Partitions Numériques de Exist pour Orchestre de chambre

Exist

The Disqualification of Harry Semantix as Trial Juror for East County - Score Only
Orchestre de chambre

Chamber Orchestra - Level 5 - Digital Download SKU: A0.1126484 Composed by Igor Kor…(+)

Chamber Orchestra - Level 5 - Digital Download SKU: A0.1126484 Composed by Igor Korneitchouk. 20th Century,Contemporary. Score and parts. 40 pages. Studio at the Post #727154. Published by Studio at the Post (A0.1126484). Score only (see A727154 for Parts) Duration: 11 - 12 minutes, 37 pp. Description: In Korneitchouk's mischievously titled quasi-concerto for saxophone and orchestra, The Disqualification of Harry Semantix as Trial Juror for East County, the concept of Truth and Lie is explored musically, as well as metaphorically implying something deeper. The Truth (the opening theme after an introduction pieces it together) is slowly mutated into its opposite, the Lie -- upside down, backward, twice as long and strident (the closing theme just before the double cadenza at the end of the piece). The double cadenza, is in fact a cadenza for the saxophone played over a wild orchestral stretto -- a kind of orchestral cadenza -- both simultaneously intoning bits and pieces of either theme, and seems to ask: Can Truth coexist with its Lie? or perhaps, Can Truth exist without its Lie? The first incarnation of The Disqualification of Harry... (available on CD from Old King Cole Productions) appears as a duo for saxophone and piano and has only more recently been orchestrated. The composer tells us that the idea for this piece initially germinated from his own frustrations of having to serve jury duty and being disqualified as a potential juror for answering honestly during jury selection. East County is to be understood as Any County..
$15.04 14.04 € #Orchestre de chambre #Igor Korneitchouk #The Disqualification of Harry Semantix as Trial Juror for East County - Score Only #Studio at the Post #SheetMusicPlus

The Disqualification of Harry Semantix as Trial Juror for East County (Parts only)
Orchestre de chambre

Chamber Orchestra - Level 5 - Digital Download SKU: A0.1126491 Composed by Igor Kor…(+)

Chamber Orchestra - Level 5 - Digital Download SKU: A0.1126491 Composed by Igor Korneitchouk. 20th Century,Contemporary. Score and parts. 111 pages. Studio at the Post #727166. Published by Studio at the Post (A0.1126491). Parts only (see A727154 for Score). Duration: 11 - 12 minutes, 23 Parts including soloist, parts averaging 3 -5 pp., soloist part 9 pp. Description: In Korneitchouk's mischievously titled quasi-concerto for saxophone and orchestra, The Disqualification of Harry Semantix as Trial Juror for East County, the concept of Truth and Lie is explored musically, as well as metaphorically implying something deeper. The Truth (the opening theme after an introduction pieces it together) is slowly mutated into its opposite, the Lie -- upside down, backward, twice as long and strident (the closing theme just before the double cadenza at the end of the piece). The double cadenza, is in fact a cadenza for the saxophone played over a wild orchestral stretto -- a kind of orchestral cadenza -- both simultaneously intoning bits and pieces of either theme, and seems to ask: Can Truth coexist with its Lie? or perhaps, Can Truth exist without its Lie? The first incarnation of The Disqualification of Harry... (available on CD from Old King Cole Productions) appears as a duo for saxophone and piano and has only more recently been orchestrated. The composer tells us that the idea for this piece initially germinated from his own frustrations of having to serve jury duty and being disqualified as a potential juror for answering honestly during jury selection. East County is to be understood as Any County..
$5.02 4.69 € #Orchestre de chambre #Igor Korneitchouk #The Disqualification of Harry Semantix as Trial Juror for East County #Studio at the Post #SheetMusicPlus

Carson Cooman: Cerulean: Double Percussion Concerto (2004) for two solo percussionists and ensemble,
Orchestre de chambre

Chamber Orchestra - Level 5 - Digital Download SKU: A0.533592 Composed by Carson Co…(+)

Chamber Orchestra - Level 5 - Digital Download SKU: A0.533592 Composed by Carson Cooman. Contemporary,Standards. Score and parts. 87 pages. Musik Fabrik Music Publishing #3029401. Published by Musik Fabrik Music Publishing (A0.533592). Cerulean: Double Percussion Concerto (2004) for two solo percussionists and ensemblewas commissioned by the Carnegie Mellon School of Music for percussionists Cory Cousins,Mike Perdue, and the Carnegie Mellon Contemporary Ensemble, Walter Morales, director.The work is dedicated to them and to Howard Stokar. The work is inspired by the ocean,particularly its greatest depths.The work is in two movements, played without break. The two movements explore the samemusical material (a specific collection of twelve pitches) in two very different ways. In thefirst movement, the material is presented often in row forms -- and harmonies derived from it.In the second movement, a more free approach is used to the material and it becomes moremotivic and gestural.The first movement, Different Purposes, is inspired by the vast diversity of deep-sea life.Musical objects interact with each other and ideas transform each other. Many of these deepseacreatures live in very isolated and solitary environments at the ocean's lowest points.They each exist and pursue their own purposes without any awareness of what else ishappening around them. However, despite this, they are all existing within a commonenvironmental system and are thus achieving goals together on a larger level.The second movement, Different Porpoises, is inspired by porpoises and other sea-creatureswho surface, thus providing a link to human land-bound life. The marimba establishes arhythmic ostinato which (although passed around) remains steady throughout most of themovement.InstrumentationFluteOboeClarinet in BbBass Clarinet in BbBassoonHorn in FPiano2 Solo Percussion:I: marimba, crotales, suspended cymbal, 2 spokes/bellsII: vibraphone (with motor), tubular bells, 3 bowls (indef. pitches),medium-size water gong (i.e., gong with bucket of water),3 roto-toms, conga, bass drum(each percussionist needs two bows)Violin IViolin IIViolaCello(All players except for the two solo percussion also playoracle rods in addition to their instruments.)The full score without the solo parts is also available for sale.. The parts are on rental from the publisher
$21.95 20.49 € #Orchestre de chambre #Carson Cooman #Carson Cooman: Cerulean: Double Percussion Concerto #Musik Fabrik Music Publishing #SheetMusicPlus

Carson Cooman: Cerulean: Double Percussion Concerto (2004) for two solo percussionists and ensemble,
Orchestre de chambre

Chamber Orchestra - Level 5 - Digital Download SKU: A0.533591 Composed by Carson Co…(+)

Chamber Orchestra - Level 5 - Digital Download SKU: A0.533591 Composed by Carson Cooman. Contemporary. Score and parts. 66 pages. Musik Fabrik Music Publishing #3029399. Published by Musik Fabrik Music Publishing (A0.533591). Cerulean: Double Percussion Concerto (2004) for two solo percussionists and ensemblewas commissioned by the Carnegie Mellon School of Music for percussionists Cory Cousins,Mike Perdue, and the Carnegie Mellon Contemporary Ensemble, Walter Morales, director.The work is dedicated to them and to Howard Stokar. The work is inspired by the ocean,particularly its greatest depths.The work is in two movements, played without break. The two movements explore the samemusical material (a specific collection of twelve pitches) in two very different ways. In thefirst movement, the material is presented often in row forms -- and harmonies derived from it.In the second movement, a more free approach is used to the material and it becomes moremotivic and gestural.The first movement, Different Purposes, is inspired by the vast diversity of deep-sea life.Musical objects interact with each other and ideas transform each other. Many of these deepseacreatures live in very isolated and solitary environments at the ocean's lowest points.They each exist and pursue their own purposes without any awareness of what else ishappening around them. However, despite this, they are all existing within a commonenvironmental system and are thus achieving goals together on a larger level.The second movement, Different Porpoises, is inspired by porpoises and other sea-creatureswho surface, thus providing a link to human land-bound life. The marimba establishes arhythmic ostinato which (although passed around) remains steady throughout most of themovement.InstrumentationFluteOboeClarinet in BbBass Clarinet in BbBassoonHorn in FPiano2 Solo Percussion:I: marimba, crotales, suspended cymbal, 2 spokes/bellsII: vibraphone (with motor), tubular bells, 3 bowls (indef. pitches),medium-size water gong (i.e., gong with bucket of water),3 roto-toms, conga, bass drum(each percussionist needs two bows)Violin IViolin IIViolaCello(All players except for the two solo percussion also playoracle rods in addition to their instruments.)The solo parts plus the full score are available for sale. The parts are on rental from the publisher
$17.95 16.75 € #Orchestre de chambre #Carson Cooman #Carson Cooman: Cerulean: Double Percussion Concerto #Musik Fabrik Music Publishing #SheetMusicPlus

Chamber Orchestra - Level 4 - Digital Download SKU: A0.876665 Composed by Dosia McKay. 20th Century,Contemporary,Renaissance. Score and parts. 81 pages. Gavia Music #57229. Published by Gavia Music (A0.876665). Three Laments of Heloise were inspired by the Letters of Abelard and Heloise, especially the character of Heloise, her crushing loss, self-denial, sacrifice, and forced conformity to the standards of medieval society. The first movement entitled Queens Envied Me My Joys is Heloiseâs recollection of early days with Abelard. Every wife, every young girl desired you in absence and was on fire in your presence, writes Heloise. The pleasures of lovers which we shared have been too sweetâ¦ They are always there before my eyes, bringing with them awakened longingsâ¦ The second movement If Not With You, My Heart Is Nowhere, expresses Heloiseâs sense of abandonment by her lover. She writes to him: My heart was not in me but with you, and now, even more, if it is not with you it is nowhere; truly, without you I cannot exist. The third movement, My Most Wretched Soul, gives voice to Heloiseâs continued struggle with her loss and the reality of the convent life. She does not see herself as a servant of God, but rather a hypocrite who remains pious on the outside and rages inwardly. Of all wretched women I am the most wretched, and amongst the unhappy I am unhappiest. How can it be called repentance for sins, however great the mortification of the flesh, if the mind still retains the will to sin and is on fire with its old desires? Modal scales and dance sequences give the Laments a Renaissance feel. Music theory students might appreciate the fact that the unifying element of the three movements is the interval of the 7th which appears very frequently in melodic and harmonic gestures and creates a feeling of ambiguity and of a lack of resolution. For chamber orchestra: Flute (or Piccolo), Oboe, Clarinet, Bassoon, Strings (Quintet, or 4,4,3,2,1, or larger), 2 Percussion: Frame Drum, Tambourine. Total duration 8:00. Possible transcriptions for period Renaissance instruments - please contact the composer. Composed in 2009. Copyright 2009 Dosia McKay / Gavia Music (ASCAP).

Into the Dancesness for Euphonium and Chamber Orchestra
Orchestre de chambre

Chamber Orchestra - Level 4 - Digital Download SKU: A0.1297771 Composed by William …(+)

Chamber Orchestra - Level 4 - Digital Download SKU: A0.1297771 Composed by William Pagan-Perez. 21st Century,Latin. Score and Parts. 58 pages. William Pagan-Perez #887746. Published by William Pagan-Perez (A0.1297771). The word Dancesness doesn't exist but I use it to describe an extasis during a dance.Â This is a single-movement piece for Euphonium Solo with a Chamber Orchestra accompaniment.
$25.00 23.33 € #Orchestre de chambre #William Pagan-Perez #Into the Dancesness for Euphonium and Chamber Orchestra #William Pagan-Perez #SheetMusicPlus

Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra - Digital Download SKU: S9.Q7038 Teil I: Schwarz vor Augen... Â· 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 â¢ 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 âletting 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: âI 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 âin an oceanâ 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: âSo 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 boyâs 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 âlux 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: âEntreiÃ dich, Seele, nun der Zeit, entreiÃ dich deinen Sorgen und mache dich zum Flug bereit in den ersehnten Morgenâ [âTear 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: âUnd die Seele unbewacht will in freien FlÃ¼gen schweben, um im Zauberkreis der Nacht tief und tausendfach zu lebenâ [âAnd 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: âUnd meine Seele spannte weit ihre FlÃ¼gel aus. Flog durch die stillen Lande, als flÃ¶ge sie nach Hausâ [âAnd 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 Beethovenâs 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 ârenewedâ occupation with the âoldâ 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 âhomecomerâ. Harald WeissColonia de San PedroMarch 20091 (auch Altfl.) Â· 2 (2. auch Engl. Hr.) Â· 1 (auch Bassklar.) Â· 0 - 2 Â· Flhr. Â· 0 Â· 0 - P. S. (Glsp. Â· RÃ¶hrengl. Â· Gongs Â· Trgl. Â· Beck. Â· Tamt. Â· 2 Holzschlitztr. (oder Woodbl.) Â· Woodbl. Â· gr. Tr.) (3 Spieler) - Org. (Positiv) - Str. (4 Â· 4 Â· 4 Â· 4 Â· 2).

Charpentier: Messe de Menuit pour Noël (SSAA soli, SSAA choir, flutes, strings and continuo) - Full
Orchestre de chambre

Chamber Orchestra - Level 3 - Digital Download SKU: A0.768506 Composed by Marc-Anto…(+)

Chamber Orchestra - Level 3 - Digital Download SKU: A0.768506 Composed by Marc-Antoine Charpentier. Arranged by Roar Kvam. Baroque,Christmas. Score and parts. 120 pages. KVAMusic Edition #4717673. Published by KVAMusic Edition (A0.768506). The Messe de Minuit was written around 1694 for the Jesuit church of Saint-Louis in Paris.What is remarkable about this mass is the use of ten French noÃ«ls (Christmas carols) in the composition. In the liturgy the birth of Christ is celebrated with three masses: the first during the night of December 24th, the second in the early morning of December 25th, and the third on the day itself. A special atmosphere surrounds the first of these masses on account of the midnight hour, and so CharpenÂtier gave special expression to the long observed practice in France of including popular Christmas carols in the Christmas liturgy by including them in the composition of his midnight mass. Although the Council of Trent had forbidden this kind of borrowing of secular melodies in masses in principle, long established customs were tolerated. Charpentierâs justly famous Messe de Minuit represents a perfect synthesis between the secular and liturgical, and between the popular and learned. Adapting the vast majority of the Latin mass to French noÃ«ls, the Messe de Minuitâs freshness and joyful spirit perfectly represent Advent. While Charpentier used ten different noÃ«lâs through the course of the work, the most serious moment of the mass, the statements of Christâs incarnation, his mortal existence, and his death under Pontius Pilate, is given wholly original, appropriately sober music.
$20.00 18.67 € #Orchestre de chambre #Marc-Antoine Charpentier #Roar Kvam #Charpentier: Messe de Menuit pour Noël #KVAMusic Edition #SheetMusicPlus

MOZART-Debbaut: Overture to "Il re pastore" (The Shepherd king) - Score Only
Orchestre de chambre

Chamber Orchestra - Level 4 - Digital Download SKU: A0.939402 Composed by Wolfgang …(+)

Chamber Orchestra - Level 4 - Digital Download SKU: A0.939402 Composed by Wolfgang Amadeus Mozart. Arranged by Robert Debbaut. Classical,Contest,Festival,Historic,Opera. 57 pages. ROBERT DEBBAUT #6342173. Published by ROBERT DEBBAUT (A0.939402). This overture would make a lively concert opener for a group with smaller forces, or work just as well with a large string section.Â In the opera itself (Il re pastore, The Shepherd King; 1775), Mozart's overture Â segues directly into the opening scene of Act One.Â Other Mozart overtures that segue thusly have been arranged with concert endings, such as The Abduction from the Seraglio (arr. Anton Andre) and Idomeneo, King of Crete (arr. Carl Reinecke).Â Most of the music contained in this arrangement is Mozart's, including the existing material from the original overture, developmental material of that music, and a segment extracted from the opera's final section.Â The work is about six minutes in length and is scored for one flute, two oboes, two bassoons, two horns in F, two trumpets in C, timpani, and string orchestra.Â A NotePerformer3 audio file is available from the arranger, as are parts in pdf format. If you purchase, please write to the arranger at debbaut@gmail.com, subject Mozart and I will send you a copy of the parts for $30 via Venmo or personal check.
$9.99 9.32 € #Orchestre de chambre #Wolfgang Amadeus Mozart #Robert Debbaut #MOZART-Debbaut: Overture to "Il re pastore" #ROBERT DEBBAUT #SheetMusicPlus

Scaramouche
Orchestre de chambre

Chamber Orchestra - Level 4 - Digital Download SKU: A0.871387 Composed by Darius Mi…(+)

Chamber Orchestra - Level 4 - Digital Download SKU: A0.871387 Composed by Darius Milhaud. Arranged by Clara Obsidian. Contemporary. Score and parts. 21 pages. Clara Obsidian #5997045. Published by Clara Obsidian (A0.871387). Scaramouche, op.165 is a suite in three movements written by the French composer Darius Milhaud . Under the same opus number exists in two different versions written around the same time: for two pianos (op.165b) and for saxophone and orchestra (op.165c, 1939 ), although the best known is the one for two pianos.This is the second movement, ModÃ©rÃ©, a gentle and tranquil piece that has been rearranged for Alto Saxophone Solo and String Quartet Accompaniment.Full Score and Parts---------------
$12.99 12.12 € #Orchestre de chambre #Darius Milhaud #Clara Obsidian #Scaramouche #Clara Obsidian #SheetMusicPlus

Second Israeli Suite for Orchestra (Parts)
Orchestre de chambre

Chamber Orchestra - Level 4 - Digital Download SKU: A0.976214 Composed by Henry Poo…(+)

Chamber Orchestra - Level 4 - Digital Download SKU: A0.976214 Composed by Henry Pool. 20th Century,Contemporary,World. Score and parts. 102 pages. Viola Editions #238523. Published by Viola Editions (A0.976214). This is the Second of two Suites of six Israeli dances each, which are partly existing dance forms, partly new invented dance forms.
$15.30 14.28 € #Orchestre de chambre #Henry Pool #Second Israeli Suite for Orchestra #Viola Editions #SheetMusicPlus

Orchestral Suite No 3 in D Major BWV 1068
Orchestre de chambre

Chamber Orchestra - Level 5 - Digital Download SKU: A0.742401 Composed by Johann Se…(+)

Chamber Orchestra - Level 5 - Digital Download SKU: A0.742401 Composed by Johann Sebastian Bach. Arranged by Arte Nova Music Lab. Baroque,Concert,Standards,World. Score and parts. 111 pages. Arte Nova Music Lab #3005423. Published by Arte Nova Music Lab (A0.742401). The four orchestral suites (called ouvertures by their author), BWV 1066â1069 are four suites by Johann Sebastian Bach. The name ouverture refers only in part to the opening movement in the style of the French overture, in which a majestic opening section in relatively slow dotted-note rhythm in duple meter is followed by a fast fugal section, then rounded off with a short recapitulation of the opening music. More broadly, the term was used in Baroque Germany for a suite of dance-pieces in French Baroque style preceded by such an ouverture. This genre was extremely popular in Germany during Bach's day, and he showed far less interest in it than was usual: Robin Stowell writes that Telemann's 135 surviving examples [represent] only a fraction of those he is known to have written;[1] Christoph Graupner left 85; and Johann Friedrich Fasch left almost 100. Bach did write several other ouverture (suites) for solo instruments, notably the Cello Suite no. 5, BWV 1011, which also exists in the autograph Lute Suite in G minor, BWV 995, the Keyboard Partita no. 4 in D, BWV 828, and the Overture in the French style, BWV 831 for keyboard. The two keyboard works are among the few Bach published, and he prepared the lute suite for a Monsieur Schouster, presumably for a fee, so all three may attest to the form's popularity.Scholars believe that Bach did not conceive of the four orchestral suites as a set (in the way he conceived of the Brandenburg Concertos), since the sources are various, as detailed below.The Bach-Werke-Verzeichnis catalogue includes a fifth suite, BWV 1070 in G minor. However, this work is highly unlikely to have been composed by J. S. Bach. Taken from https://en.wikipedia.org/wiki/Orchestral_suites_(Bach)
$27.00 25.2 € #Orchestre de chambre #Johann Sebastian Bach #Arte Nova Music Lab #Orchestral Suite No 3 in D Major BWV 1068 #Arte Nova Music Lab #SheetMusicPlus

Chamber Orchestra - Level 5 - Digital Download SKU: A0.533578 Composed by Carson Cooman. Christian,Contemporary,Spiritual. Score and parts. 189 pages. Musik Fabrik Music Publishing #3025409. Published by Musik Fabrik Music Publishing (A0.533578). The Acts of the Apostles (2009), an oratorio for baritone, chorus, congregation/audience, and chamber orchestra (piano, organ, strings-suggested minimum of 3.3.3.2.1),was commissioned by The Memorial Church at Harvard University. It is dedicated to Edward Elwyn Jones and theHarvard University Choir.The biblical books of Luke and Acts form a pair of documents from a single author and with a single audience (thelikely-metaphorical âTheophilusâ), yet they are unusual for being composed in such contrasting genres. Lukeâsgospel, using Mark as a primary source throughout, features a comparable literary style to that of the otherevangelists. Acts, by contrast, is a historical monograph that charts the birth of the Church with dramatic storiesaboutâand speeches fromâthe apostles, painting a vivid, if not necessarily chronological, picture of their victoriesand struggles. As such, it is a book that provides excellent source material for a dramatic choral libretto of this scale.Although much of Acts is focused on the ministry of Saul/Paul, this oratorio draws most of its material from thefirst third of the book, prior to and including the conversion of Saul. In the Prologue, Christâs ascension is narratedandâfollowing an orchestral Sinfoniaâthe chorus sings words of Jesus from the Sermon on the Plain in Lukeâsgospel that foreshadow many of the trials the apostles go on to face. The astounding account of Pentecost follows:here, words from the book of Ruth, customarily read on the feast of Shavuot (Pentecost), are included, telling thestory of a Moabite woman who converted to the Israelite faithâa parallel to the expansion of the Christian messageto all nations by the gift of the Holy Spirit. The Prayer for Boldness, quoting Psalm 2, asks God for protection fromthe threats of persecution that the apostles will now face.Stephen, regarded as the proto-martyr of the Christian Church, offers one of the most developed speeches in Acts,only a small portion of which is presented here. Full of scriptural references, including the quotation from IsaiahâHeaven is my throneâ¦â, the end of the narrative is remarkable for two reasons: firstly, Stephenâs final wordsmirror those of Christ on the cross in Lukeâs gospelâwhere Jesus forgives his executioners and prays âFather, intoyour hands I commend my spiritâ (Luke 23:46); secondly, Saul is specifically mentioned as one who approved ofStephenâs stoning, indicative of the redemptive possibilities of the Christian message.The account of the baptism of the Ethiopian eunuch here in the oratorio ends with the First Song of Isaiahâwhilenot quoted in Acts, it seems a fitting conclusion to the scene as Philip and the eunuch were reading Isaiah together,and the canticle has often been associated by Christians with the rite of baptism. Similarly, the story of SaulâsConversion is followed here by a Christological poem found in Paulâs letter to the Philippians, though it is likely aquotation from an earlier source. It is often regarded as the earliest extant Christian hymn.The Acts of the Apostles concludes with Lukeâs realistic assessment that in spite of Paulâs energetic evangelism manyremained unconvinced by the Christian message. At the heart of both Lukeâs gospel and Acts is the tension betweenthe uniquely important role of the Jewish traditions that Jesus himself practiced and the expansion of the gospel togentiles, of whom Luke himself is one. It is appropriate, therefore, to follow Paulâs message of salvation to thegentiles with the Magnificat: a canticle that emphasizes the promises of God to the people of Israel throughouthistory.Three traditional hymn texts are found in the oratorio, each set congregationally to a pre-existing tune. The first,âSpirit of mercy, truth, and loveâ is an eighteenth century poem that e.

Jan Freidlin: Break-point for clarinet and string quartet
Orchestre de chambre

Chamber Orchestra - Level 5 - Digital Download SKU: A0.534571 Composed by Jan Freid…(+)

Chamber Orchestra - Level 5 - Digital Download SKU: A0.534571 Composed by Jan Freidlin. Contemporary. Score and parts. 25 pages. Musik Fabrik Music Publishing #4338823. Published by Musik Fabrik Music Publishing (A0.534571). An amusing scherzo based on the tennis move of the same name. Also exists for clarinet and piano and clarinet and string orchestra (available on this site).
$16.95 15.82 € #Orchestre de chambre #Jan Freidlin #Jan Freidlin: Break-point for clarinet and string quartet #Musik Fabrik Music Publishing #SheetMusicPlus

Chamber Orchestra - Level 3 - Digital Download SKU: A0.1230983 Composed by Rudesindo Soutelo. Arranged by Orff Instruments & Chamber Orchestra (C Score). 21st Century,Celtic,Chamber,Children,Classical,Irish. 47 pages. Publisher by Rudesindo Soutelo #826603. Published by Publisher by Rudesindo Soutelo (A0.1230983). Ao Grupo Instrumental da EB de V.P. de Ãncora e Ã Orquestra ARTEAMRudesindo Soutelo:Triskel (2023) for Orff Instruments and Chamber Orchestra [ca. 7'42]O eixo do mundo / The axis of the worldPremiÃ¨re: 16-V-2023. Teatro dos Bombeiros de Vila Praia de Ãncora (Portugal). Int.: Grupo Instrumental Orff da EB de V.P. de Ãncora (Prof. Manuela Moura) e Orquestra ARTEAM de Viana do Castelo. Dir.: Diogo Costa.ISWC: T-315.743.482-3ISMN: 979-0-707704-10-3PÃ¡ginas de amostra / Sample pages: https://www.researchgate.net/publication/370676001=oOo=The Triskel is present in many ancient cultures but it is in the Celtic culture where it has acquired a greater prominence. It represents the power of the Sun, the axis of the world, the original matrix. It is an allegory of the number 3; of the past, present and future; of the Christian Trinity. It evokes theÂ diï¬erences in the unity of the great whole, the Universe.The work was originally composed to integrate an Instrumental Group Orï¬ (Glockenspiel Soprano and Alto, Metallophones and Xylophones Soprano, Alto and Bass), from the General Elementary School, as soloists in a Chamber Orchestra.Â The organising complex of the work is [4 (2, 2), 3 (2, 1)].There is, also, an edition for Marimba and Chamber Orchestra.=oOo=O Triskel estÃ¡ presente em muitas culturas antigas, mas Ã© na cultura celta onde adquiriu um maior relevo. Representa o poder do Sol, o eixo do mundo, a matriz original. Ã uma alegoria do nÃºmero 3; do passado, presente e futuro; da Trindade cristÃ£. Evoca as diferenÃ§as na unidade do grande todo, o Universo.A obra foi composta originalmente para integrar um Grupo Instrumental Orï¬ (Glockenspiel Soprano e Alto, Metalofones e Xilofones Soprano, Alto e Baixo), do Ensino BÃ¡sico geral, como solistas de uma Orquestra de CÃ¢mara.Â O complexo organizador da obra Ã© [4 (2, 2), 3 (2, 1)].Existe, ainda, uma ediÃ§Ã£o para Marimba e Orquestra de CÃ¢mara.

Rotate the Body in All Its Planes
Orchestre de chambre

2 Picc. Â· 3 Trp. Â· 2 Trb. Â· Tb. Â· Castor & Pollux Â· Bowls (2) Â· Snare drum Â· Bass d…(+)

2 Picc. Â· 3 Trp. Â· 2 Trb. Â· Tb. Â· Castor & Pollux Â· Bowls (2) Â· Snare drum Â· Bass drum Â· Spoils of War Â· Diamond Marimba Â· Boo (2) Â· Marimba eroica (2) Â· Bass Marimba (2) Â· Chromelodeon I / II Â· St Bass Â· Crychord Â· Adapted guitar Â· String bass soprano, choir and chamber orchestra - difficult - Digital Download SKU: S9.Q46167 Ballad for Gymnasts. Composed by Harry Partch. This edition: study score. The Harry Partch Edition. Downloadable, Study score. Duration 9 minutes. Schott Music - Digital #Q46167. Published by Schott Music - Digital (S9.Q46167). In 1961, Harry Partch worked on a re-production of his comprehensive theatrical work Revelation in the Courthouse Park at the University of Illinois. At the suggestion of Charles Pond, the gymnastics coach at the university, Partch on this occasion also composed Rotate the Body In All Its Planes as music for a gymnastics event by watching all exercises of the gymnasts, timing them and adding to them existing music from his theatrical work.
$17.99 16.79 € #Orchestre de chambre #Harry Partch #Rotate the Body in All Its Planes #Schott Music - Digital #SheetMusicPlus

Guitar Concerto No 1 (Score only)
Orchestre de chambre

Chamber Orchestra - Digital Download SKU: A0.942093 Composed by Apostolos Paraskeva…(+)

Chamber Orchestra - Digital Download SKU: A0.942093 Composed by Apostolos Paraskevas. 20th Century,Contemporary,World. Score and parts. 113 pages. Silver Sickle Publications #6082737. Published by Silver Sickle Publications (A0.942093). The guitar concerto Phygein Adynaton (Impossible to Escape) calls for a guitarist with two classical guitars (one of which is prepared with paper-clips) and orchestra. The work is in one movement throughout but essentially has two parts divided in half by the guitar Cadenza at the end of the first part. The first part is evocative and stochastic. This invocation is around a tonal center where guitar and orchestra coexist in equal terms. In the second part the orchestra takes a different, more dynamic part. The prepared guitar sounds almost distorted, like a new instrument melodic and percussive at the same time. This part of the concerto is darker in the mood and of a philosophical point of view is trying to give a direction in the battle between life and death.
$35.00 32.67 € #Orchestre de chambre #Apostolos Paraskevas #Guitar Concerto No 1 #Silver Sickle Publications #SheetMusicPlus