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TRI ET FILTRES
Tri et filtres :
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ACCORDEON
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AUTOHARPE
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CHORALE - CHAN…
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CORNEMUSE
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FLUTE A BEC
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FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
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LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
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PIANO
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740
PIANO & CLAVIERS
Piano seul
2092
Piano, Voix et Guitare
354
Piano Facile
291
1 Piano, 4 mains
127
Piano, Voix
81
Accompagnement Piano
23
2 Pianos, 4 mains
20
Orgue
19
Instruments en Do
13
Piano Trio: piano, violon, violoncelle
13
Piano Quatuor: piano, violon, alto, violoncelle
7
1 Piano, 6 mains
6
Piano Quatuor: piano, 2 violons, violoncelle
4
2 Pianos, 8 mains
3
Orgue, Trompette (duo)
2
Piano Quintette: piano, 2 violons, alto, violoncelle
2
Accordéon
1
Clavier
1
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GUITARES
Guitare notes et tablatures
60
Guitare
51
Piano, Guitare (duo)
11
Basse electrique
11
2 Guitares (duo)
10
Dulcimer
8
Ligne De Mélodie, (Paroles) et Accords
5
4 Guitares (Quatuor)
3
Banjo
3
3 Guitares (trio)
3
Ukulele
2
Guitare, Quatuor à cordes
1
Ensemble de guitares
1
Dobro
1
Mandoline
1
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VOIX
Chorale SATB
66
Chorale 3 parties
32
Chorale 2 parties
18
Chorale TTBB
13
Chorale SSAA
9
Voix duo, Piano
6
Voix duo
5
Chorale Unison
5
Voix moyenne, Piano
4
Chorale SSAATTBB
2
Voix Soprano, Piano
2
Voix seule
1
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VENTS
2 Flûtes traversières (duo)
271
Flûte traversière et Piano
222
2 Saxophones (duo)
167
Flûte traversière
97
Saxophone, Clarinette (duo)
89
2 Clarinettes (duo)
87
3 Clarinettes (trio)
77
Clarinette, Violon (duo)
65
Hautbois, Piano (duo)
65
Saxophone Alto et Piano
58
Saxophone Tenor et Piano
51
Clarinette, Trompette (duo)
46
Clarinette
42
Flûte, Clarinette (duo)
39
Clarinette et Piano
39
2 Hautbois (duo)
36
Saxophone Soprano et Piano
32
Flûte, Saxophone (duo)
32
Hautbois, Clarinette (duo)
31
Flûte, Violon
30
Clarinette et Alto
29
Hautbois, Flûte
28
Hautbois, Basson (duo)
26
Flûte, Trompette (duo)
23
Quatuor de Clarinettes: 4 clarinettes
21
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
21
Quintette de Saxophone: 5 saxophones
21
Flûte, Alto (duo)
19
Quatuor de Saxophones: 4 saxophones
18
Saxophone (partie séparée)
18
Quatuor de Flûtes : 4 flûtes
17
Saxophone Alto
15
Flûte, Hautbois, Clarinette, Basson
14
2 Clarinettes, Piano
13
Hautbois (partie séparée)
13
Ensemble de Clarinettes
12
2 Flûtes traversières, Piano
11
Ensemble de Flûtes
11
Trio de Flûtes: 3 flûtes
10
Quintette de Clarinettes: 5 clarinettes
9
Flûte, Clarinette, Piano (trio)
8
Clarinette, Violoncelle, Piano (trio)
8
Flûte, Hautbois, Piano (trio)
8
Flûte, Violon, Piano
8
Flûte, trombone et piano
7
Ensemble de saxophones
7
Saxophone
6
Flûte à bec Soprano
6
Flûte, Violoncelle, Piano (trio)
6
Quintette de Flûte : 5 flûtes
6
Flûte, Hautbois, Clarinette (trio)
5
Cor anglais, Piano
5
Flûte, Alto et Piano
5
Flûte, Basson et Piano
4
Flûte, Violon, Violoncelle et Piano
4
Clarinette, Basson (duo)
4
3 Saxophones (trio)
4
Flûte à bec Soprano, Piano
3
Cor Anglais
3
Clarinette (partie séparée)
3
Saxophone Baryton, Piano
3
Flûte et Guitare
3
Saxophone Soprano
2
Saxophone Tenor
2
Flute (partie séparée)
2
2 Saxophones, Piano
2
Clarinette, Trombone (duo)
2
Quatuor de Flûtes à bec
2
Clarinette, trompette et piano
2
Flûte, Clarinette et Basson
1
Clarinette, Violoncelle (duo)
1
Flûte à bec Alto
1
3 Flûtes à bec (trio)
1
Clarinette Basse, Piano
1
Flûte à bec Alto, Basse continue
1
2 Flûte à bec (duo)
1
Ensemble De Flûte à bec
1
Flûte, Hautbois (duo)
1
Flûte à bec Tenor
1
Flute, harpe et violon
1
2 Cors Anglais Et Pianoforte
1
Flûte, Violoncelle
1
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CUIVRES
Trompette, Saxophone (duo)
59
Trombone et Piano
40
2 Trombones (duo)
36
2 Trompettes (duo)
35
Trompette, Piano
34
Trompette, Trombone (duo)
33
Quatuor de Cuivres : 2 trompettes, trombone, tuba
29
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
28
Trompette
22
Cor et Piano
21
Tuba et Piano
20
Quatuor de Cuivres: 2 trompettes, Cor, trombone
13
Trombone
11
Tuba
8
Ensemble de Trombones
8
Trompette (partie séparée)
6
Euphonium, Piano (duo)
6
Cor anglais, Piano
5
Ensemble de Trompettes
5
2 Cors (duo)
5
Trombone (partie séparée)
4
Quatuor de Cuivres
4
Cor (partie séparée)
3
Cor Anglais
3
Trio de Cuivres
3
Cor
2
Euphonium
2
2 Trompettes, Clavier (piano ou orgue)
2
Trompette, Trombone, Piano
2
Quatuor de cuivres: 4 trombones
2
Trompette, Violoncelle et Piano
1
Instruments en Sib
1
3 Trombones (trio)
1
Cor, Violoncelle et Piano
1
3 Trompettes (trio)
1
2 Cors Anglais Et Pianoforte
1
Tuba (partie séparée)
1
Quatuor de cuivres: 4 trompettes
1
Trompette, Cor (duo)
1
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CORDES
Harpe
226
Violon et Piano
133
Quatuor à cordes: 2 violons, alto, violoncelle
125
Violoncelle, Piano
78
Alto, Piano
74
Violon, Violoncelle (duo)
60
2 Violons (duo)
51
Violon
50
Violon, Alto (duo)
40
2 Altos (duo)
40
2 Violoncelles (duo)
40
Trio à Cordes: violon, alto, violoncelle
20
Alto seul
17
Trio à Cordes: 2 violons, violoncelle
15
Violoncelle
15
Violoncelle (partie séparée)
14
Contrebasse, Piano (duo)
12
Trio à Cordes: 2 violons, alto
10
Violoncelle, Contrebasse (duo)
10
Alto (partie séparée)
7
Alto, Violoncelle (duo)
6
Contre Basse
6
Violon (partie séparée)
5
Piano Trio: Violon, Alto, Piano
5
4 Violoncelles
5
Trio à cordes: 3 violins
4
Ensemble de Violons
4
Violon, Guitare (duo)
4
2 Contrebasses (duo)
3
Harpe, Voix
3
Quintette à cordes: 2 violons, alto, violoncelle, basse
3
2 Harpes (duo)
3
Trio à Cordes: 3 violoncelles
2
Ensemble d'Altos
2
Violoncelle, Orchestre
2
Quintette à cordes: 2 violons, 2 altos, violoncelle
2
Violoncelle , Guitare (duo)
1
Quatuor à cordes: 4 violons
1
Contrebasse (partie séparée)
1
Violoncelle, Orgue
1
2 Violoncelles, Piano
1
Quatuor à cordes : 4 altos
1
3 Harpes
1
Instrumentations suivantes
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PERCUSSIONS & ORCHESTRES
Orchestre à Cordes
36
Orchestre
32
Ensemble de Percussions
20
Ensemble de cuivres
19
Orchestre d'harmonie
18
Cloches
13
Orchestre de chambre
11
Ensemble Jazz
7
Batterie
5
Piano et Orchestre
4
Percussion (partie séparée)
2
Vibraphone
1
Percussion
1
Conga
1
Marimba
1
Jazz combo
1
Instrumentations suivantes
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AUTRES
Vous avez sélectionné:
late intermediate.
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1
Concertino in C
Orchestre de chambre
Chamber Orchestra - Level 4 - Digital Download SKU: A0.901017 Composed by Jean Bapt…
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Chamber Orchestra - Level 4 - Digital Download SKU: A0.901017 Composed by Jean Baptiste Vanhal. Arranged by Tabitha Kierszka. Classical,Concert. Score and parts. 32 pages. Tabitha Kierszka #6566841. Published by Tabitha Kierszka (A0.901017). This piano concerto (concertino) by Jean Baptiste Vanhal (1739-1813) is a very charming and lively 'first concerto' for late intermediate pianists as the technical difficulty of the solo part is more or less that of the Mozart Sonata in C (KV545). The key is C major. It has three movements, Allegro moderato, Andante en Finale, which is a theme with 3 variations.The 'orchestra' consists of a viola and a violoncello part. A great student concerto, or a lively piece of chamber music. Total 32 pages, the complete score is provided as well as separate parts for the piano, viola and cello parts. This edition is created from the manuscript version of the piece. The composer provided very few performance markings, all markings in the score were given by the composer.
$5.00
4.62 €
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Orchestre de chambre
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Jean Baptiste Vanhal
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Tabitha Kierszka
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Concertino in C
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Tabitha Kierszka
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SheetMusicPlus
Catherine's Dance
Orchestre de chambre
Chamber Orchestra - Level 4 - Digital Download SKU: A0.866478 Composed by Catherine…
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Chamber Orchestra - Level 4 - Digital Download SKU: A0.866478 Composed by Catherine Crawley. 20th Century,Concert,Romantic Period,Standards. Score and parts. 4 pages. Catherine Crawley #3134273. Published by Catherine Crawley (A0.866478). This is a delicate piano solo with optional flute and strings written in the key of G major with two against three rhythmic patterns, use of rubato and rich melodic phrases intended for the late intermediate pianist.
$5.50
5.08 €
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Orchestre de chambre
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Catherine Crawley
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Catherine's Dance
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Catherine Crawley
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SheetMusicPlus
La Valse De L'amour
Orchestre de chambre
Chamber Orchestra - Level 4 - Digital Download SKU: A0.1216827 Composed by Patrick …
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Chamber Orchestra - Level 4 - Digital Download SKU: A0.1216827 Composed by Patrick Doyle. Arranged by Bryson Merkley. Classical,Contemporary,Film/TV. Score and Parts. 51 pages. Voices of the Valley #813351. Published by Voices of the Valley (A0.1216827). Flowing and beautiful, this arrangement of the original piece from Disney's Cinderella by Patrick Doyle captures the magic of Cinderella's dance with the prince. For late intermediate to advanced ensembles.Instrumentation:Flute 1 & 2Oboe 1 & 2Clarinet 1 & 2Bassoon 1 & 2French Horn 1-4GlockenspielHarp 1 & 2Violin 1Violin 2ViolaCelloBass.
$79.99
73.9 €
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Orchestre de chambre
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Patrick Doyle
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Bryson Merkley
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2
Oboe 1 &
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La Valse De L'amour
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Voices of the Valley
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SheetMusicPlus
Requiem
Orchestre de chambre
Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra - Digital Dow…
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Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra - Digital Download 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
51.73 €
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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
Olga-Polka, Op. 196 (arr. for string orchestra): Optional Percussion
Orchestre de chambre
Chamber Orchestra - Level 4 - Digital Download SKU: A0.922640 Composed by Johann St…
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Chamber Orchestra - Level 4 - Digital Download SKU: A0.922640 Composed by Johann Strauss Jr. Arranged by Aaron Meier. Romantic Period,World. Score and parts. 1 pages. Aaron Meier #5792381. Published by Aaron Meier (A0.922640). Original by Johann Strauss II Reduction to String Orchestra by Aaron Meier Part: *Optional Percussion (snare drum, triangle, cymbals) True to the original work by Strauss, this reduction for string orchestra features the ornaments and mystical writing that defines Strauss' polkas. There are optional percussion parts to be added at the discretion of the ensemble, however even without percussion the ensemble will sound full (the percussion acts as an ornament). Difficulty: Intermediate-advanced - advanced (best-suited for advanced student ensembles) --- Performance Notes: • Approximate length: 3:30 minutes • 1st Violins: In m. 1, trill a half step from a D♠to a D♮ • 2nd Violins:  - At m. 42, divide players by 3, with 2 players playing line A and the remaining player playing line B  - At m. 72-75, emphasize the E♠in the div. • Snare Drum: The buzz roll needs to be quieter than how it is played in the midi recording (*see YouTube link ↓) History: The Olga-Polka itself owed its creation to a Russian royal wedding which took place in St. Petersburg on 28 August 1857. On that day, amid accompanying splendour, the music-loving Grand Duke Michail Nikolaievich (1832-1909), youngest brother of Tsar Alexander II, married Princess Caecilie of Baden (1839-91), daughter of Archduke Leopold of Baden. Johann Strauss, who at that time was giving a summer season of concerts in nearby Pavlovsk, used the opportunity occasioned by the event to enhance his already enviable popularity with the Russian royal family and composed the Caecilien-Polka in honour of the lovely young bride. Indeed, it is clear from a letter which Johann wrote in late July 1857 to Carl Haslinger, his publisher in Vienna, that the new polka had been prepared well in advance of the wedding (the fair copy of the full orchestral score made for the publisher's engraver is dated 9 August) and was enjoying success even before the royal couple's official engagement on 16August 1857. Sometime after performing the Caecilien-Polka in Pavlovsk, Johann despatched the work to the Austrian capital where his brother Josef conducted its Viennese première, together with that of Johann's waltz Telegraphische Depeschen (op. 195, Volume 28), at his own benefit concert in the Volksgartenon Sunday 18 October 1857. The Wiener Allgemeine Theaterzeitung (16.10.1857) remarked that both works have caused a sensation in St. Petersburg and are truly genial Viennese sounds full of verve and melody. Since tradition demanded that the German Princess Caecilie adopt a Russian name - Olga Feodorovna - before her marriage, so Johann's Caecilien-Polka also underwent a change of identity. On 8 December 1857 Carl Haslinger announced the publication of Strauss's Olga-Polka, on the title page of which is the inscription: Dedicated to her Imperial Highness Grand Duchess Olga, née Princess of Baden. It was under this title, too, that Johann himself first conducted the work in Vienna at a concert in the Volksgarten on 1 November 1857, shortly after his return from Russia. Reporting on this event, the Wiener Allgemeine Theaterzeitung (3.11.1857) observed: The 'Olga-Polka' is a most delightful, fragrant musical bouquet, full of fine, gracious rhythms. [excerpted from NAXOS Records] Kemp, Peter. Program Notes - About this Recording. NAXOS, 1993, www.naxos.com/mainsite/blurbs_reviews.asp?item_code=8.223232&catNum=223232&filetype=About%20.......... Accessed 5 June 2020.
$3.99
3.69 €
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Orchestre de chambre
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Johann Strauss Jr
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Aaron Meier
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Olga-Polka, Op. 196
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Aaron Meier
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SheetMusicPlus
Serenade for flute, horn and orchestra
Orchestre de chambre
Chamber Orchestra - Level 3 - Digital Download SKU: A0.1035228 Composed by Anton Em…
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Chamber Orchestra - Level 3 - Digital Download SKU: A0.1035228 Composed by Anton Emil Titl (1809 - 1882 ). Arranged by James Strauss. Romantic Period. Score and parts. 30 pages. James Strauss #5873421. Published by James Strauss (A0.1035228). AntonÃn Emil Titl Was born October 2, 1809 in Pernstein, and died in January 21, 1882 in Vienna was an Austrian composer. Titl had been the military bandmaster in Prague since 1835. In 1840 he was hired as the successor of Heinrich Proch to the theater in Josefstadt, where he stayed until 1846. From 1850 until his retirement in 1870 he worked at the Burgtheater as Kapellmeister. As a composer, Titl created numerous songs and stage music for both of the above theaters. His greatest success was the Singspiel Der Zauberschleier by Franz Xaver Told, which contained the song A Wirtsg'schäft, which was extremely popular at the time, is really not bad.In 1898 the Titlgasse in Vienna-Hietzing was named after him. Titl's Serenade was composed for flute and horn with orchestra or piano accompaniment. With a lilting Bel Canto style in 12/8, its lyric melody features passages of filigree work that will excite and challenge the musician's technical as well as expressive capabilities. The piece is ideal for contest or recital for the intermediate player. This edition for flute, horn and orchestra is based in 2 sources , a set or parts published in 1896 by the French publisher E. GALLET plate n. G.5688 and a manuscript of the parts from Austrian National Library and has been carefully arranged and edited by James Strauss. All the discrepancies between the sources were corrected and for the very first time in a Full Score format.
$30.00
27.72 €
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Orchestre de chambre
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Anton Emil Titl
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James Strauss
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Serenade for flute, horn and orchestra
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James Strauss
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SheetMusicPlus
Nocturne for Strings- Op. 26
Orchestre de chambre
Chamber Orchestra - Level 4 - Digital Download SKU: A0.987737 Composed by Dana Tayl…
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Chamber Orchestra - Level 4 - Digital Download SKU: A0.987737 Composed by Dana Taylor. Contemporary. Score and parts. 13 pages. Dana Taylor Music #28939. Published by Dana Taylor Music (A0.987737). Nocturne for Strings is a rondo where each section of the orchestra has a chance to stand out. I chose Advanced Intermediate because the mode tends to be mixolydian, with shifting tonal centers and keys, but always melodic,and the parts are interesting. Depending on your group Nocturne is full of teachable moments, from what makes it modal to how go we modulate from one key to the next, and why. And your musicians and audience alike will be humming this afterward. Parts sold separately.
$30.00
27.72 €
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Orchestre de chambre
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Dana Taylor
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Nocturne for Strings- Op. 26
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Dana Taylor Music
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SheetMusicPlus
Nightwalk for Piano and Chamber Orchestra (Includes Score and Solo Piano with Piano Accompaniment)
Orchestre de chambre
Small Ensemble - Level 4 - Digital Download SKU: A0.864812 Composed by Lisa Donovan …
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Small Ensemble - Level 4 - Digital Download SKU: A0.864812 Composed by Lisa Donovan Lukas. Contemporary. Score and parts. 82 pages. Lisa Donovan Lukas Music (ASCAP) #4326117. Published by Lisa Donovan Lukas Music (ASCAP)
Nightwalk for Piano and Chamber Orchestra is an ideal piece of music for the late intermediate/early advanced piano student. Nightwalk is a dramatic and fiery showcase piece of music. The music serves as a terrific piece for students wishing to highlight their ensemble abilities, and looking to play contemporary piano/orchestral repertoire. This package includes the Orchestral Score, a set of all orchestral parts, Solo Piano part, and Solo Piano with Piano Accompaniment part. To listen to more of Lisa's original piano compositions, please check out Lisa's original piano music at Piano Pronto's Composers Community. https://www.youtube.com/watch?v=9JbU0shOcP8
$9.99
9.23 €
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Orchestre de chambre
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Lisa Donovan Lukas
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Nightwalk for Piano and Chamber Orchestra
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Lisa Donovan Lukas Music
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SheetMusicPlus
E Piu Ti Penso
Orchestre de chambre
Chamber Orchestra - Level 4 - Digital Download SKU: A0.567343 Composed by Elio Cesa…
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Chamber Orchestra - Level 4 - Digital Download SKU: A0.567343 Composed by Elio Cesari, Ennio Morricone, and Giulio Rapetti Mogol. Arranged by Flavio Regis Cunha. Contemporary,Contest,Festival,Film/TV,Pop,Wedding. Score and parts. 58 pages. FRC Music #176752. Published by FRC Music (A0.567343). E Più Ti Penso (The more I think of you in English), alternatively titled E Più Ti Penso (from Once Upon a Time in America) is an Italian song originally written by Ennio Morricone, Mogol, and Tony Renis for the movie Once Upon a Time in America. This is a song recorded by the Italian operatic-pop trio Il Volo in 2010 in their first CD Il Volo in 2010. Later this song was recorded by Italian singer Andrea Bocelli and American singer Ariana Grande. The song was released on 1 October 2015, and served as the lead single from Bocelli's album, Cinema (2015). Advanced Intermediate.Format: Concert, 9 x 12 inches.58 pages.
$49.99
46.18 €
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Orchestre de chambre
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Elio Cesari, Ennio Morricone, and Giulio Rapetti Mogol
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Flavio Regis Cunha
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E Piu Ti Penso
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FRC Music
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SheetMusicPlus
Mariä Wiegenlied A flat majeur
Orchestre de chambre
Flöte, Oboe, Klarinette in B, Fagott, Horn in F, Pauken - Streicher (5.5.4.3.2) soprano…
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Flöte, Oboe, Klarinette in B, Fagott, Horn in F, Pauken - Streicher (5.5.4.3.2) soprano and chamber orchestra - intermediate - Digital Download SKU: S9.Q6456 Aus Schlichte Weisen. Composed by Max Reger. This edition: score. Downloadable, Score. Op. 76/52. Duration 6 minutes. Schott Music - Digital #Q6456. Published by Schott Music - Digital (S9.Q6456). Key: A flat major. German.The vocal oeuvre of Max Reger is quite comprehensive but only few of his more than 300 works have become firmly established in the concert repertoire. One song, however, was to become a real big seller: Mariä Wiegenlied in which the composer had woven the old Christmas carol Joseph, lieber Joseph mein. Because of its huge success, Max Reger recommended to his publisher an instrumentation which he actually realized later: This gem for piano was turned into an atmospheric piece of pastoral music for voice and chamber orchestra.
$15.99
14.77 €
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Orchestre de chambre
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Max Reger
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Mariä Wiegenlied A flat majeur
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Schott Music - Digital
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SheetMusicPlus
Mariä Wiegenlied A flat majeur
Orchestre de chambre
Flöte, Oboe, Klarinette in B, Fagott, Horn in F, Pauken, Violine 1, Violine 2, Viola, V…
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Flöte, Oboe, Klarinette in B, Fagott, Horn in F, Pauken, Violine 1, Violine 2, Viola, Violoncello, Kontrabass soprano and chamber orchestra - intermediate - Digital Download SKU: S9.Q6457 Aus Schlichte Weisen. Composed by Max Reger. This edition: set of parts. Downloadable, Set of parts. Op. 76/52. Duration 6 minutes. Schott Music - Digital #Q6457. Published by Schott Music - Digital (S9.Q6457). Key: A flat major. German.The vocal œuvre of Max Reger is quite comprehensive but only few of his more than 300 works have become firmly established in the concert repertoire. One song, however, was to become a real big seller: Mariä Wiegenlied in which the composer had woven the old Christmas carol Joseph, lieber Joseph mein. Because of its huge success, Max Reger recommended to his publisher an instrumentation which he actually realized later: This gem for piano was turned into an atmospheric piece of pastoral music for voice and chamber orchestra.
$45.99
42.49 €
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Orchestre de chambre
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Max Reger
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Mariä Wiegenlied A flat majeur
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Schott Music - Digital
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SheetMusicPlus
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