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Vous avez sélectionné:
Era Oscuro
Partitions à imprimer
6 partitions trouvées
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Era Oscuro
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Chorale SATB
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INTERMÉDIAIRE
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Rob Dietz
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Era Oscuro
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Rob Dietz
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SheetMusicPlus
Choral Choir (SATB divisi) - Level 3 - SKU: A0.1210233 Composed by Rob Dietz. A Cappella,Contemporary,Contest,Festival,Jewish. Octavo. 15 pages. Rob Die...
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Choral Choir (SATB divisi) - Level 3 - SKU: A0.1210233 Composed by Rob Dietz. A Cappella,Contemporary,Contest,Festival,Jewish. Octavo. 15 pages. Rob Dietz #808069. Published by Rob Dietz (A0.1210233). Era Oscuro was commissioned by The Betsy A Cappella Festival (hosted by the Betsy Hotel in Miami, FL), as part of their initiative to foster the creation of more Spanish-language choral music. The beautiful Sephardic Jewish melody is given a contemporary reharmonization in this arrangement. The words tell the story of a person being visited at night by an ex-lover, an encounter which begins mysteriously, before exploding into a more uptempo, angry feel, accompanied by interconnecting hand clap rhythms.Ranges:Soprano 1: E4 - G5Soprano 2: B3 - D5Alto 1: G3 - D5Alto 2: G3 - B4Tenor: E3 - E4Baritone: B2 - D4Bass: E2 - B3.
$2.50
Rondo oscuro
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Enjott Schneider
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Rondo oscuro
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Schott Music - Digital
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SheetMusicPlus
Solo-flute and 7 flutes - advanced - SKU: S9.Q11703 Composed by Enjott Schneider. This edition: score and parts. Il Flauto traverso. Downloadable, Score...
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Solo-flute and 7 flutes - advanced - SKU: S9.Q11703 Composed by Enjott Schneider. This edition: score and parts. Il Flauto traverso. Downloadable, Score and parts. Duration 7 minutes. Schott Music - Digital #Q11703. Published by Schott Music - Digital (S9.Q11703). In Enjott Schneider's 'Rondo oscuro', an eye-twinkling naive rondo theme leads to more complex intermediate parts in which the soloist is faced with a flute ensemble demanding various degrees of rhythmic freedom or rhythmic involvement of him: In the first interlude, he has to break free from the straitjacket of the rhythmic accompanying canon with a rubato; in the second interlude, he has to juxtapose the fluid surface of the accompanying flute parts with a metrically free cadence; in the third interlude, he is involved in continuous acceleration and then deceleration. A really extraordinary and entertaining composition!
$33.99
Notturno Oscuro
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Piano seul
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AVANCÉ
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Contemporain
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Enjott Schneider
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Notturno Oscuro
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Schott Music - Digital
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SheetMusicPlus
“...miserably crookedâ€. Composed by Enjott Schneider. Desire - franz schubert - piano - piano music - love - lovesick - night - no...
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“...miserably crookedâ€. Composed by Enjott Schneider. Desire - franz schubert - piano - piano music - love - lovesick - night - notturno - peter härtling - contemporary music. Das Werk ist inspiriert von Härtlings Biographie "Schubert" und verweist musikalisch auf Werke des großen Komponisten. Schneider beschreibt das Stück als eine obskure Nachtmusik, deren tragische Verzweiflung zum Schluss in ein Sehnsuchtsthema mündet. Downloadable, Separate edition. Duration 5'. Schott Music - Digital #Q583936. Published by Schott Music - Digital
$10.99
Ave Maria
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Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
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DÉBUTANT
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J
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Alessandro Macrì
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Ballard, in Parigi
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Ave Maria
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Music Macri Editions
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SheetMusicPlus
Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 1 - SKU: A0.1198799 Composed by J. Arcadelt. Arranged by Alessandro Macrì. Christian,Classical,Early...
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Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 1 - SKU: A0.1198799 Composed by J. Arcadelt. Arranged by Alessandro Macrì. Christian,Classical,Early Music,Film/TV,Sacred. 10 pages. Music Macri Editions #797882. Published by Music Macri Editions (A0.1198799). Questa celebre Ave Maria risale molto probabilmente al XVI secolo ed è tradizionalmente attribuita al compositore franco-fiammingo Jacques (o Jacob) Arcadelt (1505-1568) che fu anche magister puerorum (cioè: direttore del coro delle voci bianche) e successivamente maestro del coro della Cappella Sistina in Roma. In realtà , questo brano – nella versione che noi conosciamo e con le parole del saluto angelico – fu edito per la prima volta nel 1842 da Pierre-Louis Philippe Dietsch (1808 - 1865), un oscuro e modesto compositore francese, che riprendeva la chanson profana a tre voci Nous voyons que les hommes, questa sì composta da Jacques Arcadelt per sole voci femminili ed apparsa per la prima volta a stampa nel 1554 in Tiers livre de chansons, nouvellement mises en musique à quatre, presso l’editore Le Roy & Ballard, in Parigi. La parte del basso, in particolare, è interamente lavoro di Dietsch che ne ha anche modificato l’assetto ritmico per adattarlo al nuovo testo, e ha aggiunto la cadenza plagale con la parola conclusiva Amen. Vari musicisti, in seguito, si sono cimentati sia nel modificare le linee di battuta, sia le durate di alcune note, sia la stessa divisione delle sillabe, per tentare  di correggere quello che è considerato lo stress della parola latina.
$8.00
Klar/Obskur
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Hautbois, Basson et Piano
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AVANCÉ
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Benjamin Schweitzer
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Klar/Obskur
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Schott Music - Digital
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SheetMusicPlus
Oboe, bassoon and piano - difficult - SKU: S9.Q6474 Composed by Benjamin Schweitzer. This edition: score (also performance score). Downloadable, score (...
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Oboe, bassoon and piano - difficult - SKU: S9.Q6474 Composed by Benjamin Schweitzer. This edition: score (also performance score). Downloadable, score (also performance score). Duration 10 minutes. Schott Music - Digital #Q6474. Published by Schott Music - Digital (S9.Q6474). The chiaroscuro-technique developed by painters of the Italian renaissance served to intensify contrasts and effects of optical depth. In Klar/Obskur, I tried to transfer the general idea of this technique on the rather unusual instrumentation of two double-reed woodwinds and piano. On the one hand, a clear, well articulated playing is characteristic for these instruments, on the other hand, they have an often underestimated potential of „twilight: air-sounds and fragile, shady colours have a especially attractive when being produced by double-reed instruments (which are often, and superficially regarded as being less capable of differentiated sounds than flute or clarinet). The piano, too, has a broad bandwidth of possibilities between percussive and delicate playing to complement the woodwinds which, in return, can absorb and continue the fading piano sounds. The beginning introduces the two contrasting elements that form the basic material for the piece: a clear, sharp chord, followed by fragile, dim sounds. The changes between these elements as well as their combination and amalgamation produce an enormous spectrum of colours and gesture. After this „motto-like opening follow four quite clearly separated short sections, each of them being characterised by a well-defined texture: a partly almost imperceptible air-sound passage, a short sequence of microintervallic notes, a burst of virtuosity and a recourse to the fragile sounds of the beginning. The second, longer main part consists of three sections merging subtly into each other: a short unisono-passage, marked elastic [federnd], is being dissolved into its basic elements; from these remainders, a confrontation of low, ‚arcane‘ bassoon and piano sounds and a strongly ornamented melodic line of the oboe emerges, leading to a short but powerful climax. The piece is concluded by an extended, relaxed epilogue, containing a short piano solo and a duet of oboe and bassoon and, finally, a quotation of the „elastic character of the middle section. Benjamin Schweitzer.
$29.99
Pax Aeternam for cello and piano
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Violoncelle, Piano
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INTERMÉDIAIRE
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Maria Thompson Corley
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Maria Thompson Corley
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Pax Aeternam for cello and pia
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Maria Thompson Corley
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SheetMusicPlus
Cello,Piano - Level 3 - SKU: A0.1252822 By Maria Thompson Corley. By Maria Thompson Corley. Arranged by Maria Thompson Corley. 21st Century,Sacred. Scor...
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Cello,Piano - Level 3 - SKU: A0.1252822 By Maria Thompson Corley. By Maria Thompson Corley. Arranged by Maria Thompson Corley. 21st Century,Sacred. Score and part. 9 pages. Maria Thompson Corley #846622. Published by Maria Thompson Corley (A0.1252822). “Pax Aeternam†was written in memory of renowned composer Barbara York, a fellow Canadian whom I was blessed enough to meet in person through my interaction with Matt Brown. Though we connected many years into my collaborative piano career, Matt is the first tubist I ever worked with, and Barbara’s music was my favorite part of getting introduced to the tuba literature. I was thrilled to learn how much she appreciated my playing of her work.“How Beautiful†was written in memory of Matt’s son Eli, who had a congenital condition that took his life a few hours after he was born. This flawless piece of music, poignant yet never maudlin, provided the title for a recording Matt and I did of all of Barbara’s tuba output. It also threw down the gauntlet when Danny Rowland approached me, at Matt’s suggestion, about composing a piece. Danny mentioned loving “How Beautiful,†and intending to commission Barbara, who’d recently passed on. I’d never written for the tuba before, but felt absolutely no pressure. That’s a lie.Like “How Beautiful,†“Pax Aeternam†is in a major key; in my case, I wanted to evoke wistfulness rather than despair. Barbara’s path was full of suffering, and having lost a brother to prolonged illness, I’ve come to embrace the idea that death can be a sweet relief from pain. I tried to capture some of Barbara’s spirit, particularly in the middle section, and chose triple meter to give the outer sections a bit of “swing.†I don’t recall Barbara as a somber person, and I wanted to paint a portrait of someone who moved through life with a smile. I didn’t know her as well as many, but I always found her kind, generous, and unpretentious. I hope that this musical portrait does her justice.I created a cello transcription for a performance with Sara Male, my partner in Duo Chiaroscuro. This seemed appropriate, since “Still Waters Running Deep,†one of our signature pieces, is a transcription of the slow movement of Barbara’s bassoon sonata, created at our request by the composer.
$15.00
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Era Oscuro
