Page d'accueil
Parcourir Free-scores.com
--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
Who We Are
Non classifié
466
Piano & claviers
Piano, Voix
443
Piano seul
280
Piano, Voix et Guitare
154
Piano Facile
83
Accompagnement Piano
49
Instruments en Do
23
Orgue
17
1 Piano, 4 mains
12
2 Pianos, 4 mains
4
Piano Trio: piano, violon, violoncelle
4
Piano Quatuor: piano, violon, alto, violoncelle
2
Piano (partie séparée)
1
Piano Quatuor: piano, 2 violons, violoncelle
1
Piano grosses notes
1
Orgue, Trompette (duo)
1
+ 10 instrumentations
Retracter
Guitares
Guitare notes et tablatures
37
Guitare
30
Basse electrique
7
2 Guitares (duo)
3
Ligne De Mélodie, (Paroles) et Accords
3
Guitare (partie séparée)
2
Ukulele
2
Piano, Guitare (duo)
1
3 Guitares (trio)
1
+ 4 instrumentations
Retracter
Voix
Chorale SATB
279
Chorale 3 parties
57
Chorale 2 parties
21
Voix Tenor, Piano
20
Chorale TTBB
17
Chorale Unison
14
Chorale SSAA
12
Voix Alto, Piano
11
Voix Soprano, Piano
10
Voix Tenor
6
Voix duo, Piano
4
Voix haute
4
Chorale SSATTB
2
Voix Mezzo-Soprano, Piano
1
Voix Soprano
1
Chorale
1
Voix Baryton, Piano
1
Voix basse, Piano
1
Voix duo
1
Voix seule
1
+ 15 instrumentations
Retracter
Vents
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
41
Quatuor de Saxophones: 4 saxophones
35
Flûte traversière
26
Flûte, Hautbois, Clarinette, Basson
26
Saxophone Alto
24
Flûte traversière et Piano
23
Saxophone (partie séparée)
23
Hautbois (partie séparée)
22
2 Saxophones (duo)
21
Clarinette
20
Saxophone Alto et Piano
19
Hautbois, Piano (duo)
19
Clarinette et Piano
18
Saxophone Tenor et Piano
17
Quintette de Saxophone: 5 saxophones
16
Saxophone Baryton, Piano
14
Saxophone Soprano et Piano
14
Quatuor de Clarinettes: 4 clarinettes
14
Saxophone, Clarinette (duo)
12
Saxophone Tenor
12
2 Flûtes traversières (duo)
12
2 Hautbois (duo)
8
Clarinette, Violon (duo)
8
2 Clarinettes (duo)
7
Quatuor de Flûtes : 4 flûtes
7
Flûte et Guitare
5
Ensemble de Clarinettes
5
Cor anglais, Piano
5
Hautbois
4
Hautbois, Clarinette (duo)
4
Saxophone Baryton
4
Saxophone Soprano
4
Hautbois, Basson (duo)
4
Flûte à Bec
4
Flûte, Violon
4
Flûte, Clarinette (duo)
4
Clarinette, Guitare (duo)
4
Hautbois, Flûte
4
Clarinette et Alto
4
Quatuor de Flûtes à bec
4
Ensemble de Flûtes
3
Clarinette (partie séparée)
3
Flûte, Trompette (duo)
3
Flûte à bec Soprano, Piano
3
Flûte, Violoncelle
3
Clarinette, Trompette (duo)
3
Flûte, Alto (duo)
3
Clarinette Basse, Piano
3
Quintette de Flûte : 5 flûtes
2
Quintette de Clarinettes: 5 clarinettes
2
Flûte, Saxophone (duo)
2
3 Clarinettes (trio)
2
Hautbois, Guitare (duo)
1
Flûte, Hautbois, Basson
1
Clarinette, Harpe (duo)
1
Trio de Flûtes: 3 flûtes
1
Clarinette Basse
1
Ensemble de saxophones
1
Flûte, Clarinette, Piano (trio)
1
Cor Anglais
1
5 Flûtes à bec
1
2 Cors Anglais Et Pianoforte
1
Clarinette, Violoncelle (duo)
1
Flûte à bec Alto, Piano
1
Flute, harpe et violon
1
Cor anglais et Harpe (duo)
1
Saxophone et Orgue
1
Flute (partie séparée)
1
Clarinette, Trombone (duo)
1
Flûte à bec Soprano
1
Flûte à bec Tenor
1
+ 66 instrumentations
Retracter
Cuivres
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
30
Trombone
21
Tuba
20
Trompette
19
Cor
18
Trompette, Piano
17
Cor et Piano
14
Tuba et Piano
13
Trombone et Piano
13
Quatuor de Cuivres : 2 trompettes, trombone, tuba
12
2 Trompettes (duo)
9
Trombone (partie séparée)
9
Trompette, Saxophone (duo)
8
Trompette (partie séparée)
6
Quatuor de Cuivres: 2 trompettes, Cor, trombone
5
Cor anglais, Piano
5
Quatuor de Cuivres
5
Trompette, Trombone (duo)
4
Trio de Cuivres
4
Ensemble de Trompettes
3
Cor (partie séparée)
3
Euphonium, Piano (duo)
3
2 Trombones (duo)
3
Quatuor de cuivres: 4 trombones
2
2 Euphoniums et 2 Tubas
2
Tuba (partie séparée)
2
4 Tubas
1
2 Tubas (duo)
1
Euphonium
1
Cor Anglais
1
Ensemble de Cors
1
2 Cors Anglais Et Pianoforte
1
Cor anglais et Harpe (duo)
1
+ 28 instrumentations
Retracter
Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
81
Violon
37
Violon et Piano
37
Violoncelle
32
Violoncelle, Piano
27
Alto seul
27
Alto, Piano
25
Quintette à cordes: 2 violons, alto, violoncelle, basse
19
Violon, Violoncelle (duo)
18
2 Violons (duo)
16
2 Violoncelles (duo)
14
Harpe
13
Contre Basse
12
Contrebasse, Piano (duo)
12
2 Altos (duo)
11
Alto (partie séparée)
9
Violon, Alto (duo)
7
Trio à Cordes: violon, alto, violoncelle
6
4 Violoncelles
6
Harpe, Voix
6
Violon (partie séparée)
4
Quatuor à cordes: 4 violons
4
Alto, Violoncelle (duo)
4
Contrebasse (partie séparée)
3
Trio à Cordes: 3 violoncelles
3
Piano Trio: Violon, Alto, Piano
3
Trio à cordes: 3 violins
3
Quatuor à cordes : 4 altos
3
Violoncelle , Guitare (duo)
3
2 Harpes (duo)
2
Trio à cordes: 3 altos
2
Harpe, Flûte (duo)
2
Trio à Cordes: 2 violons, violoncelle
2
Trio à Cordes: 2 violons, alto
1
4 Contrebasses
1
Violon, Guitare (duo)
1
Alto et Harpe
1
Violon, Clarinette, Piano (trio)
1
2 Violoncelles, Piano
1
Harpe, Violon (duo)
1
+ 35 instrumentations
Retracter
Orchestre & Percussions
Orchestre d'harmonie
106
Orchestre
47
Orchestre à Cordes
23
Ensemble de cuivres
21
Cloches
18
Orchestre de chambre
12
Ensemble Jazz
11
Jazz combo
8
Ensemble de Percussions
5
Batterie
4
Marimba
3
Fanfare
3
Percussion (partie séparée)
2
Orchestre, Violon
1
Piano et Orchestre
1
2 Marimbas
1
Xylophone, Piano
1
Batterie (partie séparée)
1
+ 13 instrumentations
Retracter
Autres
Instruments
ACCORDEON
ALTO
AUTRES INST…
BALALAIKA
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
BUGLE
CHANT - CHO…
CHARANGO
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
CONTREBASSE
COR
COR ANGLAIS
CORNEMUSE
CORNET
DOBRO - GUI…
DULCIMER
EUPHONIUM
FANFARE - B…
FLUTE
FLUTE A BEC
FLUTE A DIX…
FLUTE DE PA…
FORMATION M…
GUITARE
GUITARE PED…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH, THEOR…
MANDOLINE
MARIMBA
ORCHESTRE
ORGUE
OUD
PARTITIONS …
PAS DE PART…
PERCU. ORCH…
PERCUSSION
PIANO
SAXOPHONE
SYNTHE
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIELLE A RO…
VIOLE DE GA…
VIOLON
VIOLONCELLE
XYLOPHONE
Achats pour Musiciens
Partitions Numériques
Librairie Musicale
Matériel de musique
Idées cadeaux
A propos de free-scores.com
€
€
EUR €
USD $
GBP £
CAD $
CNY ¥
English
Partitions Gratuites
3 424
Partitions Numériques
12
Librairie Musicale
6
Matériel de Musique
707
Partitions numériques
Accès après achat
Expédition postale
Téléchargement
← INSTRUMENTATIONS
TRI ET FILTRES
TRI ET FILTRES
Tri et filtres :
--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
style (tous)
AFRICAIN
AMERICANA
ASIE
BLUEGRASS
BLUES
CELTIQUE - IRISH - S…
CHANSON FRANÇAISE
CHRISTIAN (contempor…
CLASSIQUE - BAROQUE …
COMEDIES MUSICALES -…
CONTEMPORAIN - 20-21…
CONTEMPORAIN - NEW A…
COUNTRY
EGLISE - SACRE
ENFANTS : EVEIL - IN…
FILM - TV
FILM WALT DISNEY
FINGERSTYLE - FINGER…
FLAMENCO
FOLK ROCK
FOLKLORE - TRADITION…
FUNK
GOSPEL - SPIRITUEL -…
HALLOWEEN
JAZZ
JAZZ MANOUCHE - SWIN…
JEUX VIDEOS
KLEZMER - JUIVE
LATIN - BOSSA - WORL…
LATIN POP ROCK
MARIAGE - AMOUR - BA…
MEDIEVAL - RENAISSAN…
METAL - HARD
METHODE : ACCORDS ET…
METHODE : ETUDES
METHODE : TECHNIQUES
NOËL
OLD TIME - EARLY ROC…
OPERA
PATRIOTIQUE
POLKA
POP ROCK - POP MUSIC
POP ROCK - ROCK CLAS…
POP ROCK - ROCK MODE…
PUNK
RAGTIME
REGGAE
SOUL - R&B - HIP HOP…
TANGO
THANKSGIVING
Vendeurs (tous)
Musicnotes
Note4Piano
Noviscore
Profs-edition
Quickpartitions
SheetMusicPlus
Tomplay
Virtualsheetmusic
Pertinence
Ventes
Prix - au +
Prix + au -
Nouveautes
A-Z
difficulté (tous)
débutant
facile
intermédiaire
avancé
expert
avec audio
avec vidéo
avec play-along
Vous avez sélectionné:
Who We Are
Orchestre de chambre
Partitions à imprimer
12 partitions trouvées
<
1
Requiem
#
Orchestre de chambre
#
Harald Weiss
#
Requiem
#
Schott Music - Digital
#
SheetMusicPlus
Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra - SKU: S9.Q7038 Teil I: Schwarz vor Augen... · Teil II: ...und es war...
(+)
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
Lest We Forget (Chamber Orchestra Version)
#
Orchestre de chambre
#
FACILE
#
Stephen DeCesare
#
Stephen DeCesare
#
Lest We Forget
#
Exultet Music
#
SheetMusicPlus
Chamber Orchestra - Level 2 - SKU: A0.1100185 By Stephen DeCesare. By Stephen DeCesare. Arranged by Stephen DeCesare. 20th Century,Classical,Jewish,Mult...
(+)
Chamber Orchestra - Level 2 - SKU: A0.1100185 By Stephen DeCesare. By Stephen DeCesare. Arranged by Stephen DeCesare. 20th Century,Classical,Jewish,Multicultural,World. Score and parts. 111 pages. Exultet Music #704068. Published by Exultet Music (A0.1100185). For the 11 million people who died in the Nazi concentration camps. Included: Enter the Third Reich, Death Camps, Eili Eili Lamo Azovtanu, Where Is Your Mercy Now?,Mourner's Kaddish, 11 Million Tears. Scored for Flute, Bb-Clarinet, Bassoon, Violin, Viola, Cello, Narrator, Girl solo.
$50.00
Piano Concerto No. 1 - SECOND movement [score and parts]
#
Orchestre de chambre
#
INTERMÉDIAIRE
#
Juan MarÃa Solare
#
Juan MarÃa Solare
#
Piano Concerto No. 1 - SECOND
#
Juan Maria Solare
#
SheetMusicPlus
Chamber Orchestra - Level 3 - SKU: A0.1197730 By Juan MarÃa Solare. By Juan MarÃa Solare. Arranged by Juan MarÃa Solare. 20th Century,Classical...
(+)
Chamber Orchestra - Level 3 - SKU: A0.1197730 By Juan MarÃa Solare. By Juan MarÃa Solare. Arranged by Juan MarÃa Solare. 20th Century,Classical,Contemporary. Score and parts. 64 pages. Juan Maria Solare #796911. Published by Juan Maria Solare (A0.1197730). Piano Concerto No. 1 - SECOND movement [score and parts]Please find the other two movements - also in this platformThe full score (of the three movements) is also available independently HERE:https://www.sheetmusicplus.com/title/piano-concerto-no-1-score-only-digital-sheet-music/22468631?aff_id=565049Video in YouTube (score follower)Aesthetic reflections on the piano concerto (by Juan MarÃa Solare)During the eras of classicism and romanticism, a concerto was often conceived as a confrontation between a soloist, symbolising the individual, and the orchestra, representing society. Seen in this way, a concert reflects a value system that pits the individual against the group and poses a struggle of I against you. Surely this vehemence could be explained in a Beethovenian era when the concepts of human rights and individual freedom were fragile ideals.However, it is a different scale of values that my piano concerto tries to reflect: the idea of cooperation, of teamwork and of an orchestra as a living organism whose organs are not superior to one another, more vital than others, but fulfil different functions, qualitatively speaking.Every soloist plays a leading role, but this does not imply either subordination to the rest or denigration or subjugation of the rest. The fact that the soloist is sometimes in the foreground does not imply a victory over the others. The very concept of victory is meaningless here.At times, the soloist will fulfil a leadership role, at others he or she will underpin from passivity what is happening in the orchestra, intentionally from the shadows, as a grey eminence. And at other times - why not - he will question what the majority is doing.It is not a rough relationship of me against you, but there is also a we.The composition and orchestration of this piano concerto was made possible by a grant from the Senator for Culture of the Free Hanseatic City of Bremen. This work was funded by an artist's grant as part of the Bremen-Corona-Hilfen programme.The premiere by the orchestra of the Bremer Orchestergemeinschaft is scheduled for the beginning of 2024. Duration: 17 to 20 minutes.
$33.00
Piano Concerto No. 1 - FIRST movement [score and parts]
#
Orchestre de chambre
#
INTERMÉDIAIRE
#
Juan MarÃa Solare
#
Piano Concerto No. 1 - FIRST m
#
Juan Maria Solare
#
SheetMusicPlus
Chamber Orchestra - Level 3 - SKU: A0.1197728 By Juan MarÃa Solare. By Juan MarÃa Solare. 20th Century,Classical,Contemporary. Score and parts. 74...
(+)
Chamber Orchestra - Level 3 - SKU: A0.1197728 By Juan MarÃa Solare. By Juan MarÃa Solare. 20th Century,Classical,Contemporary. Score and parts. 74 pages. Juan Maria Solare #796909. Published by Juan Maria Solare (A0.1197728). Juan MarÃa Solare: Piano Concerto No. 1 - FIRST movement [score and parts]Please find the other two movements - also in this platformThe full score (of the three movements) is also available independently HERE:https://www.sheetmusicplus.com/title/piano-concerto-no-1-score-only-digital-sheet-music/22468631?aff_id=565049Video in YouTube (score follower)Aesthetic reflections on the piano concertoDuring the eras of classicism and romanticism, a concerto was often conceived as a confrontation between a soloist, symbolising the individual, and the orchestra, representing society. Seen in this way, a concert reflects a value system that pits the individual against the group and poses a struggle of I against you. Surely this vehemence could be explained in a Beethovenian era when the concepts of human rights and individual freedom were fragile ideals.However, it is a different scale of values that my piano concerto tries to reflect: the idea of cooperation, of teamwork and of an orchestra as a living organism whose organs are not superior to one another, more vital than others, but fulfil different functions, qualitatively speaking.Every soloist plays a leading role, but this does not imply either subordination to the rest or denigration or subjugation of the rest. The fact that the soloist is sometimes in the foreground does not imply a victory over the others. The very concept of victory is meaningless here.At times, the soloist will fulfil a leadership role, at others he or she will underpin from passivity what is happening in the orchestra, intentionally from the shadows, as a grey eminence. And at other times - why not - he will question what the majority is doing.It is not a rough relationship of me against you, but there is also a we.The composition and orchestration of this piano concerto was made possible by a grant from the Senator for Culture of the Free Hanseatic City of Bremen. This work was funded by an artist's grant as part of the Bremen-Corona-Hilfen programme.The premiere by the orchestra of the Bremer Orchestergemeinschaft is scheduled for the beginning of 2024. Duration: 17 to 20 minutes.
$33.00
Piano Concerto No. 1 - Score Only
#
Orchestre de chambre
#
INTERMÉDIAIRE
#
Juan MarÃa Solare
#
Piano Concerto No. 1 - Score O
#
Juan Maria Solare
#
SheetMusicPlus
Chamber Orchestra - Level 3 - SKU: A0.1197642 Composed by Juan MarÃa Solare. 20th Century,Classical,Contemporary. Score and parts. 77 pages. Juan Mar...
(+)
Chamber Orchestra - Level 3 - SKU: A0.1197642 Composed by Juan MarÃa Solare. 20th Century,Classical,Contemporary. Score and parts. 77 pages. Juan Maria Solare #796823. Published by Juan Maria Solare (A0.1197642). Juan MarÃa Solare: Piano Concerto (No. 1)PARTSPiano Concerto No. 1 - FIRST movement [score and parts]https://www.sheetmusicplus.com/title/22466227?aff_id=565049https://www.sheetmusicplus.com/title/piano-concerto-no-1-first-movement-score-and-parts-digital-sheet-music/22466227?aff_id=565049https://www.sheetmusicplus.com/22466227?aff_id=565049Piano Concerto No. 1 - SECOND movement [score and parts]https://www.sheetmusicplus.com/title/22466231?aff_id=565049Piano Concerto No. 1 - THIRD movement [score and parts]https://www.sheetmusicplus.com/title/22466233?aff_id=565049Aesthetic reflections on the piano concertoDuring the eras of classicism and romanticism, a concerto was often conceived as a confrontation between a soloist, symbolising the individual, and the orchestra, representing society. Seen in this way, a concert reflects a value system that pits the individual against the group and poses a struggle of I against you. Surely this vehemence could be explained in a Beethovenian era when the concepts of human rights and individual freedom were fragile ideals.However, it is a different scale of values that my piano concerto tries to reflect: the idea of cooperation, of teamwork and of an orchestra as a living organism whose organs are not superior to one another, more vital than others, but fulfil different functions, qualitatively speaking.Every soloist plays a leading role, but this does not imply either subordination to the rest or denigration or subjugation of the rest. The fact that the soloist is sometimes in the foreground does not imply a victory over the others. The very concept of victory is meaningless here.At times, the soloist will fulfil a leadership role, at others he or she will underpin from passivity what is happening in the orchestra, intentionally from the shadows, as a grey eminence. And at other times - why not - he will question what the majority is doing.It is not a rough relationship of me against you, but there is also a we.The composition and orchestration of this piano concerto was made possible by a grant from the Senator for Culture of the Free Hanseatic City of Bremen. This work was funded by an artist's grant as part of the Bremen-Corona-Hilfen programme.The premiere by the orchestra of the Bremer Orchestergemeinschaft is scheduled for the beginning of 2024. Duration: 17 to 20 minutes.1st movement - https://youtu.be/DNckBKzaWtc2nd movement - https://youtu.be/1Zy0ZbrdPJE3rd movement - https://youtu.be/dnYE9dWUEZg
$25.00
Piano Concerto No. 1 - THIRD movement [score and parts]
#
Orchestre de chambre
#
INTERMÉDIAIRE
#
Contemporain
#
Juan MarÃa Solare
#
Piano Concerto No. 1 - THIRD m
#
Juan Maria Solare
#
SheetMusicPlus
Chamber Orchestra - Level 3 - SKU: A0.1197732 Composed by Juan MarÃa Solare. 20th Century,Classical,Contemporary. Score and parts. 53 pages. Juan Mar...
(+)
Chamber Orchestra - Level 3 - SKU: A0.1197732 Composed by Juan MarÃa Solare. 20th Century,Classical,Contemporary. Score and parts. 53 pages. Juan Maria Solare #796913. Published by Juan Maria Solare (A0.1197732). Piano Concerto No. 1 - THIRD movement [score and parts]Please find the other two movements - also in this platformThe full score (of the three movements) is also available independently HEREavailable HERE:(https://www.sheetmusicplus.com/title/piano-concerto-no-1-score-only-digital-sheet-music/22468631?aff_id=565049).Video in YouTube (score follower)Aesthetic reflections on the piano concerto (by Juan MarÃa Solare)During the eras of classicism and romanticism, a concerto was often conceived as a confrontation between a soloist, symbolising the individual, and the orchestra, representing society. Seen in this way, a concert reflects a value system that pits the individual against the group and poses a struggle of I against you. Surely this vehemence could be explained in a Beethovenian era when the concepts of human rights and individual freedom were fragile ideals.However, it is a different scale of values that my piano concerto tries to reflect: the idea of cooperation, of teamwork and of an orchestra as a living organism whose organs are not superior to one another, more vital than others, but fulfil different functions, qualitatively speaking.Every soloist plays a leading role, but this does not imply either subordination to the rest or denigration or subjugation of the rest. The fact that the soloist is sometimes in the foreground does not imply a victory over the others. The very concept of victory is meaningless here.At times, the soloist will fulfil a leadership role, at others he or she will underpin from passivity what is happening in the orchestra, intentionally from the shadows, as a grey eminence. And at other times - why not - he will question what the majority is doing.It is not a rough relationship of me against you, but there is also a we.The composition and orchestration of this piano concerto was made possible by a grant from the Senator for Culture of the Free Hanseatic City of Bremen. This work was funded by an artist's grant as part of the Bremen-Corona-Hilfen programme.The premiere by the orchestra of the Bremer Orchestergemeinschaft is scheduled for the beginning of 2024. Duration: 17 to 20 minutes.Full score available here
$33.00
Becoming • Instrument Backing score and Parts for Solo and SAB
#
Orchestre de chambre
#
FACILE
#
C
#
C
#
Becoming • Instrument Bac
#
Shining Sharon Music
#
SheetMusicPlus
Chamber Orchestra - Level 2 - SKU: A0.1164772 Composed by C. Michael Perry. Arranged by C. Michael Perry. Christian,Contemporary,Spiritual. Score and pa...
(+)
Chamber Orchestra - Level 2 - SKU: A0.1164772 Composed by C. Michael Perry. Arranged by C. Michael Perry. Christian,Contemporary,Spiritual. Score and parts. 14 pages. Shining Sharon Music #765106. Published by Shining Sharon Music (A0.1164772). Line upon line, precept on precept, we learn and grow, sometimes at an alarming rate, other times at a snail's pace. As we are each individuals, this is wholly appropriate. The goal for each of us, for everything that we learn, is to use it to love God, love ourselves and prepare to meet God –– to BECOME –– hourly, daily, weekly, yearly, as we learn and grow in life and through Eternity. Think of the possibilities! With God, nothing is impossible!Orchestra parts consist of: Full Score, Flute, Oboe, Viola, Acoustic Bass).
$50.00
Three Laments of Heloise for Chamber Orchestra
#
Orchestre de chambre
#
INTERMÉDIAIRE/AVANCÉ
#
Dosia McKay
#
Three Laments of Heloise for C
#
Gavia Music
#
SheetMusicPlus
Chamber Orchestra - Level 4 - SKU: A0.876665 Composed by Dosia McKay. 20th Century,Contemporary,Renaissance. Score and parts. 81 pages. Gavia Music #572...
(+)
Chamber Orchestra - Level 4 - SKU: A0.876665 Composed by Dosia McKay. 20th Century,Contemporary,Renaissance. Score and parts. 81 pages. Gavia Music #57229. Published by Gavia Music (A0.876665). Three Laments of Heloise were inspired by the Letters of Abelard and Heloise, especially the character of Heloise, her crushing loss, self-denial, sacrifice, and forced conformity to the standards of medieval society. The first movement entitled Queens Envied Me My Joys is Heloise’s recollection of early days with Abelard. Every wife, every young girl desired you in absence and was on fire in your presence, writes Heloise. The pleasures of lovers which we shared have been too sweet… They are always there before my eyes, bringing with them awakened longings… The second movement If Not With You, My Heart Is Nowhere, expresses Heloise’s sense of abandonment by her lover. She writes to him: My heart was not in me but with you, and now, even more, if it is not with you it is nowhere; truly, without you I cannot exist. The third movement, My Most Wretched Soul, gives voice to Heloise’s continued struggle with her loss and the reality of the convent life. She does not see herself as a servant of God, but rather a hypocrite who remains pious on the outside and rages inwardly. Of all wretched women I am the most wretched, and amongst the unhappy I am unhappiest. How can it be called repentance for sins, however great the mortification of the flesh, if the mind still retains the will to sin and is on fire with its old desires? Modal scales and dance sequences give the Laments a Renaissance feel. Music theory students might appreciate the fact that the unifying element of the three movements is the interval of the 7th which appears very frequently in melodic and harmonic gestures and creates a feeling of ambiguity and of a lack of resolution. For chamber orchestra: Flute (or Piccolo), Oboe, Clarinet, Bassoon, Strings (Quintet, or 4,4,3,2,1, or larger), 2 Percussion: Frame Drum, Tambourine. Total duration 8:00. Possible transcriptions for period Renaissance instruments - please contact the composer. Composed in 2009. Copyright 2009 Dosia McKay / Gavia Music (ASCAP).
$100.00
TELEMANN – VIOLIN CONCERTO IN A MAJOR "THE FROGS", TWV 51:A4 (Score and parts in PDF)
#
Orchestre de chambre
#
AVANCÉ
#
Classique
#
Georg Philipp Telemann
#
Sneakwood Editions
#
TELEMANN – VIOLIN CONCER
#
Sneakwood Editions
#
SheetMusicPlus
Chamber Orchestra - Level 5 - SKU: A0.890767 Composed by Georg Philipp Telemann. Arranged by Sneakwood Editions. Baroque,Classical. Score and parts. 41 ...
(+)
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
Variations on a Rossini Theme op.Posth
#
Orchestre de chambre
#
Classique
#
Frederik François Chopin
#
James Strauss
#
Variations on a Rossini Theme
#
James Strauss
#
SheetMusicPlus
Chamber Orchestra - SKU: A0.1035224 Composed by Frederik François Chopin (1810-1949). Arranged by James Strauss. Romantic Period. Score and parts. 33...
(+)
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
Galadriel's Song of Eldamar, Orchestral Version
#
Orchestre de chambre
#
DÉBUTANT
#
Charles McCreery
#
#
Galadriel's Song of Eldamar, O
#
St Maur Music
#
SheetMusicPlus
Chamber Orchestra - Level 1 - SKU: A0.1007141 Composed by Charles McCreery. 20th Century,Children,Contemporary. Score and parts. 46 pages. St Maur Music...
(+)
Chamber Orchestra - Level 1 - SKU: A0.1007141 Composed by Charles McCreery. 20th Century,Children,Contemporary. Score and parts. 46 pages. St Maur Music #5024433. Published by St Maur Music (A0.1007141). This song is an orchestral version of one of a series of ‘Fourteen Tolkien Songs’. A comment on the collection by an Oxford piano teacher: ‘For those who only know Tolkien via the recent blood-and-thunder films, this song-cycle by Charles McCreery will give a very different angle on the classic saga. Here we find a gentle and ethereal world, where rhythms lilt and words echo. The twelve songs, suitable for choir, evoke a dreamy, water-colour landscape with no harsh sounds, the tunes are singable and in a traditional style that Tolkien would surely have approved. Dr Julia Gasper, LGSM A general comment on Charles McCreery’s music by a violinist and composer in the USA: ‘Charles McCreery’s beautifully melodic, intricately textured compositions are infused with classical, romantic and folk idioms.’ Samantha Gillogly ‘Galadriel’s Song’ is appropriate for either women’s or children’s voices, and is potentially of interest to anyone who is familiar with the works of J.R.R. Tolkien. The three vocal parts and the individual orchestral parts can all be printed out separately at the end of the full score. The MP3 which plays from this page is of a version of the song which can be heard on the stmaurmusic channel on YouTube (https://www.youtube.com/user/stmaurmusic). On the front cover is a photograph of leaves in Wytham Woods, Oxford, and at the end of the full score is a photograph of the sea off Treyarnon Bay, Cornwall .
$7.75
When I Survey the Wondrous Cross - Orchestration
#
Orchestre de chambre
#
INTERMÉDIAIRE
#
Isaac Watts / Lowell Mason
#
Robert Myers
#
When I Survey the Wondrous Cro
#
WheatMyer Music
#
SheetMusicPlus
Chamber Orchestra - Level 3 - SKU: A0.976713 Composed by Isaac Watts / Lowell Mason. Arranged by Robert Myers. Christian,Holiday,Love,Sacred. Score and ...
(+)
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
<
1
© 2000 - 2024
Accueil
-
Nouveautés
-
Compositeurs
Mentions légales
-
Version intégrale
Who We Are
