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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
Within the Song
Non classifié
397
Piano & claviers
Piano, Voix
1 121
Piano seul
866
Piano Facile
446
Instruments en Do
32
Piano, Voix et Guitare
28
1 Piano, 4 mains
7
Orgue
5
Accompagnement Piano
3
Piano Trio: piano, violon, violoncelle
2
Accordéon
1
Piano Quatuor: piano, violon, alto, violoncelle
1
+ 6 instrumentations
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Guitares
Guitare
25
Guitare notes et tablatures
9
Ukulele
4
Piano, Guitare (duo)
3
Banjo
3
Ligne De Mélodie, (Paroles) et Accords
3
4 Guitares (Quatuor)
2
2 Guitares (duo)
2
Dulcimer
1
Basse electrique
1
+ 5 instrumentations
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Voix
Chorale SATB
588
Chorale 3 parties
48
Chorale 2 parties
34
Chorale TTBB
25
Voix duo
15
Chorale SSAA
15
Voix duo, Piano
12
Chorale Unison
5
Voix seule
4
Voix haute
4
Voix Alto, Piano
2
Voix Soprano, Piano
2
Voix moyenne, Piano
1
Voix Baryton, Piano
1
Chorale SATTBB A Cappella
1
Voix Tenor, Piano
1
Voix basse, Piano
1
+ 12 instrumentations
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Vents
Clarinette
37
Saxophone Alto et Piano
32
Clarinette et Piano
31
Saxophone (partie séparée)
27
Flûte traversière et Piano
27
Saxophone Tenor et Piano
25
2 Saxophones (duo)
25
Saxophone Soprano et Piano
23
Flûte traversière
21
Hautbois, Piano (duo)
21
Saxophone Alto
21
Hautbois (partie séparée)
19
Quatuor de Saxophones: 4 saxophones
18
Saxophone
17
Saxophone Baryton, Piano
17
Cor anglais, Piano
16
Saxophone Tenor
15
Flûte, Hautbois, Clarinette, Basson
15
Cor Anglais
11
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
11
2 Flûtes traversières (duo)
11
Saxophone, Clarinette (duo)
10
2 Clarinettes (duo)
10
Flûte, Harpe et Violoncelle
9
Quatuor de Clarinettes: 4 clarinettes
9
Clarinette, Violon (duo)
8
Clarinette, Trompette (duo)
8
Flûte, Clarinette (duo)
6
Flûte, Hautbois, Clarinette (trio)
4
2 Hautbois (duo)
4
Hautbois, Clarinette, Basson (trio d'anches)
4
3 Saxophones (trio)
4
Quintette de Saxophone: 5 saxophones
4
Flûte, Saxophone (duo)
4
Clarinette et Alto
4
Hautbois, Clarinette (duo)
4
Flûte, Trompette (duo)
4
Hautbois, Basson (duo)
4
Flûte, Alto (duo)
4
Ocarina
3
Quatuor de Flûtes : 4 flûtes
2
Flûte, Violon
2
Flute, harpe et violon
2
Flûte, Clarinette et Basson
2
Flûte à Bec
2
Trio de Flûtes: 3 flûtes
2
Clarinette Basse, Piano
2
Hautbois, Flûte
2
Clarinette, Harpe (duo)
1
Harmonica
1
Ensemble de saxophones
1
Flûte à bec Alto, Piano
1
Flûte à bec Soprano, Piano
1
Quintette de Clarinettes: 5 clarinettes
1
Quintette de Flûte : 5 flûtes
1
2 Flûtes traversières, Harpe
1
Quatuor de Flûtes à bec
1
Flûte et Guitare
1
Flûte, Violon, Piano
1
Ensemble de Clarinettes
1
+ 55 instrumentations
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Cuivres
Trompette
32
Trompette, Piano
24
Trombone et Piano
22
Cor et Piano
22
Cor
19
Trombone
16
Tuba
16
Cor anglais, Piano
16
Quatuor de Cuivres : 2 trompettes, trombone, tuba
14
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
12
Cor Anglais
11
Tuba et Piano
10
Trompette, Saxophone (duo)
8
Trompette (partie séparée)
5
Quatuor de Cuivres: 2 trompettes, Cor, trombone
5
2 Trompettes (duo)
4
Trompette, Trombone (duo)
4
2 Trombones (duo)
4
Euphonium, Piano (duo)
3
Quatuor de Cuivres
2
3 Trombones (trio)
2
3 Trompettes (trio)
1
Quatuor de cuivres: 4 cors
1
+ 18 instrumentations
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Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
43
Violon et Piano
31
Violon
27
Violoncelle, Piano
27
Alto, Piano
25
Violoncelle
22
Violon, Violoncelle (duo)
19
Harpe
16
Contre Basse
15
Contrebasse, Piano (duo)
13
Alto (partie séparée)
9
Alto seul
9
Trio à Cordes: violon, alto, violoncelle
8
2 Violons (duo)
7
2 Harpes (duo)
5
2 Violoncelles (duo)
5
Violon, Alto (duo)
5
2 Altos (duo)
4
Quintette à cordes: 2 violons, 2 altos, violoncelle
2
Piano Trio: Violon, Alto, Piano
2
Harpe, Flûte (duo)
2
Quintette à cordes : 2 violons, alto et 2 violoncelles
2
Trio à Cordes: 2 violons, violoncelle
2
4 Violoncelles
1
Trio à cordes: 3 violins
1
Trio à cordes: 3 altos
1
Violon (partie séparée)
1
+ 22 instrumentations
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Orchestre & Percussions
Orchestre d'harmonie
56
Ensemble de cuivres
44
Orchestre à Cordes
20
Orchestre de chambre
9
Orchestre
6
Ensemble Jazz
6
Batterie
5
Ensemble de Percussions
4
Vibraphone
4
Jazz combo
1
Marimba
1
Batterie (partie séparée)
1
Cloches
1
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--INSTRUMENTS--
ACCORDEON
ALTO
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BANJO
BASSE
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Vous avez sélectionné:
Within the Song
Orchestre de chambre
Partitions à imprimer
9 partitions trouvées
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1
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
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
Bach: Aria 'Mache dich, mein Herze, rein' for Bass Solo and Chamber Baroque Orchestra
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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 and Neth
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Flavio Regis Cunha
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Bach: Aria 'Mache dich, mein H
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Flavio Regis Cunha
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SheetMusicPlus
Chamber Orchestra - Level 4 - SKU: A0.1283479 By Johann Sebastian Bach and Netherlands Bach Society. By Johann Sebastian Bach. Arranged by Flavio Regis ...
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Chamber Orchestra - Level 4 - SKU: A0.1283479 By Johann Sebastian Bach and Netherlands Bach Society. By Johann Sebastian Bach. Arranged by Flavio Regis Cunha. Baroque,Contest,Easter,Festival,Instructional,Sacred. Score and Parts. 51 pages. Flavio Regis Cunha #874665. Published by Flavio Regis Cunha (A0.1283479). Bach: Aria 'Mache dich, mein Herze, rein' for Bass Solo and Chamber Baroque Orchestra from the St Matthew Passion (BWV 244).Discover timeless music with the Bach classic - 'Mache dich, mein Herze, Rein'! Enjoy the intricate and vibrant performance of the piece from the renowned Netherlands Bach Society. Perfect for both professional orchestras and soloists – as well for the joy of schools performing the revered composer's masterpiece. Get the perfect accompaniment for your performance with the authentic sheet music available now!The aria 'Mache dich, mein Herze, rein' from the St Matthew Passion (BWV 244), performed here by the Netherlands Bach Society and conducted by Jos van Veldhoven for All of Bach. The St Matthew Passion tells the story of the last days of Jesus. He is betrayed, tried, crucified and buried. The lyrics were compiled by Picander (the pseudonym of Christian Friedrich Henrici), probably in close consultation with Bach himself. For their theme, they took the story as told by St Matthew the Evangelist. As different groups or people have their say, the singers get different roles – Christ, Judas, Peter, a slave girl, the pupils, the high priests, the people and the soldiers, etc. At key moments in the story, Bach and Picander added chorales and arias as a reflection of the biblical story. The action is suspended and the events are placed in the theological context of Bach’s day. The chorale lyrics and melodies come from the Lutheran hymn book, and were well known to the congregation in Leipzig. Even though Bach’s harmonies were new, everyone would have recognised the melody and the words. The lyrics for the opening and closing choruses and the arias were brand new, however. Both the arias and the chorales often link up seamlessly with the evangelical words. Advanced IntermediateFormat: Concert, 9 x 12 inches51 pagesProgram NotesMache dich, mein Herze, rein is a deeply poignant and emotional piece from the renowned work by Johann Sebastian Bach, St Matthew Passion (BWV 244). Written as a part of the 16th passion oratorio as a love song sung by Jesus to his disciples, this piece brilliantly conveys the struggle of redemption and longing for peace.Accompanied by a chamber baroque orchestra, the stark vocal line is delivered with an intense intricacy by the bass solo. Each note is carefully laden with sincere emotion, imbuing within the words a sense of longing and deep sorrow. As the piece progresses, the reprise of the chorus adds a layer of reflection to the message, driving home the power of the connection between Christ and his disciples.Mache dich, mein Herze, rein is a highly moving and truly remarkable piece of music that has rightly earned a place amongst Bach's most renowned works. Mache dich, mein Herze, rein is one of the most stunningly tender and moving chorales from Johann Sebastian Bach's monumental oratorio the St Matthew Passion (BWV 244). Originally written with a full choral accompaniment for the Easter Week Vespers of 1729, Bach's skilful reworking of the melody for bass and chamber baroque orchestra in the St Matthew Passion gives the solo voice a unique poignancy and fragility. The Lutheran chorale on which Bach based his composition speaks of hearts needing to be cleansed of sin and sorrow as they prepare to meet the Savior - an idea timeless in its poignancy and universality. Bach's arrangement is akin to a prayer of reflection and contemplation, the music's restrained dynamics and sighing counterpoint creating an atmosphere of resignation and acceptance. Mache dich, mein Herze, rein is a sublime masterpiece of sacred music, truly embodying the spirit of Easter.
$18.99
O How the Winds are Changin'!
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Orchestre de chambre
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Contemporain
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James Alexander Pavlic
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O How the Winds are Changin'!
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James A. Pavlic
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SheetMusicPlus
Chamber Orchestra - SKU: A0.923347 Composed by James Alexander Pavlic. Contemporary. Score and parts. 25 pages. James A. Pavlic #6339863. Published by J...
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Chamber Orchestra - SKU: A0.923347 Composed by James Alexander Pavlic. Contemporary. Score and parts. 25 pages. James A. Pavlic #6339863. Published by James A. Pavlic (A0.923347). Work scored a finalist spot in the Great American Song Contest. Work was inspired about the ever changing nature of the wind. Sometimes it gets easy; and, sometimes it picks up, taking with it whatever it can within its grasp. Scored for chamber orchestra and link to audio of work is found here: https://distrokid.com/hyperfollow/alexanderjamespavlic/dmGf. Visual of score playing is at link included in Youtube Link.
$10.99
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
Air Lointain: Poème Symphonique
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Orchestre de chambre
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INTERMÉDIAIRE/AVANCÉ
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Alexandre Béon
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Air Lointain: Poème Sym
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RēsFacta Editions
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SheetMusicPlus
Chamber Orchestra - Level 4 - SKU: A0.1431586 Composed by Alexandre Béon. 19th Century,Chamber,Classical,Contest,Festival,Romantic Period. 84 pages. R...
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Chamber Orchestra - Level 4 - SKU: A0.1431586 Composed by Alexandre Béon. 19th Century,Chamber,Classical,Contest,Festival,Romantic Period. 84 pages. RēsFacta Editions #1012061. Published by RēsFacta Editions (A0.1431586). The symphonic poem, Air Lointain (Distant Song) by Alexandre Béon, prominently features the English horn as a solo instrument within the orchestral setting. Inspired by the poem of the same name by Pierre Reyniel (pen name of Louise Perny) which explores themes of distance, longing, and nostalgia, Béon creates an immersive musical experience that transports listeners to a distant, otherworldly, realm. The prominence of the English horn as a solo instrument, with its rich, melancholic, warm timbre often associated with expressions of longing or yearning, is a fitting choice for conveying the emotional depth of the piece. Score and parts. Duration: Approx. 6'20.
$45.00
Jesus is King! (For SSATB and String Orchestra)
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Orchestre de chambre
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Musique Sacrée
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Rebecca Drimmel
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Jesus is King!
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Rebecca Drimmel
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SheetMusicPlus
Chamber Orchestra - SKU: A0.925872 Composed by Rebecca Drimmel. Baroque,Contemporary,Easter,Praise & Worship. Score and parts. 18 pages. Rebecca Drimmel...
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Chamber Orchestra - SKU: A0.925872 Composed by Rebecca Drimmel. Baroque,Contemporary,Easter,Praise & Worship. Score and parts. 18 pages. Rebecca Drimmel #6861479. Published by Rebecca Drimmel (A0.925872). This score (Jesus is King!) is very powerful within the orchestra and SSATB(Choir). It would be a great song for an Easter Church Service or performed for at an orchestra concert. Each individual part is included with the full score. Soprano 1, Soprano 2, Alto, Tenor, Bass, Violin 1, Violin 2, Cello and bass. This piece is in ( F minor) Composed by: Rebecca Ann Drimmel So.1200417
$15.99
Madrigal, for Orchestra (SCORE)
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Orchestre de chambre
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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Sarah Wallin Huff
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Madrigal, for Orchestra
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Novel Soundtrax
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SheetMusicPlus
Chamber Orchestra - Level 4 - SKU: A0.800338 Composed by Sarah Wallin Huff. Contemporary. Score and parts. 55 pages. Novel Soundtrax #12119. Published b...
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Chamber Orchestra - Level 4 - SKU: A0.800338 Composed by Sarah Wallin Huff. Contemporary. Score and parts. 55 pages. Novel Soundtrax #12119. Published by Novel Soundtrax (A0.800338). A madrigal, popular in the Renaissance and early Baroque, may be defined as a secular, polyphonic partsong, a through-composed work attempting to express the emotion contained within each line of a poem on which it is based. Loosely, a madrigal may be thought of as a linear journey across pallets of color and emotional soundscapes, and this is precisely what Wallin Huff’s 2014 so-titled work for orchestra aims to do.
$45.00
Madrigal, for Orchestra (PARTS Only)
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Orchestre de chambre
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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Sarah Wallin Huff
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Madrigal, for Orchestra
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Novel Soundtrax
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SheetMusicPlus
Chamber Orchestra - Level 4 - SKU: A0.800337 Composed by Sarah Wallin Huff. Contemporary. Score and parts. 48 pages. Novel Soundtrax #12117. Published b...
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Chamber Orchestra - Level 4 - SKU: A0.800337 Composed by Sarah Wallin Huff. Contemporary. Score and parts. 48 pages. Novel Soundtrax #12117. Published by Novel Soundtrax (A0.800337). A madrigal, popular in the Renaissance and early Baroque, may be defined as a secular, polyphonic partsong, a through-composed work attempting to express the emotion contained within each line of a poem on which it is based. Loosely, a madrigal may be thought of as a linear journey across pallets of color and emotional soundscapes, and this is precisely what Wallin Huff’s 2014 so-titled work for small orchestra aims to do.
$35.00
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