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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
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CORNET
DEEJAY
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EUPHONIUM
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FLUTE A BEC
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FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
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HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
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ORCHESTRE
ORGUE
PERCUSSION
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SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
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When You Were Young
Non classifié
86
Piano & claviers
Piano seul
69
Piano, Voix et Guitare
48
Piano, Voix
28
Piano Facile
21
Piano grosses notes
8
Instruments en Do
4
1 Piano, 4 mains
2
Accompagnement Piano
2
Orgue
1
Piano Trio: piano, violon, violoncelle
1
Piano Quatuor: piano, violon, alto, violoncelle
1
2 Pianos, 4 mains
1
+ 7 instrumentations
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Guitares
Guitare notes et tablatures
18
Basse electrique
8
Ligne De Mélodie, (Paroles) et Accords
8
Guitare
7
Paroles et Accords
4
Ukulele
3
+ 1 instrumentations
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Voix
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28
Chorale 3 parties
10
Voix Alto, Piano
9
Chorale TTBB
5
Pack Instrumental pour Chorale
5
Chorale 2 parties
5
Chorale SSAA
4
Voix seule
3
Chorale
2
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2
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1
Voix haute
1
Voix Soprano
1
Voix duo
1
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6
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5
Clarinette
5
Flûte traversière et Piano
5
2 Saxophones (duo)
4
Saxophone Tenor
4
2 Clarinettes (duo)
4
Clarinette et Piano
4
Saxophone Alto
3
Flûte traversière
3
Hautbois, Piano (duo)
3
Clarinette, Trompette (duo)
2
2 Flûtes traversières (duo)
2
Saxophone Soprano et Piano
2
Quatuor de Saxophones: 4 saxophones
2
Hautbois (partie séparée)
2
Quatuor de Clarinettes: 4 clarinettes
2
Clarinette, Violon (duo)
2
Saxophone Alto et Piano
2
Saxophone, Clarinette (duo)
2
Flûte, Hautbois, Clarinette, Basson
2
Flûte, Saxophone (duo)
1
Flûte, Trompette (duo)
1
Instruments en Mib
1
Flûte, Violon
1
Flûte, Clarinette (duo)
1
Trio de Flûtes: 3 flûtes
1
Clarinette et Alto
1
Quatuor de Flûtes : 4 flûtes
1
3 Saxophones (trio)
1
2 Hautbois (duo)
1
3 Clarinettes (trio)
1
Quintette de Saxophone: 5 saxophones
1
Flûte, Alto (duo)
1
Hautbois, Basson (duo)
1
+ 30 instrumentations
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Cuivres
Trompette
8
Quatuor de Cuivres : 2 trompettes, trombone, tuba
4
Cor
3
Trombone
3
Trompette, Saxophone (duo)
2
Trombone et Piano
2
2 Trompettes (duo)
2
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
2
2 Trombones (duo)
2
Euphonium
2
Trombone (partie séparée)
1
Instruments en Sib
1
Tuba
1
Trompette, Piano
1
Trompette, Trombone (duo)
1
Bass Clef Instruments
1
Cor et Piano
1
+ 12 instrumentations
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Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
14
Alto, Piano
7
Violon
4
Violoncelle
4
Alto seul
4
Violon et Piano
4
Violoncelle, Piano
3
Alto (partie séparée)
3
Harpe, Voix
3
Quintette à cordes: 2 violons, alto, violoncelle, basse
2
Violon, Violoncelle (duo)
2
2 Violons (duo)
2
Quintette à cordes: 2 violons, 2 altos, violoncelle
2
Violon (partie séparée)
2
Violon, Alto (duo)
1
Violoncelle (partie séparée)
1
2 Altos (duo)
1
Harpe
1
2 Violoncelles (duo)
1
+ 14 instrumentations
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Orchestre & Percussions
Orchestre
7
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Orchestre de chambre
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Ensemble de cuivres
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1
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1
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1
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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
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CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
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Vous avez sélectionné:
When You Were Young
Orchestre de chambre
Partitions à imprimer
4 partitions trouvées
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When We Were Young
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Orchestre de chambre
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INTERMÉDIAIRE
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Adele
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Daniel Jones
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When We Were Young
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Daniel Jones
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SheetMusicPlus
Chamber Orchestra - Level 3 - SKU: A0.1011796 By Adele. By Adele Adkins and Tobias Jesso Jr. Arranged by Daniel Jones. Pop,R & B. Score and parts. 15 pa...
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Chamber Orchestra - Level 3 - SKU: A0.1011796 By Adele. By Adele Adkins and Tobias Jesso Jr. Arranged by Daniel Jones. Pop,R & B. Score and parts. 15 pages. Daniel Jones #3468024. Published by Daniel Jones (A0.1011796). When We Were Young (arr. Jones) for Voice, Piano, and String Quartet.
$12.99
Barbara Allen for piccolo and orchestra
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Orchestre de chambre
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INTERMÉDIAIRE/AVANCÉ
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Reinhold Behringer
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David Warin Solomons
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Barbara Allen for piccolo and
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David Warin Solomons
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SheetMusicPlus
Chamber Orchestra - Level 4 - SKU: A0.1470559 By Reinhold Behringer. By Traditional. Arranged by David Warin Solomons. Contemporary,Traditional. 44 page...
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Chamber Orchestra - Level 4 - SKU: A0.1470559 By Reinhold Behringer. By Traditional. Arranged by David Warin Solomons. Contemporary,Traditional. 44 pages. David Warin Solomons #1048222. Published by David Warin Solomons (A0.1470559). An arrangement for piccolo and orchestra of the Barbara Allen folk song with many interesting cadences, harmonies and countermelodies.In Scarlet Town where I was born,There was a fair maid dwelling,Made every youth cry, “Well-a-day”,Her name was Barbara Allen.All in the merry month of May,When green buds they were swelling,Young Willy Grove on his death bed lay,For love of Barbara Allen.He sent his man down unto her then,To the town where she was dwelling.“You must come to my master dear,If your name's Barbara Allen.”So slowly, slowly she came up,And slowly she came nigh him,And all she said when there she came,“Young man I think you’re dying.”[“A dying man, no, no,” said he,“One kiss from thee would cure me.”“One kiss from me thou never shalt have,If your poor heart was breaking.”]He turned his face unto the wall,And death was drawing nigh him,“Adieu, adieu, my dear friends all,And be kind to Barbara Allen.”As she was walking o’er the fields,She heard the dead-bell knellin’;And every stroke did seem to say“Unworthy Barbara Allen!”When he was laid dead in his grave,Her heart was struck with sorrow,“Oh mother, mother make my bed,For I shall die tomorrow.”And on her death bed she lay,She begged to be buried by him,And so repented of the day,That she did e’er deny him.“Farewell”, she said, “You virgins all,And shun the fault I fell in.Hence forth take warning by the fall,Of cruel Barbara Allen.”.
$16.00
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
Karl Friedrich Abel - Sinfonia Op. 7 n. 1 - Secondo Movimento - Andante
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Orchestre de chambre
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INTERMÉDIAIRE
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Classique
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Karl Friedrich Abel
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Guido Menestrina
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Karl Friedrich Abel - Sinfonia
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Guido Menestrina
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SheetMusicPlus
Chamber Orchestra - Level 3 - SKU: A0.828700 Composed by Karl Friedrich Abel. Arranged by Guido Menestrina. Classical. Score and parts. 16 pages. Guido ...
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Chamber Orchestra - Level 3 - SKU: A0.828700 Composed by Karl Friedrich Abel. Arranged by Guido Menestrina. Classical. Score and parts. 16 pages. Guido Menestrina #122893. Published by Guido Menestrina (A0.828700). Karl Friedrich Abel - Sinfonia Op. 7 n. 1 - Secondo Movimento - Adagio Edited by Guido Menestrina - Full score and single parts for 2 oboe, 2 F Horns (originally cor de chasse, tacet on 2nd movement), 2 violins, viola and cello (originally basse de violon). Abel was born in Köthen, a small German city, where his father, Christian Ferdinand Abel, had worked for years as the principal viola da gamba and cello player in the court orchestra. In 1723 Abel senior became director of the orchestra, when the previous director, Johann Sebastian Bach moved to Leipzig. The young Abel later boarded at Leipzig's Thomasschule, where he was taught by Bach. On Bach's recommendation in 1743 he was able to join Johann Adolph Hasse's court orchestra at Dresden where he remained for fifteen years.[3][5] In 1759 (or 1758 according to Chambers),[1] he went to England and became chamber-musician to Queen Charlotte, in 1764.[3][5] He gave a concert of his own compositions in London, performing on various instruments, one of which was a five-string cello known as a pentachord, which had been recently invented by John Joseph Merlin.[6] In 1762, Johann Christian Bach, the eleventh son of J.S. Bach, joined him in London, and the friendship between him and Abel led, in 1764 or 1765, to the establishment of the famous Bach-Abel concerts, England's first subscription concerts. In those concerts, many celebrated guest artists appeared, and many works of Haydn received their first English performance. For ten years the concerts were organized by Mrs. Theresa Cornelys, a retired Venetian opera singer who owned a concert hall at Carlisle House in Soho Square, then the height of fashionable events. In 1775 the concerts became independent of her, to be continued by Abel and Bach until Bach's death in 1782. Abel still remained in great demand as a player on various instruments new and old. He traveled to Germany and France between 1782 and 1785, and upon his return to London, became a leading member of the Grand Professional Concerts at the Hanover Square Rooms in Soho. Throughout his life he had enjoyed excessive living, and his drinking probably hastened his death, which occurred in London on 20 June 1787. One of Abel's works became famous due to a misattribution: in the 19th century, a manuscript symphony in the hand of Wolfgang Amadeus Mozart, was catalogued as his Symphony no. 3 in E flat, K. 18, and was published as such in the first complete edition of Mozart's works by Breitkopf & Härtel. Later, it was discovered that this symphony was actually the work of Abel, copied by the boy Mozart-evidently for study purposes-while he was visiting London in 1764. That symphony was originally published as the concluding work in Abel's Six Symphonies, Op. 7. Follow the score on youtube: https://www.youtube.com/watch?v=_urGVpH7Pls.
$7.99
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When You Were Young
