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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
What Is a Day?
Non classifié
64
Piano & claviers
Piano seul
57
Piano, Voix et Guitare
21
Piano, Voix
16
Piano Facile
8
Orgue
5
Instruments en Do
4
1 Piano, 4 mains
2
Piano Trio: piano, violon, violoncelle
2
Accordéon
1
Piano (partie séparée)
1
Piano Quatuor: piano, violon, alto, violoncelle
1
+ 6 instrumentations
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Guitares
Guitare notes et tablatures
14
Guitare
5
Basse electrique
4
Guitare (partie séparée)
2
Banjo
1
Voix
Chorale SATB
33
Chorale 3 parties
10
Chorale TTBB
4
Voix duo
2
Chorale 2 parties
2
Chorale SSAA
1
Voix haute
1
Voix Baryton, Piano
1
Voix Alto, Piano
1
Voix Soprano, Piano
1
Voix duo, Piano
1
+ 6 instrumentations
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Vents
Saxophone Alto et Piano
6
Saxophone (partie séparée)
5
Saxophone Soprano et Piano
4
2 Saxophones (duo)
4
Flûte, Hautbois, Clarinette, Basson
4
Clarinette et Piano
4
Saxophone Tenor et Piano
4
Hautbois, Piano (duo)
3
Flûte traversière et Piano
3
2 Flûtes traversières (duo)
3
Quatuor de Saxophones: 4 saxophones
3
2 Clarinettes (duo)
3
Flûte à bec Soprano
2
Clarinette, Guitare (duo)
2
Flûte traversière
2
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
2
Saxophone, Clarinette (duo)
1
2 Flûte à bec (duo)
1
Flûte, Violon, Piano
1
Clarinette, Trompette (duo)
1
Quatuor de Clarinettes: 4 clarinettes
1
Flûte, Saxophone (duo)
1
Ensemble de Flûtes
1
Flûte, Violon
1
Flûte et Guitare
1
Saxophone Alto
1
Flûte, Alto (duo)
1
Clarinette, Violoncelle, Piano (trio)
1
Clarinette, Violoncelle (duo)
1
Flûte, Clarinette (duo)
1
+ 25 instrumentations
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Cuivres
Trombone et Piano
6
Trombone (partie séparée)
5
Trompette (partie séparée)
3
Trompette, Piano
3
2 Trombones (duo)
3
2 Cors (duo)
2
Cor et Piano
2
Trompette, Trombone (duo)
2
Trompette
2
Tuba
2
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
1
4 Tubas
1
Quatuor de Cuivres
1
Tuba et Piano
1
2 Tubas (duo)
1
Trompette, Saxophone (duo)
1
Quatuor de Cuivres : 2 trompettes, trombone, tuba
1
+ 12 instrumentations
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Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
10
Violon et Piano
9
Alto, Piano
7
2 Violons (duo)
7
Violoncelle, Contrebasse (duo)
6
Violoncelle, Piano
6
Violon, Violoncelle (duo)
5
2 Violoncelles (duo)
5
Violon, Alto (duo)
5
2 Altos (duo)
4
Alto, Violoncelle (duo)
3
Violon
3
2 Contrebasses (duo)
3
Harpe
3
Quintette à cordes: 2 violons, alto, violoncelle, basse
2
Contrebasse, Piano (duo)
2
Harpe, Voix
2
Violoncelle
2
Violoncelle , Guitare (duo)
1
Harpe, Violoncelle (duo)
1
Trio à Cordes: violon, alto, violoncelle
1
Trio à Cordes: 2 violons, alto
1
Violoncelle, Orgue
1
Alto seul
1
Contrebasse (partie séparée)
1
4 Contrebasses
1
+ 21 instrumentations
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Orchestre & Percussions
Orchestre d'harmonie
32
Orchestre à Cordes
6
Orchestre
5
Ensemble Jazz
3
Orchestre de chambre
3
Ensemble de cuivres
3
Jazz combo
1
Piano et Orchestre
1
Batterie
1
Cloches
1
Percussion (partie séparée)
1
Batterie (partie séparée)
1
+ 7 instrumentations
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Autres
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ACCORDEON
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COR ANGLAIS
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DULCIMER
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FLUTE A DIX…
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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
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Crtitères actifs :
What Is a Day?
Orchestre de chambre
Partitions à imprimer
3 partitions trouvées
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Mermaid in the Jar Full Score - Score Only
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Orchestre de chambre
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INTERMÉDIAIRE/AVANCÉ
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Rachel J Peters
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Mermaid in the Jar Full Score
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Rachel J Peters
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SheetMusicPlus
Chamber Orchestra - Level 4 - SKU: A0.1325451 By Rachel J Peters. By Rachel J. Peters. 21st Century,Classical,Opera. 86 pages. Rachel J Peters #913678. ...
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Chamber Orchestra - Level 4 - SKU: A0.1325451 By Rachel J Peters. By Rachel J. Peters. 21st Century,Classical,Opera. 86 pages. Rachel J Peters #913678. Published by Rachel J Peters (A0.1325451). A short chamber operaLibretto by Royce Vavrek, based on the short story by Sheila Heti.Mermaid in the Jar is the first short chamber opera in the Wild Beast of the Bungalow triptych (Mermaid in the Jar, Prairie Dogs, and Fine and Dandy), which takes place entirely within an eleven-year-old Girl’s bedroom as she overhears her parents’ volatile conversations. Over the course of a few days, a mermaid, a family of stuffed prairie dogs, and singing groups of chickenpox and shingles force her to confront what it means to care for others and be cared for herself.CAST: coloratura soprano, mezzo-soprano, bass-baritone, and three additional treble voices. (If the Prologue is omitted, no bass-baritone is required.)INSTRUMENTATION: 1.0.1 (doubling BCl.).1.bar.sax/0.0.1.0/pft-perc (1)-harp-1.0.0.1.1 (Parts need to be rented separately.)DURATION: 20 minutesPAGES: 86WORLD PREMIERE: Oberlin Conservatory, Winter 2020.NOTE: All performances of this work require separate permission and licensing. Any performance without a license is a violation of copyright.. For all performance inquiries, please write to rachel@racheljpeters.com.
$28.00
The Wild Beast of the Bungalow (Orchestra Score) - Score Only
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Orchestre de chambre
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INTERMÉDIAIRE/AVANCÉ
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Rachel J Peters
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The Wild Beast of the Bungalow
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Rachel J Peters
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SheetMusicPlus
Chamber Orchestra - Level 4 - SKU: A0.1368170 By Rachel J Peters. By Rachel J Peters. 21st Century,Broadway,Classical,Comedy,Musical/Show,Opera. 337 pag...
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Chamber Orchestra - Level 4 - SKU: A0.1368170 By Rachel J Peters. By Rachel J Peters. 21st Century,Broadway,Classical,Comedy,Musical/Show,Opera. 337 pages. Rachel J Peters #952492. Published by Rachel J Peters (A0.1368170). The Wild Beast of the Bungalow is a triptych of short operas (Mermaid in the Jar, Prairie Dogs, and Fine and Dandy), which takes place entirely within an eleven-year-old Girl’s bedroom as she overhears her parents’ volatile conversations. Over the course of a few days, a mermaid, a family of stuffed prairie dogs, and singing groups of chickenpox and shingles force her to confront what it means to care for others and be cared for herself. Libretto by Royce Vavrek, based on and further inspired by the short story by Sheila Heti.CAST: 1 coloratura soprano plus eight additional principals playing multiple rolesINSTRUMENTATION: 1.0.1 (doubling BCl.).1.bar.sax/0.0.1.0/pft-perc (1)-harp-ukulele (doubling banjo)/1.0.0.1.1 (Parts must be rented separately.)DURATION: 90 minutesPAGES: 337WORLD PREMIERE: Oberlin Conservatory, Winter 2020.NOTE: All performances of this work require separate permission and licensing. Any performance without a license is a violation of copyright. To obtain performance rights and more information, please write to the composer at rachel@racheljpeters.com.
$70.00
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
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What Is a Day?