our friends Seph and Roger met us there. Being long-time veterans of Paris, they took us all over the city: Le Marais, the Left Bank, Montmartre, Sacré Coeur, Père LaChaise cemetery, Avenue des Champs-Élysées, Jardin du Luxembourg, Jardin des Tuileries, Notre Dame cathedral, Eiffel Tower, the flea market at Porte de Clignancourt, the canal at Saint Martin, etc. Since the weather was so great we basically stayed outside the entire two weeks. My wife Kris said that we had to return next again to Paris to go inside the museums. So we did. The weather in Paris after Christmas was very damp and chilly. So we did indoor activities: Le Louvre, Musée D’Orsay, Palais Garnier, etc. We even attended a beautiful performance of Swan Lake by the Paris Opera Ballet at L’Opéra Bastille. I should also mention that on both occasions I met up with a former student of mine from Berklee, Joe Makholm. He makes a living in Paris playing jazz piano. Joe got us a gig at the Swan Bar in Montparnasse. On the first occasion we did it as a trio with a French bass player. I played flute. On the second occasion, we did it as a duo. Playing jazz in Paris? You can’t beat that!!! Early this year, Steven Lipsitt and I had a chat about my writing a new work for the Boston Classical Orchestra. My last work for the BCO was a piano concerto with Robert Levin as soloist. I told Steven that this time I wanted to write a symphony. He said, Sure. Go ahead. I told him it would be about Paris. He said he would put Mozart’s Paris Symphony on the same program. I said, Fabulous! Symphony No. 8 … City of Light (2011) is in five movements. 1. La Seine Presto, Moderato 2. Basilique du Sacré-Coeur Largo 3. Palais Garnier Allegro, Trio 4. Avenue des Champs-Élysées Allegro 5. Musée du Louvre Largo, Moderato This work is dedicated to my wife and muse, Kristin Beckwith. Audio Link: https://thomasoboelee.bandcamp.com/album/symphony-no-8-city-of-light-2011Video link: https://youtu.be/-Yn76vWg7jE
$9.99
9.17 €
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Orchestre de chambre
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Thomas Oboe Lee
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Symphony No. 8 ... City of Light
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Thomas Oboe Lee
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SheetMusicPlus
Requiem
Orchestre de chambre
Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra - Digital Dow…
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Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra - Digital Download SKU: S9.Q7038 Teil I: Schwarz vor Augen... · Teil II: ...und es ward Licht!. Composed by Harald Weiss. This edition: study score. Music Of Our Time. Downloadable, Study score. Duration 100' 0. Schott Music - Digital #Q7038. Published by Schott Music - Digital (S9.Q7038). Latin • German.On letting go(Concerning the selection of the texts) In the selection of the texts, I have allowed myself to be motivated and inspired by the concept of “letting goâ€. This appears to me to be one of the essential aspects of dying, but also of life itself. We humans cling far too strongly to successful achievements, whether they have to do with material or ideal values, or relationships of all kinds. We cannot and do not want to let go, almost as if our life depended on it. As we will have to practise the art of letting go at the latest during our hour of death, perhaps we could already make a start on this while we are still alive. Tagore describes this farewell with very simple but strikingly vivid imagery: “I will return the key of my doorâ€. I have set this text for tenor solo. Here I imagine, and have correspondingly noted in a certain passage of the score, that the protagonist finds himself as though “in an ocean†of voices in which he is however not drowning, but immersing himself in complete relaxation. The phenomenon of letting go is described even more simply and tersely in Psalm 90, verse 12: “So teach us to number our days, that we may apply our hearts unto wisdomâ€. This cannot be expressed more plainly.I have begun the requiem with a solo boy’s voice singing the beginning of this psalm on a single note, the note A. This in effect says it all. The work comes full circle at the culmination with a repeat of the psalm which subsequently leads into a resplendent “lux aeternaâ€. The intermediate texts of the Requiem which highlight the phenomenon of letting go in the widest spectrum of colours originate on the one hand from the Latin liturgy of the Messa da Requiem (In Paradisum, Libera me, Requiem aeternam, Mors stupebit) and on the other hand from poems by Joseph von Eichendorff, Hermann Hesse, Rabindranath Tagore and Rainer Maria Rilke.All texts have a distinctive positive element in common and view death as being an organic process within the great system of the universe, for example when Hermann Hesse writes: “Entreiß dich, Seele, nun der Zeit, entreiß dich deinen Sorgen und mache dich zum Flug bereit in den ersehnten Morgen†[“Tear yourself way , o soul, from time, tear yourself away from your sorrows and prepare yourself to fly away into the long-awaited morningâ€] and later: “Und die Seele unbewacht will in freien Flügen schweben, um im Zauberkreis der Nacht tief und tausendfach zu leben†[“And the unfettered soul strives to soar in free flight to live in the magic sphere of the night, deep and thousandfoldâ€]. Or Joseph von Eichendorff whose text evokes a distant song in his lines: “Und meine Seele spannte weit ihre Flügel aus. Flog durch die stillen Lande, als flöge sie nach Haus†[“And my soul spread its wings wide. Flew through the still country as if homeward bound.â€]Here a strong romantically tinged occidental resonance can be detected which is however also accompanied by a universal spirit going far beyond all cultures and religions. In the beginning was the sound Long before any sort of word or meaningful phrase was uttered by vocal chords, sounds, vibrations and tones already existed. This brings us back to the music. Both during my years of study and at subsequent periods, I had been an active participant in the world of contemporary music, both as percussionist and also as conductor and composer. My early scores had a somewhat adventurous appearance, filled with an abundance of small black dots: no rhythm could be too complicated, no register too extreme and no harmony too dissonant. I devoted myself intensely to the handling of different parameters which in serial music coexist in total equality: I also studied aleatory principles and so-called minimal music.I subsequently emigrated and took up residence in Spain from where I embarked on numerous travels over the years to India, Africa and South America. I spent repeated periods during this time as a resident in non-European countries. This meant that the currents of contemporary music swept past me vaguely and at a great distance. What I instead absorbed during this period were other completely new cultures in which I attempted to immerse myself as intensively as possible.I learned foreign languages and came into contact with musicians of all classes and styles who had a different cultural heritage than my own: I was intoxicated with the diversity of artistic potential.Nevertheless, the further I distanced myself from my own Western musical heritage, the more this returned insistently in my consciousness.The scene can be imagined of sitting somewhere in the middle of the Brazilian jungle surrounded by the wailing of Indians and out of the blue being provided with the opportunity to hear Beethoven’s late string quartets: this can be a heart-wrenching experience, akin to an identity crisis. This type of experience can also be described as cathartic. Whatever the circumstances, my “renewed†occupation with the “old†country would not permit me to return to the point at which I as an audacious young student had maltreated the musical parameters of so-called contemporary music. A completely different approach would be necessary: an extremely careful approach, inching my way gradually back into the Western world: an approach which would welcome tradition back into the fold, attempt to unfurl the petals and gently infuse this tradition with a breath of contemporary life.Although I am aware that I will not unleash a revolution or scandal with this approach, I am nevertheless confident as, with the musical vocabulary of this Requiem, I am travelling in an orbit in which no ballast or complex structures will be transported or intimated: on the contrary, I have attempted to form the message of the texts in music with the naivety of a “homecomerâ€. Harald WeissColonia de San PedroMarch 20091 (auch Altfl.) · 2 (2. auch Engl. Hr.) · 1 (auch Bassklar.) · 0 - 2 · Flhr. · 0 · 0 - P. S. (Glsp. · Röhrengl. · Gongs · Trgl. · Beck. · Tamt. · 2 Holzschlitztr. (oder Woodbl.) · Woodbl. · gr. Tr.) (3 Spieler) - Org. (Positiv) - Str. (4 · 4 · 4 · 4 · 2).
$55.99
51.38 €
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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
Canticum Canticorum for Krzysztof Penderecki
Orchestre de chambre
Chamber Orchestra - Level 5 - Digital Download SKU: A0.1027777 Composed by Mohammad…
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Chamber Orchestra - Level 5 - Digital Download SKU: A0.1027777 Composed by MohammadHadi Ayanbod. 20th Century,A Cappella,Contemporary,Sacred. Score and parts. 32 pages. Rimorarte Edition #5996921. Published by Rimorarte Edition (A0.1027777). Canticum Canticorum, for Grand String Orchestra & Mixed Choir, is a musical piece based on the old text with the same name from Vulgate. The Canticum Canticorum text also known as Song of Songs, the Song of Solomon, the Canticle of Canticles, (Old Greek: Άσμα Ασμάτων, same meaning as song of songs). As David Berlo once beautifully put this into words: Meanings are in people … not in the messages …. The elements and structure of a language … are only symbols …. Meanings are not transmittable … Only messages are transmittable, and meanings are not in the message, they are in the message-users! Therefore, I needed to understand and interpret the text itself, even before I wanted to try setting it to the music. However, in order to understand the text correctly, one should comprehend the origin of the text and get to know its author(s), at first. In the case of Canticum Canticorum, both the author and the origin of the text are obscure. Furthermore, even the approximate date/century/era of the birth and the cultural context in which the text was created, are far from clear. According to the scholars, the creation of the text ranges from the tenth century B.C.; the era of Solomon, up to the first century B.C., and the origin of it considers from Indian, Tamil, or Ethiopic literature to Palestinian one. Because of these vast spectra of dates and cultures, I had to read and understand the text, compare with other sources, find similarities in other languages and cultures, hermeneutically interpret it and search for those non-written or metaphorical clues that may lead to unfasten the mystery has been attached to the text. In order to achieve the most accurate and faithful interpretation of the text I also had to answer few questions regarding the style, structure, medium, architecture and techniques of the music in relation to the text. I have used string orchestra and mixed choir to render the ideas, since that is among highly versatile instrumentations capable of providing small and delicate whispers, heavenly voices, and intonation changes that is hardly-reproducible by other mediums as well as thunderous sounds. Although Canticum Canticorum is single-movement work, but still possible to distinguish three different sections: the beginning choral part that is a long fugue in 5 voices with the material of serial music which helps orchestra to enter and grow, the a-capella middle section consists of two contrasting but invisibly related atmospheres and the third section – the recapitulation of the ideas already presented, in both the text and the music. The culmination of the work; 11-parts choral, takes place in the third section, somewhere near the end of the piece. Canticum Canticorum, for Grand String Orchestra & Mixed Choir, is dedicated to the genius composer of our time, Maestro Prof. dr. h.c. Krzysztof Penderecki.
$24.99
22.93 €
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Orchestre de chambre
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MohammadHadi Ayanbod
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Canticum Canticorum for Krzysztof Penderecki
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Rimorarte Edition
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SheetMusicPlus
Press Play
Orchestre de chambre
Chamber Orchestra - Level 5 - Digital Download SKU: A0.1027496 Composed by Till Mac…
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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
23.86 €
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Orchestre de chambre
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Till MacIvor Meyn
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Press Play
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Till MacIvor Meyn
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SheetMusicPlus
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