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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
Work From Home
Non classifié
171
Piano & claviers
Piano seul
79
Piano, Voix et Guitare
19
Piano, Voix
19
Piano Facile
9
Instruments en Do
6
Piano Trio: piano, violon, violoncelle
3
2 Pianos, 4 mains
3
Accompagnement Piano
2
Piano (partie séparée)
1
1 Piano, 4 mains
1
Orgue
1
Piano Quatuor: piano, violon, alto, violoncelle
1
+ 7 instrumentations
Retracter
Guitares
Guitare
12
Guitare notes et tablatures
5
Ukulele
4
Guitare (partie séparée)
2
2 Guitares (duo)
2
Ligne De Mélodie, (Paroles) et Accords
2
Banjo
1
4 Guitares (Quatuor)
1
Ensemble de guitares
1
3 Guitares (trio)
1
+ 5 instrumentations
Retracter
Voix
Chorale SATB
42
Chorale 2 parties
8
Chorale 3 parties
8
Chorale SSAA
4
Chorale TTBB
2
Voix Soprano, Piano
2
Voix Baryton
1
Chorale Unison
1
Voix basse, Piano
1
Voix moyenne, Piano
1
Voix duo, Piano
1
+ 6 instrumentations
Retracter
Vents
Quintette de Saxophone: 5 saxophones
14
Flûte traversière et Piano
12
Saxophone Alto et Piano
10
Saxophone Alto
10
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
9
Clarinette et Piano
9
Hautbois, Piano (duo)
9
Saxophone Tenor et Piano
7
2 Saxophones (duo)
6
Ensemble de saxophones
6
Flûte à Bec
5
Saxophone (partie séparée)
5
Ensemble de Clarinettes
5
Saxophone Baryton, Piano
5
2 Clarinettes (duo)
5
Hautbois (partie séparée)
5
Clarinette
5
3 Saxophones (trio)
4
Quatuor de Saxophones: 4 saxophones
4
Quatuor de Flûtes : 4 flûtes
4
Ensemble de Flûtes
4
2 Flûtes traversières (duo)
4
Flûte traversière
3
2 Flûte à bec (duo)
3
Quatuor de Clarinettes: 4 clarinettes
3
Quintette de Flûte : 5 flûtes
2
Cor anglais, Piano
2
Flûte à bec Alto, Basse continue
2
Saxophone Soprano et Piano
2
3 Flûtes à bec (trio)
2
Clarinette Basse, Piano
2
Flûte, Hautbois, Clarinette, Basson
2
Saxophone Tenor
1
Flute (partie séparée)
1
Hautbois, Flûte
1
3 Clarinettes (trio)
1
Saxophone et Guitare
1
Quatuor de Flûtes à bec
1
Trio de Flûtes: 3 flûtes
1
Piccolo, Piano
1
Clarinette, Basson (duo)
1
Hautbois, Clarinette, Basson (trio d'anches)
1
Flûte, Clarinette (duo)
1
Flûte et Guitare
1
Quintette de Clarinettes: 5 clarinettes
1
2 Flûtes traversières, Piano
1
+ 41 instrumentations
Retracter
Cuivres
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
15
Quatuor de Cuivres : 2 trompettes, trombone, tuba
14
Quatuor de cuivres: 4 trombones
13
Trombone et Piano
12
Quatuor de Cuivres: 2 trompettes, Cor, trombone
10
Ensemble de Trombones
6
Cor et Piano
5
Trompette (partie séparée)
5
Trompette, Piano
4
Tuba et Piano
4
Trombone (partie séparée)
4
Euphonium, Piano (duo)
4
Ensemble de Trompettes
3
Cor anglais, Piano
2
Trompette
2
2 Trombones (duo)
1
Cor
1
Ensemble de Cors
1
Tuba (partie séparée)
1
Cor (partie séparée)
1
Trombone, Orgue
1
Quatuor de cuivres: 4 cors
1
+ 17 instrumentations
Retracter
Cordes
Violon et Piano
22
Quatuor à cordes: 2 violons, alto, violoncelle
20
Alto, Piano
11
Violoncelle, Piano
7
Trio à Cordes: violon, alto, violoncelle
5
Violon
5
Violoncelle
4
Violon (partie séparée)
4
Alto seul
4
2 Violoncelles (duo)
3
2 Violons (duo)
3
Trio à Cordes: 2 violons, violoncelle
3
Violon, Violoncelle (duo)
3
Harpe
2
Ensemble d'Altos
1
Quintette à cordes: 2 violons, alto, violoncelle, basse
1
Trio à Cordes: 3 violoncelles
1
Contre Basse
1
Contrebasse (partie séparée)
1
Harpe, Flûte (duo)
1
Alto, Violoncelle (duo)
1
2 Altos (duo)
1
Violon, Alto (duo)
1
Ensemble de Violons
1
Alto (partie séparée)
1
Trio à cordes: 3 altos
1
Quatuor à cordes : 4 altos
1
Trio à cordes: 3 violins
1
Contrebasse, Piano (duo)
1
2 Contrebasses (duo)
1
+ 25 instrumentations
Retracter
Orchestre & Percussions
Orchestre d'harmonie
89
Orchestre
18
Orchestre à Cordes
17
Ensemble Jazz
14
Jazz combo
10
Orchestre de chambre
6
Ensemble de cuivres
4
Ensemble de Percussions
3
Cloches
2
Xylophone, Piano
2
Percussion (partie séparée)
1
Batterie (partie séparée)
1
Fanfare
1
Batterie
1
2 Marimbas
1
+ 10 instrumentations
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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
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COR
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CORNEMUSE
CORNET
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Orchestre de chambre
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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
Concerto for 3 Violins in F Major, RV 551
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Orchestre de chambre
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AVANCÉ
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Classique
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Antonio Vivaldi
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Arte Nova Music Lab
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Concerto for 3 Violins in F Ma
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Arte Nova Music Lab
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SheetMusicPlus
Chamber Orchestra - Level 5 - SKU: A0.742470 Composed by Antonio Vivaldi. Arranged by Arte Nova Music Lab. Baroque,Concert,Standards,World. Score and pa...
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Chamber Orchestra - Level 5 - SKU: A0.742470 Composed by Antonio Vivaldi. Arranged by Arte Nova Music Lab. Baroque,Concert,Standards,World. Score and parts. 73 pages. Arte Nova Music Lab #4598409. Published by Arte Nova Music Lab (A0.742470). Antonio Lucio Vivaldi (Italian: [anˈtÉ”Ënjo ˈluËtʃo viˈvaldi]; 4 March 1678 – 28 July 1741) was an Italian Baroque musical composer, virtuoso violinist, teacher, and priest. Born in Venice, the capital of the Venetian Republic, he is regarded as one of the greatest Baroque composers, and his influence during his lifetime was widespread across Europe. He composed many instrumental concertos, for the violin and a variety of other instruments, as well as sacred choral works and more than fortyoperas. His best-known work is a series of violin concertos known as the Four Seasons. Many of his compositions were written for the all-female music ensemble of the Ospedale della Pietà , a home for abandoned children. Vivaldi had worked there as a Catholic priest for 1 1/2 years and was employed there from 1703 to 1715 and from 1723 to 1740. Vivaldi also had some success with expensive stagings of his operas in Venice, Mantua and Vienna. After meeting the Emperor Charles VI, Vivaldi moved to Vienna, hoping for royal support. However, the Emperor died soon after Vivaldi's arrival, and Vivaldi himself died, in poverty, less than a year later. Taken from https://en.wikipedia.org/wiki/Antonio_Vivaldi
$30.00
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
Hancock Shaker Village (2001) for mezzo-soprano and string quartet
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Orchestre de chambre
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INTERMÉDIAIRE/AVANCÉ
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Thomas Oboe Lee
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Hancock Shaker Village
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Thomas Oboe Lee
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SheetMusicPlus
Chamber Orchestra - Level 4 - SKU: A0.869267 Composed by Thomas Oboe Lee. 20th Century,Christian,Classical,Contemporary,Romantic Period. Score and parts...
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Chamber Orchestra - Level 4 - SKU: A0.869267 Composed by Thomas Oboe Lee. 20th Century,Christian,Classical,Contemporary,Romantic Period. Score and parts. 43 pages. Thomas Oboe Lee #30957. Published by Thomas Oboe Lee (A0.869267). Program note. First of all, my enormous gratitude to Deborah Leath Rentz for the source material: Songs and the Spirit: Hancock Shaker Village's Musical Legacy, Volume I. Transcriptions of Hancock Hymnal : 1850. In 1997, Mark Ludwig commissioned me to write a work based on a Shaker song. Ms. Rentz provided me with a lovely song, Grateful Remembrance, from her collection. The result was SEPTET: Variations on a Shaker Tune. Hancock Shaker Village is in many ways also a set of variations. It begins with a Prelude of my own devising. For the rest of the work I chose five songs from Ms. Rentz's book which provide a glimpse of a typical day for the inhabitants of this religious community. The first song, Pillar of Fire, greets the dawn and the rising sun. The second song, Glean with Care, is about the orchards and the gardens. The third, Sweet Home, is about the religious life and home. The fourth, Quick, a lively dance number, prays for God's power and grace. The last song, Farewell Dear Crossbearers, is for the dearly departed. The work is played continuously without pause between movements and is dedicated to Mark Ludwig, Deborah Leath Rentz and the Hancock Shaker Village.YouTube link: https://youtu.be/GJowUC7pDfw
$9.99
Prayer for Burma - SCORE
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Orchestre de chambre
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INTERMÉDIAIRE/AVANCÉ
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Stuart Brown
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Prayer for Burma - SCORE
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Stuart Brown Music
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SheetMusicPlus
Chamber Orchestra - Level 4 - SKU: A0.835413 Composed by Stuart Brown. Contemporary,Multicultural,World. Score and parts. 56 pages. Stuart Brown Music #...
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Chamber Orchestra - Level 4 - SKU: A0.835413 Composed by Stuart Brown. Contemporary,Multicultural,World. Score and parts. 56 pages. Stuart Brown Music #1285. Published by Stuart Brown Music (A0.835413). Contact the composer at themusicman55@gmail.com Performing rights apply in the United Kingdom (PRS for Music) and the United States of America Find us on Facebook (SB Vision Music: home of musician / composer / arranger Stuart Brown) Prayer for Burma is an orchestral tone poem in five sections, total duration 13 minutes. It was composed in 2010 for Christian Solidarity Worldwide, in support of the organisation's human rights work in Burma (Myanmar). 90% of all profits from this work are donated to Christian Solidarity Worldwide. The full score and sets of parts are available from sheetmusicplus.com The composer is available to assist in rehearsing the work or to conduct performances in Europe, the USA and Canada. A recording of the work is available from most major online stores (Amazon recommended).
$14.00
Last Door of Light
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Orchestre de chambre
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Sir Peter Maxwell Davies
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Last Door of Light
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Schott Music - Digital
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SheetMusicPlus
1.2.0.2-2.2.0.0-timp-str(7.6.5.4.3) chamber orchestra - SKU: S9.Q19150 For chamber orchestra. Composed by Sir Peter Maxwell Davies. This edition:...
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1.2.0.2-2.2.0.0-timp-str(7.6.5.4.3) chamber orchestra - SKU: S9.Q19150 For chamber orchestra. Composed by Sir Peter Maxwell Davies. This edition: study score. Music Of Our Time. Downloadable, Study score. Op. 293. Duration 20 minutes. Schott Music - Digital #Q19150. Published by Schott Music - Digital (S9.Q19150). Peter Maxwell Davies was thinking of individual and communal vulnerability when composing this piece, especially in relation to the problem of climate change and his home in the Orkney Islands, which is under threat from rising sea levels. However, this theme is not a completely negative one: Davies claims we must all enter the last door of light but the journey is full of light and joy. The melody at the start of the work, which Davies composed in the ‘70’s and never used, could be an Island folk melody and is subject to constant transformation throughout the piece before reaching apotheosis at the end.
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