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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 Old Man
Non classifié
2 591
Piano & claviers
Piano seul
1 473
Piano, Voix
1 015
Piano Facile
548
Piano, Voix et Guitare
365
Orgue
131
Instruments en Do
106
Accompagnement Piano
71
Accordéon
46
2 Pianos, 4 mains
44
1 Piano, 4 mains
34
Piano Trio: piano, violon, violoncelle
32
Piano Quatuor: piano, violon, alto, violoncelle
21
Piano Quatuor: piano, 2 violons, violoncelle
9
Clavier
5
Piano grosses notes
5
Clavecin
5
Orgue, Piano (duo)
4
Orgue, Trompette (duo)
3
Piano Quintette: piano, 2 violons, alto, violoncelle
3
Piano (partie séparée)
2
2 Accordéons
1
2 Pianos, 8 mains
1
Orgue, Voix
1
Instrument seul et Orgue
1
+ 19 instrumentations
Retracter
Guitares
Guitare
182
Guitare notes et tablatures
158
Ligne De Mélodie, (Paroles) et Accords
91
Ukulele
79
Mandoline
64
Basse electrique
59
Paroles et Accords
27
Banjo
13
2 Guitares (duo)
13
Piano, Guitare (duo)
11
Dulcimer
8
4 Guitares (Quatuor)
4
Mandoline, Guitare (duo)
3
2 Ukuleles
3
2 Mandolines (duo)
2
3 Guitares (trio)
2
Dobro
1
Guitare (partie séparée)
1
Guitare, Violon, Violoncelle (trio)
1
+ 14 instrumentations
Retracter
Voix
Chorale SATB
691
Chorale 3 parties
215
Chorale TTBB
158
Chorale 2 parties
120
Chorale Unison
116
Chorale SSAA
98
Voix Soprano, Piano
42
Voix seule
38
Voix Alto, Piano
37
Voix Baryton, Piano
37
Voix Tenor, Piano
33
Voix duo, Piano
32
Voix haute
22
Voix moyenne, Piano
14
Voix duo
13
Voix basse, Piano
6
Soli, choeur mixte et accompagnement
5
Chorale
4
Chorale SSATTB
3
Voix Mezzo-Soprano, Piano
3
Voix Tenor
2
Chorale SSAATTBB
1
Chorale SSAATB
1
Voix basse
1
Voix Soprano, Orchestre
1
Chorale SSATB
1
+ 21 instrumentations
Retracter
Vents
Flûte traversière et Piano
212
Clarinette et Piano
177
Flûte traversière
176
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
170
Hautbois, Piano (duo)
164
2 Saxophones (duo)
163
Quatuor de Saxophones: 4 saxophones
153
Saxophone Alto et Piano
145
Clarinette
141
Saxophone Alto
136
Saxophone Tenor
116
Flûte, Hautbois, Clarinette, Basson
116
Saxophone (partie séparée)
110
Quatuor de Clarinettes: 4 clarinettes
100
Saxophone Tenor et Piano
97
Hautbois (partie séparée)
84
Saxophone Soprano et Piano
83
Quintette de Saxophone: 5 saxophones
65
2 Flûtes traversières (duo)
63
2 Clarinettes (duo)
59
Quatuor de Flûtes : 4 flûtes
53
3 Saxophones (trio)
52
Saxophone Baryton, Piano
45
Ensemble de saxophones
39
2 Flûte à bec (duo)
34
Ensemble de Clarinettes
31
Quintette de Clarinettes: 5 clarinettes
30
Cor anglais, Piano
29
Flûte, Clarinette (duo)
25
Clarinette (partie séparée)
24
Ensemble De Flûte à bec
24
Trio de Flûtes: 3 flûtes
23
Ensemble de Flûtes
23
3 Clarinettes (trio)
22
2 Hautbois (duo)
22
Saxophone, Clarinette (duo)
21
Flûte et Guitare
21
Flûte à bec Soprano
20
Clarinette, Violon (duo)
19
Clarinette Basse, Piano
17
Hautbois, Basson (duo)
17
Hautbois
16
Flûte, Hautbois, Clarinette (trio)
15
Flute (partie séparée)
13
Flûte, Violon
13
Clarinette, Trompette (duo)
12
Clarinette, Guitare (duo)
12
Hautbois, Flûte
11
Hautbois, Clarinette, Basson (trio d'anches)
11
Quatuor de Flûtes à bec
11
Clarinette, Basson (duo)
11
Saxophone
10
Quintette de Flûte : 5 flûtes
10
Flûte à bec Alto
10
Flûte à Bec
10
Saxophone Soprano
9
Flûte à bec Tenor
9
Flûte, Saxophone (duo)
7
Clarinette et Alto
7
Flûte, Clarinette et Basson
7
Hautbois, Clarinette (duo)
7
Flûte, Trompette (duo)
6
3 Hautbois
6
Flûte, Hautbois, Basson
6
Flûte, Alto (duo)
6
Flûte, Violoncelle
6
3 Flûtes à bec (trio)
5
Clarinette Basse
4
Flûte, Hautbois (duo)
4
Saxophone Baryton
4
Cor Anglais
4
Flute, harpe et violon
4
Flûte, Violon et Violoncelle
4
Flûte à bec Soprano, Piano
4
Clarinette, Trombone (duo)
3
Cor anglais, Guitare (duo)
3
4 Hautbois
3
Hautbois, Guitare (duo)
3
Flûte, Clarinette, Piano (trio)
3
Flûte à bec Alto, Piano
3
5 Flûtes à bec
3
Hautbois, Violoncelle
3
2 Flûtes traversières, Piano
3
Instruments en Mib
3
Flûte, Trombone (duo)
2
2 Clarinettes, Piano
2
Clarinette, Harpe (duo)
2
Piccolo, Piano
2
Saxophone et Orgue
2
2 Clarinettes, Basson
2
Flûte, Violon, Violoncelle et Piano
1
Flûte et Trio à cordes
1
Clarinette, Violoncelle (duo)
1
Flûte, alto et harpe
1
Hautbois, violon (duo)
1
Flûte à bec Alto, Basse continue
1
Ensemble de Hautbois
1
Flûte, Violoncelle, Piano (trio)
1
Flûte irlandaise
1
Flûte à bec, Harpe
1
Cor anglais et Harpe (duo)
1
Hautbois, Violin, Alto et Violoncelle (Quatuor)
1
Quintette de Clarinette: Clarinette, Quatuor à Cordes
1
2 Flûtes, Basse continue
1
Saxophone et Guitare
1
+ 100 instrumentations
Retracter
Cuivres
Quatuor de Cuivres : 2 trompettes, trombone, tuba
187
Trompette
187
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
168
Trombone et Piano
137
Trombone
128
Trompette, Piano
107
Cor et Piano
90
Cor
85
Quatuor de cuivres: 4 trombones
68
Quatuor de Cuivres: 2 trompettes, Cor, trombone
49
Tuba et Piano
45
Tuba
41
Trompette (partie séparée)
39
Trombone (partie séparée)
38
2 Trompettes (duo)
33
Euphonium, Piano (duo)
32
Ensemble de Trombones
30
Quatuor de cuivres: 4 cors
30
Cor anglais, Piano
29
2 Trombones (duo)
25
Trompette, Trombone (duo)
23
Trompette, Saxophone (duo)
21
2 Cors (duo)
19
Euphonium
17
Cor (partie séparée)
15
Quatuor de Cuivres
13
Trompette, Cor (duo)
12
Ensemble de Trompettes
10
Quatuor de cuivres: 4 trompettes
10
Tuba (partie séparée)
8
2 Euphoniums et 2 Tubas
7
3 Trompettes (trio)
5
2 Tubas (duo)
4
Cor Anglais
4
Bass Clef Instruments
4
Trio de Cuivres
3
Cor anglais, Guitare (duo)
3
Instruments en Sib
3
Quintette de Cuivres: 2 trompettes, Cor, 2 trombones
3
Tuba et Orgue
3
Trompette, violon (duo)
3
2 Euphoniums (duo)
3
Trompette et Guitare
2
Ensemble de Cors
2
Quatuor de cuivres: 2 trompettes, 2 trombones
2
Ensemble de Tubas
1
2 Cors, Piano
1
Trompette, Euphonium (duo)
1
4 Tubas
1
3 Tubas (trio)
1
3 Trombones (trio)
1
Trompette, Trombone, Piano
1
Euphonium, Tuba (duo)
1
Trompette, Violoncelle (duo)
1
Cor anglais et Harpe (duo)
1
Trombone, Cor (duo)
1
Cor et Basson (duo)
1
2 Trombones, Piano
1
Cor, Violoncelle (duo)
1
Trombone basse et Piano
1
3 Cors (trio)
1
Trompette, Basson (duo)
1
Trombone, Orgue
1
Trombone, Tuba (duo)
1
2 Trompettes, Clavier (piano ou orgue)
1
+ 60 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
581
Violon et Piano
295
Violon
274
Violoncelle, Piano
198
Violoncelle
190
Alto, Piano
173
Violon, Violoncelle (duo)
124
Alto seul
122
Trio à Cordes: violon, alto, violoncelle
78
2 Violons (duo)
72
Harpe
69
Contrebasse, Piano (duo)
50
Trio à Cordes: 2 violons, violoncelle
48
Violon, Alto (duo)
46
Contre Basse
42
2 Violoncelles (duo)
41
Alto (partie séparée)
38
Quintette à cordes: 2 violons, alto, violoncelle, basse
37
2 Altos (duo)
30
Violon (partie séparée)
23
4 Violoncelles
21
Alto, Violoncelle (duo)
16
Contrebasse (partie séparée)
13
Trio à Cordes: 3 violoncelles
10
Piano Trio: Violon, Alto, Piano
10
Trio à cordes: 3 violins
10
Quatuor à cordes : 4 altos
10
2 Harpes (duo)
9
Violon, Guitare (duo)
9
Violoncelle, Contrebasse (duo)
7
Harpe, Voix
7
Quatuor à cordes: 4 violons
7
Violoncelle , Guitare (duo)
6
2 Contrebasses (duo)
6
Trio à cordes
5
Harpe, Flûte (duo)
5
Ensemble d'Altos
4
Ensemble de Violons
4
Violoncelle (partie séparée)
4
Trio à cordes: 3 altos
4
Quintette à cordes: 2 violons, 2 altos, violoncelle
3
Trio à Cordes: 2 violons, alto
3
Harpe et Piano
2
Violon, Basson (duo)
2
2 Violons, Piano
2
Autoharp
1
Violoncelle, Orchestre
1
Violoncelle, Orgue
1
Alto et Basson
1
Ensemble de Violoncelles
1
Violon, Orgue
1
Alto et Harpe
1
4 Contrebasses
1
Alto, Guitare (duo)
1
+ 49 instrumentations
Retracter
Orchestre & Percussions
Orchestre d'harmonie
735
Orchestre à Cordes
268
Orchestre
237
Cloches
209
Ensemble de cuivres
159
Orchestre de chambre
108
Ensemble Jazz
88
Batterie
29
Fanfare
27
Jazz combo
15
Ensemble de Percussions
12
Percussion (partie séparée)
10
Marimba
9
Percussion
7
Xylophone, Piano
4
Vibraphone
3
Timbales (partie séparée)
2
Orchestre, Violon
2
Quintette à Vent
1
Quintette de Cuivres: autres combinaisons
1
Batterie (partie séparée)
1
Timbales
1
2 Marimbas
1
Ensemble d'École
1
+ 19 instrumentations
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The Old Man
Orchestre de chambre
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108 partitions trouvées
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51
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101
TELEMANN – VIOLIN CONCERTO IN A MAJOR "THE FROGS", TWV 51:A4 (Score and parts in PDF)
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Orchestre de chambre
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AVANCÉ
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Classique
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Georg Philipp Telemann
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Sneakwood Editions
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TELEMANN – VIOLIN CONCER
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Sneakwood Editions
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SheetMusicPlus
Chamber Orchestra - Level 5 - SKU: A0.890767 Composed by Georg Philipp Telemann. Arranged by Sneakwood Editions. Baroque,Classical. Score and parts. 41 ...
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Chamber Orchestra - Level 5 - SKU: A0.890767 Composed by Georg Philipp Telemann. Arranged by Sneakwood Editions. Baroque,Classical. Score and parts. 41 pages. Sneakwood Editions #4781035. Published by Sneakwood Editions (A0.890767). Edition based on Ms. D MÜu, ms. 775Score (20 pages) and Parts (friendly performance edition): Violino principale, Violin I, Violin II, Violin III, Viola, Violoncello and Harpsichord.The Violin Concerto in A major (TWV 51:A4), which has come to light only fairly recently, does not take as its musical model the song of the nightingale (as in ‘La Bizarre’ [TWV 55:G2]) or of the goldfinch (Vivaldi), but the croaking of the common frog, also called ‘Reling’ in certain regions of Germany, whence the concerto’s subtitle. Nothing better could be expected of a composer who found inspiration even in crows and in the out-of-tune playing of village musicians! Although this concerto, which the manuscript attributes to Telemann, bears traces of his personal style, other features, such as the exceptionally high solo part, leave room for doubt. At a structurally important point in the first movement the soloist produces no more than a succession of repeated notes, ‘a-a, a-a’, which infect the other parts as well. Of course, this is the vowel that the frog croaks, given a distinctive tone-colour by use of the open A string and stopped D string. But worse is to come. In the second ritornello the orchestral violins ‘forget’ the beginning of their theme, whilst the cello inappropriately pushes its way into the foreground. The setting of the second movement (Adagio), probably a moonlit stretch of shallow water, then audibly inspires a pair of courting frogs to make sweet music together. We are given the opportunity to rejoice in their croaking offspring in the concluding Menuet and its rapid Double. This movement entirely dispenses with concertante sounds of nature and thereby betrays its origins in the suite, where it always takes its accustomed place in Telemann’s music. If we knew that a satirist was at work in this ‘Relinge’ Concerto, someone who was deliberately exhibiting all these deviations from good taste, then we could infer with some certainty that the composer is indeed Telemann. Since his own concertos ‘smack of France’ (as he puts it in his autobiography of 1718), we may most likely credit him with permitting his not at all ‘sullen old heart’ a little joke at the expense of the relevant concertos of a certain Italian composer… – Peter Huth (trans. Charles Johnston)www.snakewoodeditions.com
$18.00
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
Carson Cooman: The Acts of the Apostles (2009), an oratorio for baritone, chorus, congregation/audie
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Orchestre de chambre
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AVANCÉ
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Carson Cooman
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Carson Cooman: The Acts of the
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Musik Fabrik Music Publishing
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SheetMusicPlus
Chamber Orchestra - Level 5 - SKU: A0.533578 Composed by Carson Cooman. Christian,Contemporary,Spiritual. Score and parts. 189 pages. Musik Fabrik Music...
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Chamber Orchestra - Level 5 - 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
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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praise Him in the heights
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Concertino - for clarinet, man
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The Composer's Own Press
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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
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
Variations on a Rossini Theme op.Posth
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Orchestre de chambre
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Classique
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Frederik François Chopin
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James Strauss
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Variations on a Rossini Theme
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James Strauss
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SheetMusicPlus
Chamber Orchestra - SKU: A0.1035224 Composed by Frederik François Chopin (1810-1949). Arranged by James Strauss. Romantic Period. Score and parts. 33...
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Chamber Orchestra - SKU: A0.1035224 Composed by Frederik François Chopin (1810-1949). Arranged by James Strauss. Romantic Period. Score and parts. 33 pages. James Strauss #5806027. Published by James Strauss (A0.1035224). Unless your name is Mozart, Mendelssohn or Korngold, the first compositional steps are always the hardest. Chopin was probably no older than 14 when he set to work on a set of variations for piano and flute. Already in love with opera, he decided on the happy- ending aria, Non più mesta (No longer sad) from Rossini’s opera Cinderella. As the curtain comes down, Cinderella gleefully warbles, No longer sad beside the fire shall I sit alone, singing; my long years of heartache were but a streak of lightning, a dream, a game. We are unsure what actually prompted Chopin to select this for his unique combination of flute and piano, but it was most likely written for the composer’s father who was a capable amateur flute player. In the end, the piece was probably dedicated to Józef Cichowski, a close friend of his fathers and an amateur flautist as well. We are indeed fortunate that this early piece of Chopin juvenilia has actually survived, as Jozef Nowakowski, one of the composer’s friends, kept the single manuscript copy as a memento. For one reason or another, the work did not appear in print until 1953. This charming and fluent set of variations presents the theme and four decorated versions of the original tune. Added triplet figuration enlivens the first variation, while the second relies on a florid bel canto style to embellish the theme. Rapid downward arpeggios propel variation three, and the concluding variant displays rapid staccato figuration. Stylistically, there is nothing in this composition to suggest Chopin’s hand. You certainly won’t hear Chopin’s fingerprint in the piano part, as all the interesting bits are given to the flute. In addition, it’s the only Chopin piano part that can comfortably be played by most amateurs. Clearly, the future poet of the piano had a long way to go! Here in a Flute and orchestra version.
$29.99
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
Theme and Variations for Er Hu and Orchestra
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Orchestre de chambre
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INTERMÉDIAIRE/AVANCÉ
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Gary Friedman
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Theme and Variations for Er Hu
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Gary Friedman
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SheetMusicPlus
Chamber Orchestra - Level 4 - SKU: A0.889885 Composed by Gary Friedman. Contemporary,World. Score and parts. 55 pages. Gary Friedman #13585. Published b...
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Chamber Orchestra - Level 4 - SKU: A0.889885 Composed by Gary Friedman. Contemporary,World. Score and parts. 55 pages. Gary Friedman #13585. Published by Gary Friedman (A0.889885). Theme and Variations for Er Hu and Orchestra The er hu is a two-string Chinese violin, which I heard during a visit to China in August 2006. I liked the bold tone very much and decided to compose a piece for it. The theme and ending are written in Chinese style using the pentatonic or five-tone scale. The six variations move into Western harmonies and a variety of rhythms. The world premier was held on February 10, 2008. Matt Springer was soloist with the San Francisco Civic Symphony. The second performance by Matt was with the San Francisco Composers Chamber Orchestra on June 7, 2008, John Kendall Bailey, conductor.. The audio clip is a recording of that performance. Duration: About 11 minutes Year: 2007.
$40.00
Thérèse Brenet : Perles d'Ambre, vocalize for female voice and orchestra - score
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Orchestre de chambre
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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Therese Brenet
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Thérèse Brenet :
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Musik Fabrik Music Publishing
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SheetMusicPlus
Chamber Orchestra - Level 4 - SKU: A0.532832 Composed by Therese Brenet. Contemporary. Score and parts. 29 pages. Musik Fabrik Music Publishing #45039. ...
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Chamber Orchestra - Level 4 - SKU: A0.532832 Composed by Therese Brenet. Contemporary. Score and parts. 29 pages. Musik Fabrik Music Publishing #45039. Published by Musik Fabrik Music Publishing (A0.532832). This work uses wordless-vocalize (singing on Ah, Oh or with the mouth closed, ad libitum). The vocal part is generally quite free, allowing the singer to express herself freely. The orchestration is for tymp/perc/vibra/hp/cel/harps/strings(minimum : 44222) Like a supple vine, the voice seems to unfold across the orchestra, with the warm expressive themes and shining strings, with the support of the harpsichord, the vibraphone and other percussion. Certainly, there is a coloristic note in the orchestral palette, but also a wish to combine the colors of the voice and the orchestra in different manners. Through this osmosis and through the tempo rubato suggested several times, by the absence of metronomic movements, the composer has tried to create music which breathes through freedom, suppleness and poetry, in the infinite spirals of beauty and love, outside of space and time.. The orchestral version of the work was recorded in 2014 with Isaure Equilez, mezzo-soprano and the National Polish Radio Orchestra under the direction of Paul Wehage The orchestral parts are available from the publisher on rental.
$19.95
VARIATION 25 (from the GOLDBERG VARIATIONS)
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Orchestre de chambre
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Johann Sebastian Bach
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Stanley M
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VARIATION 25
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stanleymhoffman.com
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SheetMusicPlus
Chamber Orchestra - Level 4 - SKU: A0.924813 Composed by Johann Sebastian Bach. Arranged by Stanley M. Hoffman. Baroque. Score and parts. 18 pages. Stan...
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Chamber Orchestra - Level 4 - SKU: A0.924813 Composed by Johann Sebastian Bach. Arranged by Stanley M. Hoffman. Baroque. Score and parts. 18 pages. Stanleymhoffman.com #3911845. Published by stanleymhoffman.com (A0.924813). This arrangement of VARIATION 25 from J. S. Bach's GOLDBERG VARIATIONS is transposed to the key of A minor to make it playable by the solo violin, and more easily playable by all performers. Duration: 12:00 with repeats.
$10.00
Elizabeth: The Golden Age
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Orchestre de chambre
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INTERMÉDIAIRE
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Film/TV
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A
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Juan Villodre
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Elizabeth: The Golden Age
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Juan Villodre
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SheetMusicPlus
Chamber Orchestra - Level 3 - SKU: A0.1331995 Composed by A. R. Rahman and Craig Mackenzie Armstrong. Arranged by Juan Villodre. Film/TV. 21 pages. Juan...
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Chamber Orchestra - Level 3 - SKU: A0.1331995 Composed by A. R. Rahman and Craig Mackenzie Armstrong. Arranged by Juan Villodre. Film/TV. 21 pages. Juan Villodre #918767. Published by Juan Villodre (A0.1331995). For string orchestra, flute and piano.
$49.99
The Disqualification of Harry Semantix as Trial Juror for East County - Score Only
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Orchestre de chambre
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AVANCÉ
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Igor Korneitchouk
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The Disqualification of Harry
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Studio at the Post
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SheetMusicPlus
Chamber Orchestra - Level 5 - SKU: A0.1126484 Composed by Igor Korneitchouk. 20th Century,Contemporary. Score and parts. 40 pages. Studio at the Post #7...
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Chamber Orchestra - Level 5 - SKU: A0.1126484 Composed by Igor Korneitchouk. 20th Century,Contemporary. Score and parts. 40 pages. Studio at the Post #727154. Published by Studio at the Post (A0.1126484). Score only (see A727154 for Parts) Duration: 11 - 12 minutes, 37 pp. Description: In Korneitchouk's mischievously titled quasi-concerto for saxophone and orchestra, The Disqualification of Harry Semantix as Trial Juror for East County, the concept of Truth and Lie is explored musically, as well as metaphorically implying something deeper. The Truth (the opening theme after an introduction pieces it together) is slowly mutated into its opposite, the Lie -- upside down, backward, twice as long and strident (the closing theme just before the double cadenza at the end of the piece). The double cadenza, is in fact a cadenza for the saxophone played over a wild orchestral stretto -- a kind of orchestral cadenza -- both simultaneously intoning bits and pieces of either theme, and seems to ask: Can Truth coexist with its Lie? or perhaps, Can Truth exist without its Lie? The first incarnation of The Disqualification of Harry... (available on CD from Old King Cole Productions) appears as a duo for saxophone and piano and has only more recently been orchestrated. The composer tells us that the idea for this piece initially germinated from his own frustrations of having to serve jury duty and being disqualified as a potential juror for answering honestly during jury selection. East County is to be understood as Any County..
$15.04
The Disqualification of Harry Semantix as Trial Juror for East County (Parts only)
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Orchestre de chambre
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AVANCÉ
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Igor Korneitchouk
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The Disqualification of Harry
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Studio at the Post
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SheetMusicPlus
Chamber Orchestra - Level 5 - SKU: A0.1126491 Composed by Igor Korneitchouk. 20th Century,Contemporary. Score and parts. 111 pages. Studio at the Post #...
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Chamber Orchestra - Level 5 - SKU: A0.1126491 Composed by Igor Korneitchouk. 20th Century,Contemporary. Score and parts. 111 pages. Studio at the Post #727166. Published by Studio at the Post (A0.1126491). Parts only (see A727154 for Score). Duration: 11 - 12 minutes, 23 Parts including soloist, parts averaging 3 -5 pp., soloist part 9 pp. Description: In Korneitchouk's mischievously titled quasi-concerto for saxophone and orchestra, The Disqualification of Harry Semantix as Trial Juror for East County, the concept of Truth and Lie is explored musically, as well as metaphorically implying something deeper. The Truth (the opening theme after an introduction pieces it together) is slowly mutated into its opposite, the Lie -- upside down, backward, twice as long and strident (the closing theme just before the double cadenza at the end of the piece). The double cadenza, is in fact a cadenza for the saxophone played over a wild orchestral stretto -- a kind of orchestral cadenza -- both simultaneously intoning bits and pieces of either theme, and seems to ask: Can Truth coexist with its Lie? or perhaps, Can Truth exist without its Lie? The first incarnation of The Disqualification of Harry... (available on CD from Old King Cole Productions) appears as a duo for saxophone and piano and has only more recently been orchestrated. The composer tells us that the idea for this piece initially germinated from his own frustrations of having to serve jury duty and being disqualified as a potential juror for answering honestly during jury selection. East County is to be understood as Any County..
$5.02
The Saints' Hallelujah
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Orchestre de chambre
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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The Canadian Brass
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Stephen Rumbold
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The Saints' Hallelujah
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Stephen J Rumbold
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SheetMusicPlus
Chamber Orchestra - Level 4 - SKU: A0.941242 By The Canadian Brass. By Luther Jr. Henderson. Arranged by Stephen Rumbold. Contemporary. Score and parts....
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Chamber Orchestra - Level 4 - SKU: A0.941242 By The Canadian Brass. By Luther Jr. Henderson. Arranged by Stephen Rumbold. Contemporary. Score and parts. 54 pages. Stephen J Rumbold #6413583. Published by Stephen J Rumbold (A0.941242). This is an adaptation of The Canadian Brass's famous arrangement for Horn Octet or Horn Choir with parts for optional bass guitar/tuba and drum set. Legend has it that their arranger, Luther Henderson, originally created it for a Royal Command Performance before Queen Elizabeth. In the preparation for the performance, The Canadian Brass was given a list of some of the Queen's favorite musical titles, and both When The Saints Go Marching in and Handel's Hallelujah Chorus were on that list - and the rest is history! The arrangement has parts for optional tuba/bass guitar and drum set, but plays well with just Horn Octet or Horn Choir. And, a tip 'o the hat to Herr Strauss for lending us a lustige streiche at measure 65. Chord symbols are included in some of the parts for those who might want to play some Dixie-style improvisation.
$15.00
On The road To Mandalay for Tenor and Chamber Orchestra
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Orchestre de chambre
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INTERMÉDIAIRE/AVANCÉ
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the time your soloist reaches
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Oley Speaks, Rudyard Kipling
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John Hoesly
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On The road To Mandalay for Te
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PRS&B
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SheetMusicPlus
Chamber Orchestra - Level 4 - SKU: A0.771584 Composed by Oley Speaks, Rudyard Kipling. Arranged by John Hoesly. Opera,Pop,Traditional. 113 pages. PRS&B ...
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Chamber Orchestra - Level 4 - SKU: A0.771584 Composed by Oley Speaks, Rudyard Kipling. Arranged by John Hoesly. Opera,Pop,Traditional. 113 pages. PRS&B #379228. Published by PRS&B (A0.771584). On The Road To Mandalay- for Tenor and Orchestra. From a poem by Rudyard Kipling, set to music by Oley Speaks in 1907. On the road to Mandalay…Where the flyin’ fishes play! A rousing, hugely popular ballad from the turn of the 20th Century. The publication of On The road To Mandalay sold over a million copies of sheet music. It has been recorded numerous times by artists from Frank Sinatra to Thomas Hampson. Taken from Kipling’s Barrack-Room Ballads and Other Verses, the lyric tells the story of a Cockney soldier’s remembrance of his time spent in Burma (now Myanmar), his fondness for the city and the girl he left behind. By the time your soloist reaches the final chorus, the audience will be ready to join in…let them! Solo Tenor (C- F Sharp)- 1111- 2110- Timp+4-hp- pf- str. Level: Advanced Intermediate.
$70.00
On The road To Mandalay for Baritone and Chamber Orchestra
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Orchestre de chambre
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INTERMÉDIAIRE/AVANCÉ
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the time your soloist reaches
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Oley Speaks, Rudyard Kipling
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John Hoesly
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On The road To Mandalay for Ba
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PRS&B
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SheetMusicPlus
Chamber Orchestra - Level 4 - SKU: A0.771583 Composed by Oley Speaks, Rudyard Kipling. Arranged by John Hoesly. Opera,Pop,Traditional. 109 pages. PRS&B ...
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Chamber Orchestra - Level 4 - SKU: A0.771583 Composed by Oley Speaks, Rudyard Kipling. Arranged by John Hoesly. Opera,Pop,Traditional. 109 pages. PRS&B #379227. Published by PRS&B (A0.771583). On The Road To Mandalay- for Baritone and Orchestra. From a poem by Rudyard Kipling, set to music by Oley Speaks in 1907. On the road to Mandalay…Where the flyin’ fishes play! A rousing, hugely popular ballad from the turn of the 20th Century. The publication of On The road To Mandalay sold over a million copies of sheet music. It has been recorded numerous times by artists from Frank Sinatra to Thomas Hampson. Taken from Kipling’s Barrack-Room Ballads and Other Verses, the lyric tells the story of a Cockney soldier’s remembrance of his time spent in Burma (now Myanmar), his fondness for the city and the girl he left behind. By the time your soloist reaches the final chorus, the audience will be ready to join in…let them! Solo Baritone (A Flat- D)- 1111- 2110- Timp+4-hp- pf- str. Level: Advanced Intermediate.
$70.00
Pr'os lados do Piaui, entre a Turquia e a Alemanha
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Orchestre de chambre
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Sergio Roberto de Oliveira
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Pr'os lados do Piaui, entre a
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Sergio Roberto de Oliveira
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SheetMusicPlus
Chamber Orchestra - SKU: A0.962358 Composed by Sergio Roberto de Oliveira. 20th Century,Contemporary,World. Score and parts. 131 pages. Sergio Roberto d...
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Chamber Orchestra - SKU: A0.962358 Composed by Sergio Roberto de Oliveira. 20th Century,Contemporary,World. Score and parts. 131 pages. Sergio Roberto de Oliveira #5011347. Published by Sergio Roberto de Oliveira (A0.962358). Falls House Press has published his works Faces and Mot pour Laura in the United States. Various articles in specialized journals and sites have cited the composer, such as the Flutist Quarterly (Circus Brasilis - The flute music of Sergio Roberto de Oliveira), Early Music America (Something New for Early Music), Andante.com (The heirs of Villa-Lobos), 21st Century Music, Musicabrasileira.org, etc. Sergio Roberto de Oliveira has frequently been invited to lecture at American universities, and has spoken at more than a dozen institutions including Princeton and Duke. In 2009 he was Artist-in-Residence at Duke University. In addition the USA and the UK, Oliveira's music has also been played in many countries, with invitations for concerts exclusively with his music in México, Italy and Holland (Amsterdam). The Spanish Magazine Sonograma has published 2 interviews with Sergio.Sergio is the founder and a member of the group of composers Prelúdio 21. The group is one of the most active worldwide. It holds a distinguished place in Brazilian contemporary music, having been active for 15 consecutive seasons, with a permanent series of monthly concerts since 2008. In 2011 the group released the CD String Quartets, with performances by the Quarteto Radamés Gnattali. Oliveira is also a member of the group of composers Vox Novus, based in New York.To commemorate 15 years of activity as a composer, Oliveira released a box set with 4 CDs, as well as a CD with composer Mark Hagerty, and produced the series QUINZE, with 13 concerts including his works, between July and October of 2012. More than 130 musicians, including 28 composers, participated of QUINZE (CDs and series).His discography includes 14 CDs as producer, 14 as composer, 22 as general producer, 2 as arranger and 2 as pianist. His catalog of compositions includes approximately 115 works for various ensembles, including Symphony Orchestra. Sergio Roberto de Oliveira is a member of the Latin Academy of the Arts and Science of Recording.He died from pancreatic cancer in 2017.
$49.58
12 Variations on "Ah, vous dirai-je maman", K.265 for flute and orchestra
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Orchestre de chambre
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Classique
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Wolfgang Amadeus Mozart
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James Strauss
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12 Variations on "Ah, vou
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James Strauss
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SheetMusicPlus
Chamber Orchestra - SKU: A0.1035220 Composed by Wolfgang Amadeus Mozart. Arranged by James Strauss. Christmas,Classical,Easter,Holiday,Love. Score and p...
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Chamber Orchestra - SKU: A0.1035220 Composed by Wolfgang Amadeus Mozart. Arranged by James Strauss. Christmas,Classical,Easter,Holiday,Love. Score and parts. 37 pages. James Strauss #5298007. Published by James Strauss (A0.1035220). Twelve Variations on Ah vous dirai-je, Maman, K. 265/300e, is a piano composition by Wolfgang Amadeus Mozart, composed when he was around 25 years old (1781 or 1782). This piece consists of twelve variations on the French folk song Ah! vous dirai-je, Maman. The French melody first appeared in 1761, and has been used for many children's songs, such as Twinkle, Twinkle, Little Star, Baa, Baa, Black Sheep and the Alphabet Song.Here is an arrangement for flute and orchestra .
$29.00
German Spring Song Collection - 5 Concert Pieces - Multiplay - Part 3 Viola
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Orchestre de chambre
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INTERMÉDIAIRE
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Thomas Graf
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Instrumentation:
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German Spring Song Collection
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Thomas Graf - the-hit-factory.com
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SheetMusicPlus
Chamber Orchestra - Level 3 - SKU: A0.568673 Arranged by Thomas Graf. Classical,Folk,World. Score and parts. 11 pages. Thomas Graf - the-hit-factory.com...
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Chamber Orchestra - Level 3 - SKU: A0.568673 Arranged by Thomas Graf. Classical,Folk,World. Score and parts. 11 pages. Thomas Graf - the-hit-factory.com #3038961. Published by Thomas Graf - the-hit-factory.com (A0.568673). The perfect collection for you upcoming spring concerts: Five famous German Folksongs come along with fresh and colorful arrangements, including Canon passages, solos in all parts, challenging counterpoint, key, tempo and surprising rhythm changes – all based on beautiful old and worldwide well known melodies. Welcome Spring Time! These songs are included: Part I Kanon (Canon) Es tönen die Lieder, der Frühling kommt wieder/Im Märzen der Bauer Part II Alle Vöglein sind schon da Part III Der Mai ist gekommen Part IV Komm lieber Mai Part V Nun will der Lenz uns grüßen Total playtime: more than 13 minutes - Eight pages per part, printable as brochure Five different parts in all transpositions, you can buy score and all parts in a paket, find them on this website. Instrumentation: Part Listen to the recording - a challenge for your ensemble. Check out our latest uploads: http://www.sheetmusicplus.com/publishers/thomas-graf-the-hit-factory-com/smp-press/3001412+1303131?N... Any individual arrangement and substitute parts are available on request. Call +49 (0) 172 2515987 E-Mail: info@the-hit-factory.com. www.the-hit-factory.com facebook: https://www.facebook.com/hitfactorymusic Video: https://www.youtu.be/Uu5x2Jk48bw
$3.99
Carson Cooman: Quintet for Bassoon and Strings (2005–08) for bassoon and string quartet
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Orchestre de chambre
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AVANCÉ
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Carson Cooman
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Carson Cooman: Quintet for Bas
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Musik Fabrik Music Publishing
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SheetMusicPlus
Chamber Orchestra - Level 5 - SKU: A0.533574 Composed by Carson Cooman. Contemporary,Standards. Score and parts. 65 pages. Musik Fabrik Music Publishing...
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Chamber Orchestra - Level 5 - SKU: A0.533574 Composed by Carson Cooman. Contemporary,Standards. Score and parts. 65 pages. Musik Fabrik Music Publishing #3024985. Published by Musik Fabrik Music Publishing (A0.533574). Quintet for Bassoon and Strings (2005–08) was commissioned by The Commission Projectand is dedicated to Klaus Heymann, in tribute for his invigoration of the classical recordingindustry and his enthusiastic support for the composers of our time.The original conception for the work was devised during an extremely foggy week onNantucket Island, Massachusetts in the summer of 2005. It is music deeply connected to theocean landscape. Throughout the work, the strings often present a fog-like backdrop,through which the bassoon’s color emerges like a lighthouse beacon—lyrical and flexible.The work opens with a series of interlocking, nebulous figurations in the strings thatgradually build in intensity. The bassoon unfolds the work’s basic melodic material in a freesolo that also increases in intensity. At the point of climax, the tempo suddenly slowsdramatically, and a tender, lyrical cantilena emerges. As this music dissolves, a bouncy andenergetic music takes the foreground. It climaxes in a bassoon cadenza. Though the bassoonhas played the leader throughout, this is the first time it is heard unaccompanied. A brief,but vigorous afterglow recalls the opening of the work. The final section emerges out of it: aseries of high, distant harmonics (perhaps harbor buoys) in the strings through which thebassoon sings a final song.
$25.95
I Told You, Dear Mother
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Orchestre de chambre
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Lazaros Delidemos
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I Told You, Dear Mother
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Lazaros Delidemos
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SheetMusicPlus
Chamber Orchestra - SKU: A0.931490 Composed by Lazaros Delidemos. Folk,Instructional,Romantic Period,World. Score and parts. 16 pages. Lazaros Delidemos...
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Chamber Orchestra - SKU: A0.931490 Composed by Lazaros Delidemos. Folk,Instructional,Romantic Period,World. Score and parts. 16 pages. Lazaros Delidemos #3531861. Published by Lazaros Delidemos (A0.931490). I wrote this piece as an example for my composition students. It is a contrapuntal composition based on a Greek folk song,which is presented at the beginning with clarinet solo, and then it is used as a cantus firmus. In the second part of the composition a two part canon is created on this cantus firmus (shown with the words canon and resolutio instead ofdux and comes.
$11.99
A Dream from the Past
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Orchestre de chambre
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INTERMÉDIAIRE
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Classique
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Arianna Cunningham
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A Dream from the Past
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Arianna Cunningham
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SheetMusicPlus
Chamber Orchestra - Level 3 - SKU: A0.1164132 Composed by Arianna Cunningham. Classical,Romantic Period. 55 pages. Arianna Cunningham #764482. Published...
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Chamber Orchestra - Level 3 - SKU: A0.1164132 Composed by Arianna Cunningham. Classical,Romantic Period. 55 pages. Arianna Cunningham #764482. Published by Arianna Cunningham (A0.1164132). A couple or a few years ago during the Pandemic, there was a Discord Server vs Server Competition going on, and one of the online virtual group communities out of all the other servers took part in a theme called Dreams. When the event started, I immediately started composing this beautiful composition, and chose the instrumentation for Uncommon Woodwinds (Alto Flute, English Horn, and Sopranino Sax), Strings, Harp, and Crotales. However, my submission entry didn't make it to the final Dreams EP as expected. But the admins of the online orchestra group told me that I can still host it as a community project, and it just so happens that I actually did do that, and I've gotten a good amount of submissions from the members themselves, went through all the mixing and editing, etc, before releasing the final performance.This piece is meant to be described about dreaming to a wonderful place you might've remembered, and haven't forgotten in a long time, experiencing the deja vu moments of what you think might've happened long time ago, hence the title, of course.
$25.00
THE PRINCE and the FIREBIRD for Baritone and instruments.
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Orchestre de chambre
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INTERMÉDIAIRE
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Contemporain
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Alan Edgar
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THE PRINCE and the FIREBIRD fo
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Alan Edgar Ted Moon
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SheetMusicPlus
Chamber Orchestra - Level 3 - SKU: A0.1470457 Composed by Alan Edgar. 20th Century. 94 pages. Alan Edgar Ted Moon #1048177. Published by Alan Edgar Ted ...
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Chamber Orchestra - Level 3 - SKU: A0.1470457 Composed by Alan Edgar. 20th Century. 94 pages. Alan Edgar Ted Moon #1048177. Published by Alan Edgar Ted Moon (A0.1470457). The PRINCE & the FIREBIRD: Baritone, with String Quartet, optional Flute, Oboe, Clarinet, Bassoon, Horn, Double Bass. My version of the Slavic fairy tale which exists in many forms. Ogor, an immortal, evil Czar-wizard, stole children, pretended they were his princes and princesses but controlled and punished them with spells. He sent our hero Prince Ivan to capture the firebird which had been pecking at the Castle's golden apples. He faced many challenges, but he was helped by a wolf who turns out to be Princess Lenka under a spell. When the firebird was captured, it made a deal with Ivan and with its magic helped him deal with the Czar. Ivan, Lenka and the Kingdom are happy ever after.I attempted to create an exotic sound-world by using throughout the Hungarian Gypsy scale.
$32.00
Soldiers' March
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Orchestre de chambre
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INTERMÉDIAIRE
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Classique
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Robert Schumann
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Christopher Kalstad
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Soldiers' March
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Christopher Kalstad
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SheetMusicPlus
Chamber Orchestra - Level 3 - SKU: A0.1466526 Composed by Robert Schumann. Arranged by Christopher Kalstad. 19th Century,Children,Classical,Romantic Per...
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Chamber Orchestra - Level 3 - SKU: A0.1466526 Composed by Robert Schumann. Arranged by Christopher Kalstad. 19th Century,Children,Classical,Romantic Period. 35 pages. Christopher Kalstad #1045095. Published by Christopher Kalstad (A0.1466526). Soldiers' March from Schumann's beloved piano work Album for the Young is now arranged for chamber orchestra. The composer's musical charm is on full display in this attractive light piece - perfect as an encore!
$11.99
Pájaros (Birds) for solo flute and strings
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Orchestre de chambre
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INTERMÉDIAIRE/AVANCÉ
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Adrienne Inglis
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Pájaros
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Adrienne Inglis
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SheetMusicPlus
Chamber Orchestra - Level 4 - SKU: A0.953618 Composed by Adrienne Inglis (ASCAP). Contemporary,Latin,World. Score and parts. 42 pages. Adrienne Inglis (...
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Chamber Orchestra - Level 4 - SKU: A0.953618 Composed by Adrienne Inglis (ASCAP). Contemporary,Latin,World. Score and parts. 42 pages. Adrienne Inglis (ASCAP) #4792829. Published by Adrienne Inglis (ASCAP) (A0.953618). Pájaros for solo flute and strings (2017) captures the springtime songs of many Texas Hill Country birds, including the beloved Golden-cheeked Warbler, and sets them to flirtatious Latin rhythms.As an avid bird lover, the composer sets some of her favorite bird songs to music in Pájaros for solo flute and strings. The birds featured in this piece nest every spring in the Hill Country of Texas, west of Austin. As daylight turns to dusk, the Bewick's Wren's tuneful song unfolds over an Argentine tango rhythm, accompanied by the Northern Cardinal, Lesser Goldfinch, and Northern Bobwhite. A Red-tailed Hawk startles all the songbirds into momentary silence. As they resume their singing, dusk fades into darkness and various insects start their incessant chirping. The mysterious Chuck-will's-widow sings its mournful call all night long, set here to a Venezuelan pasaje rhythm. When day breaks, the Golden-cheeked Warbler sings its two songs from the treetops to stake out its territory and attract a mate. The Cuban danzón provides the backdrop for its flirtatious tunes.Duration about 6:00.Recognition:Pájaros was selected as one of 55 finalists chosen from almost 2200 entries from 76 countries in the Kaleidoscope Chamber Orchestra 2018 Call for Scores.
$8.99
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