English version
PARTITIONS GRATUITES
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
Accueil
Instrumentations
Compositeurs
Nouveautés
Top 100
Métronome
Portées musicales
ACHATS POUR MUSICIENS
Partitions Numériques
Librairie Musicale
Matériel de musique
Idées cadeaux
A propos de free-scores.com
Partitions
Gratuites
861
Partitions
Numériques
19
Librairie
Musicale
3
Matériel
de Musique
3 936
Partitions numériques
Accès après achat
Expédition postale
Téléchargement
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
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
Non classifié
450
PIANO & CLAVIERS
Piano seul
185
Piano Facile
80
Piano, Voix
17
Orgue
16
Piano, Voix et Guitare
15
Instruments en Do
9
2 Pianos, 4 mains
6
1 Piano, 4 mains
4
Piano Quatuor: piano, violon, alto, violoncelle
2
Piano (partie séparée)
2
Accompagnement Piano
2
Orgue, Trompette (duo)
1
Accordéon
1
Instrumentations suivantes
Retracter
GUITARES
Guitare
54
Guitare notes et tablatures
12
4 Guitares (Quatuor)
6
2 Guitares (duo)
4
Ligne De Mélodie, (Paroles) et Accords
4
Guitare (partie séparée)
4
Ensemble de guitares
4
Basse electrique
4
Mandoline
3
Piano, Guitare (duo)
2
Ukulele
1
3 Guitares (trio)
1
Dulcimer
1
Banjo
1
Instrumentations suivantes
Retracter
VOIX
Chorale SATB
46
Chorale 3 parties
16
Chorale TTBB
8
Chorale 2 parties
7
Chorale SSAA
5
Chorale Unison
4
Voix Soprano, Piano
2
Chorale SSAATTBB
1
Voix moyenne, Piano
1
Instrumentations suivantes
Retracter
VENTS
2 Saxophones (duo)
59
3 Saxophones (trio)
44
Flûte, Hautbois, Clarinette, Basson
43
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
43
Quatuor de Saxophones: 4 saxophones
41
Clarinette et Piano
37
Flûte traversière et Piano
37
2 Flûtes traversières (duo)
35
Hautbois, Piano (duo)
35
Clarinette
30
Saxophone (partie séparée)
28
Saxophone Alto et Piano
25
Saxophone Tenor et Piano
25
Saxophone Soprano et Piano
25
2 Clarinettes (duo)
24
Saxophone, Clarinette (duo)
22
Quintette de Saxophone: 5 saxophones
21
3 Clarinettes (trio)
20
Flûte, Clarinette (duo)
19
Saxophone Baryton, Piano
18
Clarinette, Violon (duo)
17
2 Hautbois (duo)
17
Hautbois, Clarinette, Basson (trio d'anches)
15
Cor anglais, Piano
15
Flûte, Hautbois, Clarinette (trio)
14
Saxophone Alto
13
Quatuor de Flûtes : 4 flûtes
13
Quatuor de Clarinettes: 4 clarinettes
13
Ensemble de Clarinettes
11
Hautbois, Clarinette (duo)
11
Flûte, Hautbois, Basson
10
Flûte, Clarinette et Basson
10
Clarinette, Trompette (duo)
10
Flûte traversière
10
Quintette de Flûte : 5 flûtes
9
Hautbois, Basson (duo)
9
Clarinette et Alto
8
Trio de Flûtes: 3 flûtes
8
Saxophone Baryton
8
Hautbois (partie séparée)
8
Flûte, Violon
8
2 Flûte à bec (duo)
7
Flûte, Saxophone (duo)
7
Hautbois, Flûte
7
Clarinette Basse, Piano
6
Hautbois
6
2 Clarinettes, Basson
6
Clarinette, Basson (duo)
6
Saxophone Soprano
6
Piccolo, Piano
6
Flûte à bec Soprano
6
Ensemble De Flûte à bec
6
Cor Anglais
6
Flûte, Trompette (duo)
6
Ensemble de saxophones
5
Flûte à bec Tenor
5
Ensemble de Flûtes
5
Flûte, Alto (duo)
5
Piccolo
4
Flûte à bec Alto, Piano
4
Saxophone Tenor
4
Flûte à Bec, Piano
4
Quatuor de Flûtes à bec
3
Clarinette, Violoncelle (duo)
3
Flûte, Violoncelle
3
Flûte et Guitare
3
Quintette de Clarinettes: 5 clarinettes
2
2 Cors Anglais Et Pianoforte
2
Hautbois, Violoncelle
2
Flute (partie séparée)
2
3 Hautbois
2
3 Flûtes à bec (trio)
2
Flûte, Hautbois (duo)
2
Hautbois et alto (duo)
1
Flûte, Tuba (duo)
1
Flûte, Violon et Violoncelle
1
Flûte, Trombone (duo)
1
Flûte à Bec
1
Hautbois, Violin, Alto et Violoncelle (Quatuor)
1
Flûte et Trio à cordes
1
5 Flûtes à bec
1
Quatuor de Clarinettes: Clarinette, Violon, Alto, Violoncelle
1
Flûte à bec Alto
1
Instrumentations suivantes
Retracter
CUIVRES
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
36
Trompette, Piano
34
Trombone et Piano
32
Trompette
30
Cor et Piano
24
Tuba et Piano
19
Cor
18
Quatuor de Cuivres: 2 trompettes, Cor, trombone
16
Cor anglais, Piano
15
Trompette, Saxophone (duo)
14
Quatuor de cuivres: 4 trombones
14
2 Trompettes (duo)
13
Trombone
13
2 Trombones (duo)
13
Trompette, Trombone (duo)
13
Euphonium, Piano (duo)
12
Quatuor de cuivres: 4 cors
12
Quatuor de Cuivres : 2 trompettes, trombone, tuba
12
Quatuor de Cuivres
11
Quatuor de cuivres: 4 trompettes
9
Trombone (partie séparée)
9
Tuba
9
Trompette, Cor (duo)
8
Trompette (partie séparée)
8
2 Cors (duo)
7
Cor Anglais
6
4 Tubas
5
Trombone, Cor (duo)
4
Trombone basse
4
Trombone basse et Piano
3
3 Trompettes (trio)
3
2 Tubas (duo)
3
2 Cors Anglais Et Pianoforte
2
Cor, Tuba (duo)
2
Ensemble de Cors
2
3 Tubas (trio)
2
Cor (partie séparée)
2
Tuba (partie séparée)
2
Euphonium, Tuba (duo)
1
3 Cors (trio)
1
Euphonium
1
Bass Clef Instruments
1
3 Trombones (trio)
1
Trompette, Tuba (duo)
1
Ensemble de Trompettes
1
2 Euphoniums et 2 Tubas
1
Ensemble de Trombones
1
Trombone, Violon (duo)
1
Trombone, Tuba (duo)
1
Trio de Cuivres
1
Instrumentations suivantes
Retracter
CORDES
Quatuor à cordes: 2 violons, alto, violoncelle
107
Violoncelle, Piano
45
Trio à Cordes: violon, alto, violoncelle
43
Violon et Piano
43
Violon, Violoncelle (duo)
34
Alto, Piano
34
2 Violons (duo)
29
Violon
25
Violon, Alto (duo)
21
2 Altos (duo)
20
Quintette à cordes: 2 violons, alto, violoncelle, basse
19
Alto seul
15
2 Violoncelles (duo)
14
Violoncelle
13
Violoncelle (partie séparée)
13
4 Violoncelles
13
Contrebasse, Piano (duo)
11
Trio à cordes: 3 violins
9
Contre Basse
9
Harpe
8
Trio à Cordes: 2 violons, violoncelle
7
Quatuor à cordes : 4 altos
6
Quatuor à cordes: 4 violons
6
Alto, Violoncelle (duo)
4
Violon, Guitare (duo)
4
Violoncelle , Guitare (duo)
3
Trio à Cordes: 3 violoncelles
3
Trio à cordes: 3 altos
3
Violon (partie séparée)
2
Alto (partie séparée)
2
Contrebasse (partie séparée)
2
Violon, Basson (duo)
2
Violoncelle, Contrebasse (duo)
1
Ensemble de Violoncelles
1
Trio à Cordes: 2 violons, alto
1
Harpe, Flûte (duo)
1
Violoncelle, Basse continue
1
4 Contrebasses
1
Instrumentations suivantes
Retracter
PERCUSSIONS & ORCHESTRES
Orchestre à Cordes
42
Orchestre
33
Orchestre d'harmonie
30
Cloches
25
Orchestre de chambre
19
Marimba
18
Ensemble Jazz
13
Ensemble de cuivres
8
Batterie (partie séparée)
2
Batterie
2
Instrumentation Flexible
1
Jazz combo
1
Fanfare
1
Vibraphone
1
Ensemble de Percussions
1
Percussion (partie séparée)
1
Instrumentations suivantes
Retracter
AUTRES
Vous avez sélectionné:
no idea
Orchestre de chambre
Partitions à imprimer
19 partitions trouvées
<
1
Piano Concerto No. 1 - Score Only
Orchestre de chambre
Chamber Orchestra - Level 3 - Digital Download SKU: A0.1197642 Composed by Juan Mar…
(+)
Chamber Orchestra - Level 3 - Digital Download 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
23.02 €
#
Orchestre de chambre
#
Juan MarÃa Solare
#
Piano Concerto No. 1 - Score Only
#
Juan Maria Solare
#
SheetMusicPlus
Piano Concerto No. 1 - FIRST movement [score and parts]
Orchestre de chambre
Chamber Orchestra - Level 3 - Digital Download SKU: A0.1197728 By Juan MarÃa Sol…
(+)
Chamber Orchestra - Level 3 - Digital Download 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
30.39 €
#
Orchestre de chambre
#
Juan MarÃa Solare
#
Piano Concerto No. 1 - FIRST movement [score and parts]
#
Juan Maria Solare
#
SheetMusicPlus
Piano Concerto No. 1 - SECOND movement [score and parts]
Orchestre de chambre
Chamber Orchestra - Level 3 - Digital Download SKU: A0.1197730 By Juan MarÃa Sol…
(+)
Chamber Orchestra - Level 3 - Digital Download 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
30.39 €
#
Orchestre de chambre
#
Juan MarÃa Solare
#
Juan MarÃa Solare
#
Piano Concerto No. 1 - SECOND movement [score and parts]
#
Juan Maria Solare
#
SheetMusicPlus
Piano Concerto No. 1 - THIRD movement [score and parts]
Orchestre de chambre
Chamber Orchestra - Level 3 - Digital Download SKU: A0.1197732 Composed by Juan Mar…
(+)
Chamber Orchestra - Level 3 - Digital Download 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
30.39 €
#
Orchestre de chambre
#
Juan MarÃa Solare
#
Piano Concerto No. 1 - THIRD movement [score and parts]
#
Juan Maria Solare
#
SheetMusicPlus
Symphony No. 2, "Litanies of Love and Rain" (2004) for orchestra, study score
Orchestre de chambre
Chamber Orchestra - Level 4 - Digital Download SKU: A0.533598 Composed by Carson Co…
(+)
Chamber Orchestra - Level 4 - Digital Download SKU: A0.533598 Composed by Carson Cooman. Contemporary. Score and parts. 34 pages. Musik Fabrik Music Publishing #3030255. Published by Musik Fabrik Music Publishing (A0.533598). Symphony No. 2, Litanies of Love and Rain (2004) for orchestra is a symphonic work in onemovement. It is dedicated to Marisa Green.The work is inspired by a poem (Desiring the Solicitude of Rain) by American poet Kathleen Wakefield. The landscape of rich imagery in Wakefield's poem drives the extra-musical inspiration of this work. Musical material from the earlier vocal work is re-imagined in a purely orchestral context.Wakefield's poem contains images and messages of love and journey amidst the desire for the coming of rain. It is these ideas which provided the poetic conception of the work. Throughout the piece, the winds and brass play an extensive lyric and melodic role. A strand of singing lyricism runs throughout. Instruments are always exploring and highlighting theresonances in melodic and contrapuntal lines of other instruments. The work is cast in three sections (slow-fast-slow) plus a coda. The opening section begins with a forceful gesture that returns throughout the work as a signal. A melodic idea (containing the basic material of the work) is presented in the clarinet and it is developed throughout the rest ofthe section. A faster section emerges in a burst of energy as instruments hocket off each other.The next section is marked slow, ritualistic. The strings create an otherworldly harmonic cloud of gradually shifting and overlapping harmonies. Through this cloud, bassoon, trumpet,and flute solos emerge. Finally, the opening music is recalled in the coda as the potential energy continues to build. The work ends with a surge of anticipation -- the rain is about to come and it can be imagined just beyond the horizon.Orchestration: 2222/2200/1perc/stringsParts on rental from the publisher.
$16.95
15.61 €
#
Orchestre de chambre
#
Carson Cooman
#
Symphony No. 2, "Litanies of Love and Rain"
#
Musik Fabrik Music Publishing
#
SheetMusicPlus
Concerto for Oboe in C Major, Op. 9 No. 5 and String Orchestra
Orchestre de chambre
Chamber Orchestra - Level 4 - Digital Download SKU: A0.955155 Composed by Tomaso Al…
(+)
Chamber Orchestra - Level 4 - Digital Download SKU: A0.955155 Composed by Tomaso Albinoni (1671-1751). Arranged by Don Werdick (1946 - ). Baroque. Score and parts. 55 pages. Chamber Ensemble of Minnesota, Inc. #5711027. Published by Chamber Ensemble of Minnesota, Inc. (A0.955155). Complete score and parts of the Concerto for Oboe in C Major, Op. 9, No. 5 and String Orchestra , composed in 1722 by T. Albinoni, arranged by D Werdick. Movements: 1. Allegro 2. Adagio ma non troppo 3. Allegro Time: 8 minutes, 50 seconds Full Score + Parts: Oboe, Violin I, Violin II, Viola, Cello, Double BassThis arrangement offers dynamics, articulations, ornamentation and nuances of tone color as to how to effectively present the composition and can help the performer to build on these ideas to effectively communicate the sense of the music ... 2020 Chamber Ensemble of Minnesota, Inc.
$17.00
15.65 €
#
Orchestre de chambre
#
Tomaso Albinoni
#
Don Werdick (1946 - )
#
Concerto for Oboe in C Major, Op. 9 No. 5 and String Orchestra
#
Chamber Ensemble of Minnesota, Inc.
#
SheetMusicPlus
Concerto for English horn in C Major, Op. 9 No. 5 and String Orchestra
Orchestre de chambre
Chamber Orchestra - Level 4 - Digital Download SKU: A0.955158 Composed by Tomaso Al…
(+)
Chamber Orchestra - Level 4 - Digital Download SKU: A0.955158 Composed by Tomaso Albinoni (1671-1751). Arranged by Don Werdick (1946 - ). Baroque. Score and parts. 55 pages. Chamber Ensemble of Minnesota, Inc. #5711829. Published by Chamber Ensemble of Minnesota, Inc. (A0.955158). Complete score and parts of the Concerto for Oboe in C Major, Op. 9, No. 5 and String Orchestra , composed in 1722 by T. Albinoni, arranged for English horn by D Werdick. Movements: 1. Allegro 2. Adagio ma non troppo 3. Allegro Time: 8 minutes, 50 seconds Full Score + Parts: English horn, Violin I, Violin II, Viola, Cello, Double Bass This arrangement offers dynamics, articulations, ornamentation and nuances of tone color as to how to effectively present the composition and can help the performer to build on these ideas to effectively communicate the sense of the music ... 2020 Chamber Ensemble of Minnesota, Inc.
$17.00
15.65 €
#
Orchestre de chambre
#
Tomaso Albinoni
#
Don Werdick (1946 - )
#
Concerto for English horn in C Major, Op. 9 No. 5 and String Orchestra
#
Chamber Ensemble of Minnesota, Inc.
#
SheetMusicPlus
Symphony No. 2 in C Minor "Resurrection" - Score Only
Orchestre de chambre
Chamber Orchestra - Level 5 - Digital Download SKU: A0.1048751 Composed by Gustav M…
(+)
Chamber Orchestra - Level 5 - Digital Download SKU: A0.1048751 Composed by Gustav Mahler. Arranged by Yoon Jae Lee. Classical,Romantic Period,Traditional. 304 pages. Ondine Press #653164. Published by Ondine Press (A0.1048751). Instrumentation: 2d2. 2d1. 2d Eflat (& bass cl. ad lib.). 2 (cfag. ad lib) - 4. 2. 2. 0 - tp - 1 (2) perc. hrp - str This orchestral reduction of Mahler's Symphony No. 2 by Yoon Jae Lee, can be performed by a chamber orchestra of approximately 33 to 38 players. The arrangement remains very faithful to Mahler's original and is ideal for professional chamber orchestras, academic conducting programs, student conductor concerts, or whenever the full orchestral forces required for the original are not present. Vocal lines are cued in the instruments and can be performed by orchestra only. This arrangement is part of the Mahler Chamber Project (MCP), a series of orchestral reductions of Gustav Mahler’s symphonic works created by conductor and arranger Yoon Jae Lee. The project encompasses the 9 complete symphonies, sections of the 10th symphony, and Das Lied von der Erde. Performance material available for hire worldwide through Ondine Press. Please email ondinepress@gmail.com for all rental inquiries.
$80.00
73.66 €
#
Orchestre de chambre
#
Gustav Mahler
#
Yoon Jae Lee
#
bass cl
#
Symphony No. 2 in C Minor "Resurrection" - Score Only
#
Ondine Press
#
SheetMusicPlus
Mahler (arr. Lee): Symphony No. 1 in D Major 2nd movement - Score Only
Orchestre de chambre
Chamber Orchestra - Level 5 - Digital Download SKU: A0.866094 Composed by Gustav Ma…
(+)
Chamber Orchestra - Level 5 - Digital Download SKU: A0.866094 Composed by Gustav Mahler. Arranged by Yoon Jae Lee. Classical,Romantic Period. Score and parts. 38 pages. Ondine Press #13399. Published by Ondine Press (A0.866094). Instrumentation: 2d1. 2d1. 2d Eflat & bass cl. 2 (cfag. ad lib) - 4. 2. 2. 0 - tp - 1 (2) perc. hrp - str This arrangement of Mahler's Symphony No. 1 can be performed by a chamber orchestra of approximately 33 to 38 players. The arrangement remains very faithful to Mahler's original and is ideal for professional chamber orchestras, academic conducting programs, student conductor concerts, or whenever the full orchestral forces required for the original are not present. View perusal score: http://issuu.com/ondinepress/docs/mahler_symphony_1 Performance material available for hire. Please email ondinepress@gmail.com for all rental inquiries. NOTE: This is the full score of the 2nd movement only.
$25.00
23.02 €
#
Orchestre de chambre
#
Gustav Mahler
#
Yoon Jae Lee
#
Mahler
#
Ondine Press
#
SheetMusicPlus
Mahler (arr. Lee): Symphony No. 1 in D Major 1st movement - Score Only
Orchestre de chambre
Chamber Orchestra - Level 5 - Digital Download SKU: A0.866093 Composed by Gustav Ma…
(+)
Chamber Orchestra - Level 5 - Digital Download SKU: A0.866093 Composed by Gustav Mahler. Arranged by Yoon Jae Lee. Classical,Romantic Period. Score and parts. 59 pages. Ondine Press #13397. Published by Ondine Press (A0.866093). Instrumentation: 2d1. 2d1. 2d Eflat & bass cl. 2 (cfag. ad lib) - 4. 2. 2. 0 - tp - 1 (2) perc. hrp - str This arrangement of Mahler's Symphony No. 1 can be performed by a chamber orchestra of approximately 33 to 38 players. The arrangement remains very faithful to Mahler's original and is ideal for professional chamber orchestras, academic conducting programs, student conductor concerts, or whenever the full orchestral forces required for the original are not present. View perusal score: http://issuu.com/ondinepress/docs/mahler_symphony_1 Performance material available for hire. Please email ondinepress@gmail.com for all rental inquiries. NOTE: This is the full score of the 1st movement only.
$25.00
23.02 €
#
Orchestre de chambre
#
Gustav Mahler
#
Yoon Jae Lee
#
Mahler
#
Ondine Press
#
SheetMusicPlus
Mahler (arr. Lee): Symphony No. 4 in G Major 2nd movement, Full Score
Orchestre de chambre
Chamber Orchestra - Level 5 - Digital Download SKU: A0.866073 Composed by Gustav Ma…
(+)
Chamber Orchestra - Level 5 - Digital Download SKU: A0.866073 Composed by Gustav Mahler. Arranged by Yoon Jae Lee. Romantic Period. Score and parts. 39 pages. Ondine Press #2011447. Published by Ondine Press (A0.866073). This arrangement of Mahler's most intimate orchestral work can be performed by a chamber orchestra of approximately 26 to 34 players. The arrangement remains very faithful to Mahler's original and is ideal for professional chamber orchestras, academic conducting programs, student conductor concerts, or whenever the full orchestral forces required for the original are not present. Instrumentation: 1d1, 1d1, 2d Eflat & bass cl, 1 - 2, 0, 0, 0 - 2 (3) perc, 1 hrp - str. Illuminating.....with solos leaping out in unusually bold detail. - New York Times. NOTE: This is the full score of the 2nd movement only. Sold in individual movements due to technical limits of Digital Print Publishing regarding # of pages in a file.
$20.00
18.42 €
#
Orchestre de chambre
#
Gustav Mahler
#
Yoon Jae Lee
#
Mahler
#
Ondine Press
#
SheetMusicPlus
Symphony No. 4 in G Major - Score Only
Orchestre de chambre
Chamber Orchestra - Level 5 - Digital Download SKU: A0.866113 Composed by Gustav Ma…
(+)
Chamber Orchestra - Level 5 - Digital Download SKU: A0.866113 Composed by Gustav Mahler. Arranged by Yoon Jae Lee. Instructional,Multicultural,Romantic Period,World. 175 pages. Ondine Press #3407337. Published by Ondine Press (A0.866113). Instrumentation: 1d1. 1d1. 2d Eflat & bass cl. 1 - 2. 1. 0. 0 - 2 (3) perc. 1 hrp - str. This arrangement of Mahler's most intimate orchestral work can be performed by a chamber orchestra of approximately 26 to 34 players. The arrangement remains very faithful to Mahler's original and is ideal for professional chamber orchestras, academic conducting programs, student conductor concerts, or whenever the full orchestral forces required for the original are not present. Reviews: Illuminating.....with solos leaping out in unusually bold detail. Steve Smith, New York Times http://thechronicleherald.ca/artslife/910697-sns-brings-condensed-intensity-to-mahler-fourth Click link below to purchase full score online. http://ondinepress.musicaneo.com/sheetmusic/sm-188749_mahler_arr_lee_symphony_no_4_in_g_major_full_s... Performance material available for hire. Please email ondinepress@gmail.com for all rental inquiries.
$60.00
55.25 €
#
Orchestre de chambre
#
Gustav Mahler
#
Yoon Jae Lee
#
bass cl
#
Symphony No. 4 in G Major - Score Only
#
Ondine Press
#
SheetMusicPlus
Dreams - Score Only
Orchestre de chambre
Chamber Orchestra - Level 3 - Digital Download SKU: A0.1317400 Composed by Juan Gue…
(+)
Chamber Orchestra - Level 3 - Digital Download SKU: A0.1317400 Composed by Juan Guerra González. 21st Century,Classical. 96 pages. Juan Carlos Guerra Gonzalez #906062. Published by Juan Carlos Guerra Gonzalez (A0.1317400). DREAMS (for Symphony Orchestra)SCORE ONLY Please visit www.juancarlosguerra.com/dreams to buy or rent the parts. Scored for1 Flute1 Oboe1 Clarinet in Bb1 Basoon2 Percussion Players: 1 TimpaniViolin IViolin IIViolaVioloncelloDouble BassAn easy-to-read to read and fascinating piece for a symphony orchestra with a reduced number of winds and no brass. It can be suited ideally in any setting.Program Note“Dreams†is a suite for symphony orchestra in three movements. The work was kindly commissioned by Dr. Luis VÃquez, conductor of the University of Rhode Island’s Symphony Orchestra and to whom this work is being dedicated alongside with his wife Melissa. The titles of the movements come from either an specific dream, or other topics about dreaming that I discovered in the process of writing the work. I. Cherry trees in the morningNature has always inspired me. Every year during spring my family has the tradition to visit the Brooklyn Botanic Garden to experience the cherry blossoms. I usually do not remember many of my dreams but in this particular dream I was in Japan under an esplanade of cherry trees. I remember how amazed I feel and is for sure one of my most memorable dreams. II. DreamcatcherWhile I was writing the initial ideas of for the work I came across a Journal that explored how the use of a particular chord helped reduce nightmares in patients suffering from nightmare disorders. In the study, patients were exposed to the chord C69 (A C Major with the added 6th and 9th) during therapeutic sessions. This chord is used at the beginning of the movement as it moves to explore different sonorities. In this movement you might be able to hear a representation of the “heartbeat†played by the bass drum and timpani, then a more “stressful†section will come to represent a nightmare followed again by another repetition of the C69 chord. If you feel relaxed during the performance, it is on purpose! III. A Dance in the desertDreams, in my case, are usually a mix of different non-related things. For the final movement, I decided to use that idea. I started this dance with a “oriental†style and them throughout the middle of the movement I moved it to a waltz that was influenced by my grandfather. He used to have a small orchestra and he used to play waltzes during events and private parties.I hope the music takes you through a journey of musical emotions.Juan Guerra González
$159.99
147.32 €
#
Orchestre de chambre
#
Juan Guerra González
#
Dreams - Score Only
#
Juan Carlos Guerra Gonzalez
#
SheetMusicPlus
Claude Debussy: Sérénade for violin and 17 instrments, full score and solo part only (parts on ren
Orchestre de chambre
Chamber Orchestra - Level 4 - Digital Download SKU: A0.1080705 Composed by Claude D…
(+)
Chamber Orchestra - Level 4 - Digital Download SKU: A0.1080705 Composed by Claude Debussy/Robert Orledge. 20th Century,Romantic Period,Standards. Score and parts. 30 pages. Musik Fabrik Music Publishing #4727447. Published by Musik Fabrik Music Publishing (A0.1080705). Instrumentation2 flûtes/2 flutescor anglais (doublant hautbois/doubling oboe)clarinette en La/clarinet in Abasson/bassooncor en Fa/horn in Fpercission (1 éxecutant - timbales (3)/cymbale suspendue, tambour de basque)/percussion (1 performer - timpani (3)/suspended cymbal, tambourine)harpe/harp9 cordes/9 strings (2.2.2.2.1)durée/duration: 5 minutes 30 secconds (environ/approx.) Une versions pour violon et piano ainsi qu’une version pour violon et orchestre (31CA(hb)23/2100/timb/perc/hpe/cordes)est également disponibile/A version for violin and piano as well as a version for violin and orchestra (31EH(ob)23/2100/timp/perc/strings) is also available.______________________Prmière: Edmond Agapian, violin with the Calagray (CA) Youth orchestra, cond. Gareth Jones, University of Calgary, 28 Janaury, 2011Première of the version for violin and 17 instruments: Frédéric Moisan, violin Orchestre 21 cond. Paolo Bellomio, Unveristy of Montreal, Canada, 2 March 2012Preface:In the early 1890s, Debussy composed the opening of a lyrical piece in E major for violin and piano, perhaps as a shorter companion piece for the violin Nocturne he was planning for the Belgian violinist Eugène Ysaÿe. After Debussy’s death in 1918, his second wife Emma often gave away sketch pages to performers or composers as memorials to her beloved husband , and this particular page was given to the Cuban born pianist and composer Joaquin Nin (1879-1949). It came up for sale in the catalogue of the British antiquarian dealer Lisa Cox in 2010 and although it might possibly be an early song for contralto and piano, the more dynamic idea in bar 12 strongly suggests the violin, especially as it begins on an open D string. Moreover, there is no text and in pieces of this length, Debussy usually wrote at least one word in, if only to remind himself where he had got to in any song. So my starting point was a complete 12-bar melody gently undulating in the violin’s lowest register over a sensual accompaniment, rising to a climax in bar 12 and giving me a contrasting idea that I could use as a link between sections and in the cadenza. As the B section (bars 14-26) derives directly from Debussy’s opening theme by metamorphosis, my own additions were restricted to the central section (bars 27-57) - comprising a new scherzando idea (C) and the more lyrical D (bars 36-46). C returns at bar 47, followed by the opening sections in reverse order, so that the Sérénade begins and ends with Debussy’s material and is cast in arch form (ABCDCBA). Robert OrledgeBrighton, 19 June 2019Robert Orledge was born in Bath in 1948 and educated at Clare College, Cambridge, where he gained his doctorate for his study of the composer Charles Kœchlin in 1973. Between 1971 and 1991 He rose from Lecturer to Professor in the Music Department of the University of Liverpool, publishing books on Gabriel Fauré, Claude Debussy, Charles Kœchlin and Erik Satie, as well as numerous articles, editions and reviews. As a historical musicologist, Professor Orledge specialized in the way composers composed, ,and since taking early retirement in 2004, he has concentrated on completing and orchestrating Debussy’s unfinished works, and especially his theatre projects. His completion of Debussy’s opera The Fall of the House of Usher (1908-17) was successfully premiered at the Bregenz Opera Festival in Austria in August 2006 and has since been performed in America, Portugal Germany and Holland, as well as being broadcast throughout Europe. A DVD of the Bregenz premier is available on Capriccio 93517, produced by Phylida Lloyd and conducted by Lawrence Foster. His completion of the Chinese ballet No-ja-li ou Le Palais du Silence (1914) was also premiered in 2006 in Los Angeles and ot.
$16.95
15.61 €
#
Orchestre de chambre
#
Claude Debussy/Robert Orledge
#
Claude Debussy: Sérénade for violin and 17 instrments, full score and solo part only
#
Musik Fabrik Music Publishing
#
SheetMusicPlus
Homage to Sibelius
Orchestre de chambre
Chamber Orchestra - Level 4 - Digital Download SKU: A0.1308171 Composed by Stanley …
(+)
Chamber Orchestra - Level 4 - Digital Download SKU: A0.1308171 Composed by Stanley M Hoffman. 21st Century,Classical. Score and Parts. 207 pages. Stanleymhoffman.com #897424. Published by stanleymhoffman.com (A0.1308171). I have long wanted to compose an homage to Jean Sibelius. However, his music is copyright protected in the EU for another five years or so. Thus, I struggled with how to compose a work without any direct musical quotations, and yet which in some way captures the essence of his symphonic music. I had a breakthrough in recent weeks, and the result is an eleven-minute orchestral composition which manages to invoke his music without directly quoting it. The opening passage on which the piece is based invokes the opening of Symphony No. 6 without quoting it; also, my homage is in the key of A Minor whereas the symphony is in the key of D minor. The piece also invokes the orchestral colors of one of my other favorite pieces of Sibelius, The Swan of Tuonela. My composition is scored very closely to that one, but I ended up using two oboes; I never needed an English Horn, and I added two flutes to that scoring. Thus, the instrumentation is as follows: 2fl-2ob-1cl/bcl-2bn-4hn-3tbn-timp-bd-str; the duration is ca. 11:30. My homage also invokes the more youthful compositions of the great master, and of course features his biggest personal influence, the sounds of nature. Sibelius was a master of musical forms. He managed to create entirely original forms such as the one for Symphony No. 7. While I do not pretend to be in his league in any way, I did manage to compose a work in a four-part form, which is unusual, and not the least of which for me. The piece contains all kinds of indirect references to the music of Sibelius through the use of motifs, melodies, harmonies, ornamentation, and orchestration.While not the most original piece of music I have ever composed (that would be The City In the Sea: Choral Tone Poem), my Homage to Sibelius is among the most subtle of my works in that it contains a good deal of variation technique, and a lot of attention to detail. Like my Homage to Vaughan Williams for string orchestra, the idea was not to break new stylistic ground, but rather to pay homage to the ground broken by the master. More so than anything, my Homage to Sibelius invokes how the symphonic music of Sibelius makes me feel when I am listening to it. I hope you enjoy it.---HOMAGE TO SIBELIUS for Chamber OrchestraMusic by  Stanley M. Hoffman (b. 1959 [BMI]) Inspired by the Music of Jean Sibelius (1865–1957)NotePerformer 4 Audio and Scrolling Score Video Seeking Live PerformancesMusic:© Copyright 2023 by Stanley M. Hoffman. www(dot)stanleymhoffman(dot)comAll rights reserved.  The sheet music is available from the composer and from Sheet Music Plus.
$103.50
95.3 €
#
Orchestre de chambre
#
Stanley M Hoffman
#
Homage to Sibelius
#
stanleymhoffman.com
#
SheetMusicPlus
Concerto Grosso (2017) for chamber orchestra
Orchestre de chambre
Chamber Orchestra - Level 4 - Digital Download SKU: A0.869525 Composed by Thomas Ob…
(+)
Chamber Orchestra - Level 4 - Digital Download SKU: A0.869525 Composed by Thomas Oboe Lee. 20th Century,Classical,Contemporary,Romantic Period. Score and parts. 78 pages. Thomas Oboe Lee #3112103. Published by Thomas Oboe Lee (A0.869525). Instrumentation: 2222-2200-timp-stringsSteve Laven, cellist with the Boston Pro Arte Chamber Orchestra, contacted me a month ago and asked if I would be interested in writing a work to help celebrate the 40th Anniversary of the founding of the Pro Arte Chamber Orchestra. I said, Sure!!! He said it would be nice if I would consider a concerto grosso in which the principal players of the orchestra would each get a feature. I agreed that that would be a fine idea. So, on June 18th, 2017, I started working on it. And since I am on summer vacation from teaching I was able to finished the 557-measure work on July 2nd, fifteen days after I started. In 2018 just before I made plans to get the work recorded I made some revisions. One major change was that I cut the fourth movement out completely. It is now a mere 482 measures long. The work is now in three movements. 1. Introduction; Allegro 2. Presto 3. Largo Duration: ca. 17 minutes.YouTube link: https://youtu.be/xIMSFEd0p8oBandcamp link: https://thomasoboelee.bandcamp.com/album/concerto-grosso-2017PS: This is the sixth work that the PACO has performed of my music. 1. Phantasia for Elvira Shatayev (1981) with soprano Judith Kellock and Newell Hendricks.2. Harp Concerto (1985) with Ann Hobson-Pilot and Gunther Schuller.3. Symphony No. 1 ... Fallen Angels (1993, rev. 1995) with Gunther Schuller.4. Forró (1998) with Gunther Schuller.5. Daphne ... An Imaginary Ballet (2015) with Beatrice Affron.6. Concerto Grosso (2017) with Kevin Rhodes.
$9.99
9.2 €
#
Orchestre de chambre
#
Thomas Oboe Lee
#
Allegro
#
Concerto Grosso
#
Thomas Oboe Lee
#
SheetMusicPlus
Mysteries of the Macabre
Orchestre de chambre
Solo-trumpet in C or Koloratursoprano and chamber orchestra - difficult - Digital Download…
(+)
Solo-trumpet in C or Koloratursoprano and chamber orchestra - difficult - Digital Download SKU: S9.Q3051 Three aria from the opera Le Grand Macabre. Composed by Gyorgy Ligeti. This edition: study score. Music Of Our Time. Downloadable, Study score. Duration 9 minutes. Schott Music - Digital #Q3051. Published by Schott Music - Digital (S9.Q3051). English • German.I composed my opera Le Grand Macabre from 1974 to 1997. The Mysteries of the Macabre are arrangements of three coloratura arias of the chief of the “Secret Political Police†which have been arranged (beautifully!) for chamber ensemble by Elgar Howarth. My friend Howarth had conducted the world premiere of the opera in Stockholm in 1978 and some of the further productions. The half-nonsense text is an immediate – however more accurate – continuation of the idea of my works Aventures and Nouvelles Aventures, but there is no chromatics in the music any more.1 (auch Picc.) · 1 · 1 (auch Baßklar.) · 1 (auch Kontrafag.) – 1 · 1 · 1 (ad lib. auch Kontrabaßpos.) · 0 – P.S. (kl. Tr. · gr. Tr. · Tomt. · 4 Bong. · hg. Beck. · Beckenpaar · 4 Tempelbl. · Schellentr. · Crot. · Kast. · Tamt. · Glspl. · Mar. · Guero · Lotosfl. · 1 Blatt festes Pack-papier · Signalpf. · Trillerpf. · Woodbl.) – Klav. (auch Cel.) · Mand. – Str. (1 · 1 · 1 · 1 · 1).
$27.99
25.77 €
#
Orchestre de chambre
#
Gyorgy Ligeti
#
Mysteries of the Macabre
#
Schott Music - Digital
#
SheetMusicPlus
Serenade Rondo (2013) for violin solo and chamber orchestra
Orchestre de chambre
Chamber Orchestra - Level 4 - Digital Download SKU: A0.869428 Composed by Thomas Ob…
(+)
Chamber Orchestra - Level 4 - Digital Download SKU: A0.869428 Composed by Thomas Oboe Lee. 20th Century,Baroque,Classical,Contemporary,Romantic Period. Score and parts. 36 pages. Thomas Oboe Lee #2071135. Published by Thomas Oboe Lee (A0.869428). Instrumentation: oboe, english horn, 2 french horns, and strings. I met Sharon Roffman in the fall of 2011 when maestro Steven Lipsitt and the Boston Classical Orchestra premiered my Symphony No. 8 … The City of Light at Faneuil Hall in Boston, Massachusetts. Sharon was the featured concerto soloist on the same program. She was an electrifying soloist in concertos by Mozart and Haydn, respectively. She wowed every one with her chops and musicality! A year later I went to hear Sharon and the BCO again, and this time I said to Steven Lipsitt that I want to write a concerto for Sharon. He thought it was great idea, and so did she. The title Serenade Rondo has the same acronym as Sharon Roffman. So in this case, the form precedes the composition. Originally I had planned to compose the concerto in the usual three-movement format. And I thought I was going to make the last movement a rondo, something in the usual ABACA thing. But as I proceeded with the composition, I realized that the work was moving in such a way that the whole thing could be conceived of as a rondo. Ultimately Serenade Rondo ended up in this form: ABACDAAudio link: https://thomasoboelee.bandcamp.com/album/serenade-rondo-2013Video link: https://youtu.be/4UPHQlqVNp8
$9.99
9.2 €
#
Orchestre de chambre
#
Thomas Oboe Lee
#
Serenade Rondo
#
Thomas Oboe Lee
#
SheetMusicPlus
Requiem
Orchestre de chambre
Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra - Digital Dow…
(+)
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
51.56 €
#
Orchestre de chambre
#
Harald Weiss
#
Requiem
#
Schott Music - Digital
#
SheetMusicPlus
<
1
© 2000 - 2024
Accueil
-
Nouveautés
-
Compositeurs
Mentions légales
-
Version intégrale
