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Poem for Piano and String Orchestra
Partitions à imprimer
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Poem for Piano and String Orchestra
Piano Quintet,String Ensemble Cello,Double Bass,Piano,Viola,Violin - Level 4 - Digital Dow…
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Piano Quintet,String Ensemble Cello,Double Bass,Piano,Viola,Violin - Level 4 - Digital Download SKU: A0.1000150 Composed by Kalynn Fleischman. 20th Century,Contemporary. Score and parts. 18 pages. Kalynn Fleischman #3363805. Published by Kalynn Fleischman (A0.1000150). This is a musical poem I wrote for piano and string orchestra. It is meant to be as expressive as possible.
$2.99
2.76 €
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Kalynn Fleischman
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Poem for Piano and String Orchestra
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Kalynn Fleischman
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SheetMusicPlus
Thérèse Brenet: Poème de Jade, seven mélodies on Chinese Poems for baritone, flute solo and orchestr
Orchestre à Cordes
String Orchestra - Digital Download SKU: A0.532834 Composed by Therese Brenet. 20th…
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String Orchestra - Digital Download SKU: A0.532834 Composed by Therese Brenet. 20th Century,Contemporary. Score and parts. 39 pages. Musik Fabrik Music Publishing #45419. Published by Musik Fabrik Music Publishing (A0.532834). Thérèse Brenet was attracted to the Chinese poems in La Flûte de Jade by Franz Toussaint. She chose seven of these poems in a contrasting style and assembled them into a single work, striving to create an unusual orchestration which reflects this delicate, fantastic and sensual qualities of these poems. Her orchestration uses a small group of strings which are re-enforced by a harpsichord, a vibraphone, a harp and percussion, often superimposed, which serve to underline the delicate character of the poems. IN addition, she uses all styles of vocal production, from whispered passages to spoken words or screams, and from singing normally to sprechgesang. The work finishes serenely with a long melody in flute upon which the baritone repeats the last phrases of the poem in a long perdendosi. The voice and the flute slowly die away without there being a definite ending to the work, which allow the listener to imagine that the work continues, as in a waking dream. One could imagine hearing the echo of the words whispered by the baritone and the arien and luminous sounds of the flute which has lulled us as a soloist throughout the seven poems of the cycle. The orchestration is for 4 percussion, harp, harpsichord, piano and strings (44221). The piece generally lasts approximately fourteen minutes. The composer has intentionally broken with tradition by using instrumental notation for the vovcal part. This notations gives, in her view, a greater ease of reading when the voice exchanges with the flute. This version for flute, voice and piano is identical, as much as is possible, with the orchestral version, excpet for short segments in the 5th and 7th poems. These differences only affect the flute and piano parts and do not affect the vocal part. The Baritone may therefore use this score for performances with orchestra. The Flutist should use the part included in the orchestral parts for performances with orchestra. This work was first performed at the Villa Medicis during Thérèse Brenet time spend there during her Prix de Rome voyage. It was recorded in 2014 with Kurt Ollmann Baritone, Christel Rayneau, flute and the National Polish Radio Orchestra under the direction of Paul Wehage. The orchestral materials are on rental from the publisher.
$25.95
23.91 €
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Orchestre à Cordes
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Therese Brenet
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Thérèse Brenet: Poème de Jade, seven mélodies on Chinese Poems for baritone, flute solo and orchestr
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Musik Fabrik Music Publishing
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SheetMusicPlus
Pachulski Chanson triste Op 4 No 3 for Cello and String Orchestra
Orchestre à Cordes
String Orchestra - Level 4 - Digital Download SKU: A0.1296353 Composed by Henryk Pa…
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String Orchestra - Level 4 - Digital Download SKU: A0.1296353 Composed by Henryk Pachulski. Arranged by Paul Wood. Romantic Period. Score and Parts. 19 pages. MyMusicScores.com #886603. Published by MyMusicScores.com (A0.1296353). Henryk Pachulski (1859-1921) was a prolific composer, born on October 16, 1859, in Poland, Pachulski displayed prodigious talent from an early age. He studied composition at the Warsaw Conservatory and later in Berlin, honing his skills in orchestration and harmony.Pachulski's compositions, characterized by their romantic fervor and rich harmonies, found favor among audiences and critics alike. His notable works include symphonic poems, chamber music, and piano pieces. Throughout his life, he demonstrated a deep connection to his Polish roots, infusing his music with nationalistic themes.The PDF contains the score and all parts.
$19.99
18.42 €
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Orchestre à Cordes
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Henryk Pachulski
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Paul Wood
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Pachulski Chanson triste Op 4 No 3 for Cello and String Orchestra
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MyMusicScores.com
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SheetMusicPlus
Aveux Non Avenus (2020) for soprano and string quartet
Orchestre de chambre
Chamber Orchestra - Level 4 - Digital Download SKU: A0.869642 Composed by Thomas Ob…
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Chamber Orchestra - Level 4 - Digital Download SKU: A0.869642 Composed by Thomas Oboe Lee. 20th Century,Contemporary,Romantic Period. Score and parts. 66 pages. Thomas Oboe Lee #5302511. Published by Thomas Oboe Lee (A0.869642). I saw an obituary in the New York Times entitled Overlooked No More: Claude Cahun, Whose Photographs Explored Gender and Sexuality. I was so fascinated by the article that I went and purchased a book of her poems and writings. Within it I found a series of poems under the subtile of Délectations Moroses that were truly fantastic. A year ago I wrote a work for soprano and string quartet titled Gaspard de la Nuit on a set of poems by Aloysius Bertrand. Ravel's Gaspard de la Nuit is for solo piano, a set of tone poems inspired by the poems of the same A. Bertrand. I enjoyed my Gaspard so much that I wanted to write another work for soprano and string quartet, this time using these fascinating poems by Claude Cahun.The work is in seven movements.1. Allegro (de l'oubli)2. Largo (de l'oubli)3. Allegro con moto (d'un enfant difficile)4. Moderato (de l'amour)5. Moderato (de l'art)6. Allegro (Vocation)7. Adagio (Quatrième dimension)Enjoy!!!Duration: 27 minuteshttps://thomasoboelee.bandcamp.com/album/aveux-non-avenus-2020-for-soprano-and-string-quartet
$9.99
9.21 €
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Orchestre de chambre
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Thomas Oboe Lee
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Aveux Non Avenus
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Thomas Oboe Lee
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SheetMusicPlus
Elgar Salut d'amour for Violin and String Orchestra
Orchestre à Cordes
String Orchestra - Level 4 - Digital Download SKU: A0.736738 Composed by Edward Elg…
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String Orchestra - Level 4 - Digital Download SKU: A0.736738 Composed by Edward Elgar. Arranged by Paul Wood. 20th Century,Romantic Period. Score and parts. 12 pages. MyMusicScores.com #4993355. Published by MyMusicScores.com (A0.736738). Salut d'amour - love letter orgreeting of love was an Occitan lyric poem of the troubadours, written as a letter from one lover to another.Edward Elgar composed his Salut d'amour in 1888, originally written for violin and piano. Here you will find it arranged for Violin and String Orchestra.The PDF file contains the score, solo violin, violin 1, violin 2, viola, cello and bass parts.
$14.99
13.81 €
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Orchestre à Cordes
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Edward Elgar
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Paul Wood
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Elgar Salut d'amour for Violin and String Orchestra
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MyMusicScores.com
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SheetMusicPlus
Concerto
Piano et Orchestre
Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by …
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Piano and orchestra - difficult - Digital Download For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minutes. Schott Music - Digital #Q53630. Published by Schott Music - Digital
I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. . The markings of the movements are the following: . 1. Vivace molto ritmico e preciso . 2. Lento e deserto . 3. Vivace cantabile . 4. Allegro risoluto . 5. Presto luminoso. The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. . The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. . In the Piano Concerto I realized new concepts of harmony and rhythm. . The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. . In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. . The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. . In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. . Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). . The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). . Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. . These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. . The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). . The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. . Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. . Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. . This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. . The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. . I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. . (Gyorgy Ligeti)
$23.99
22.11 €
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Piano et Orchestre
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Gyorgy Ligeti (1923-2006)
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Concerto
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Schott Music - Digital
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SheetMusicPlus
DECEMBER WINDS - ELEMENTARY STRING ORCHESTRA with optional Piano & Percussion
Orchestre à Cordes
String Orchestra - Level 2 - Digital Download SKU: A0.807051 Composed by Glen Poehl…
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String Orchestra - Level 2 - Digital Download SKU: A0.807051 Composed by Glen Poehlmann. Christmas,Instructional,Standards. Score and parts. 22 pages. Arrangements by GPoehlmann #6234005. Published by arrangements by GPoehlmann (A0.807051). DECEMBER WINDS - ELEMENTARY STRING ORCHESTRA with optional Piano & PercussionDECEMBER WINDS is an example of Program Music. It is a tone poem or a sound piece that was composed for a second year String Orchestra. It tells the story of a winter day that starts out cold and peaceful but soon the snow starts to fall and the winds start to pick up. Before long, a winter storm has arrived! You will hear many winter tunes stated briefly throughout. These represent various melodies that are carried around by the wind. You will hear the Hallelujah Chorus when school is cancelled! I hope it makes you think of snowmen, sledding, ice skating and snowballs flying. All the wonderful things that make winter a special season.MUSICAL ELEMENTS:• No slurs are written in but feel free to add them as desired. • The Piano part is optional but adds to the presentation• Accents• 5/4 meter 2 + 3 subdivision • Changing meter• Dynamic levels • Crescendo• Tremolo• Glissando (Cello and Viola - measure 50)• Pizzicato (in Violins and Double Bass)• Chance Music - random notes (Violin 1 - measure 31)51 measures. Performance Time approx. 2:35. Medium Easy (Grade 2-)Key: D (C with accidentals). Meter: 5/4 - 4/4. Optional Percussion Parts: Triangle, Snare Drum, Bass Drum, Sleigh Bells.
$6.00
5.53 €
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Orchestre à Cordes
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Glen Poehlmann
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DECEMBER WINDS - ELEMENTARY STRING ORCHESTRA with optional Piano & Percussion
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arrangements by GPoehlmann
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SheetMusicPlus
Gaspard de la Nuit (2019) for soprano and string quartet
Orchestre de chambre
Chamber Orchestra - Level 4 - Digital Download SKU: A0.869594 Composed by Thomas Ob…
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Chamber Orchestra - Level 4 - Digital Download SKU: A0.869594 Composed by Thomas Oboe Lee. 20th Century,Contemporary,Romantic Period. Score and parts. 85 pages. Thomas Oboe Lee #4335039. Published by Thomas Oboe Lee (A0.869594). I have always admired Ravel's Gaspard de la Nuit for solo piano. When I found the poems by Aloysius Bertrand that inspired his work, I immediately thought instead of tone poems like Ravel's I would do the right thing and set the poems to music. My work for soprano and string quartet is also titled Gaspard de la Nuit, albeit sung ... in French, of course. I chose five from a huge collection of fantastic, macabre and bizarre scenarios.1. À Monsieur David, Statuaire2. Scarbo I3. Le Cheval Mort4. Odine5. Scarbo IIAudio link: https://thomasoboelee.bandcamp.com/album/gaspard-de-la-nuit-2019-for-soprano-and-string-quartetVideo link: https://youtu.be/QbM6HHDk-DQ
$9.99
9.21 €
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Orchestre de chambre
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Thomas Oboe Lee
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Gaspard de la Nuit
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Thomas Oboe Lee
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SheetMusicPlus
Dawn in the Room for cello and strings
Orchestre à Cordes
String Orchestra - Level 3 - Digital Download SKU: A0.578898 Composed by David Wari…
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String Orchestra - Level 3 - Digital Download SKU: A0.578898 Composed by David Warin Solomons. 20th Century,Contemporary. Score and parts. 22 pages. David Warin Solomons #1954759. Published by David Warin Solomons (A0.578898). Initially based on a song inspired by the poem L'Aube dans la Chambre by Supervielle, as translated by S N Solomons, and a related poem by E M Solomons, these instrumental versions of Dawn in the Room represent the feelings of gentle nostalgia, regret and hope of all three poems. The piece is presented with various melody instruments (flute, clarinet, cor anglais, bassoon or cello) and with various accompaniments (guitar, strings or piano). The sound sample is an electronic preview. The pdf file contains score and parts. Further details regarding the song Dawn in the Room, and various sung versions of it, can be found on http://www.dwsolo.com/serif/dawnintheroom.html.
$16.00
14.75 €
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Orchestre à Cordes
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David Warin Solomons
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Dawn in the Room for cello and strings
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David Warin Solomons
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SheetMusicPlus
Horacio Cabarcos, Poema en Gris, Melodia en tiempo de tango for piano and bass.
Contrebasse, Piano (duo)
Double Bass,Piano,String Bass - Digital Download SKU: A0.892513 Composed by Horacio…
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Double Bass,Piano,String Bass - Digital Download SKU: A0.892513 Composed by Horacio Cabarcos. Latin,World. Score and part. 10 pages. Mesa Music Publishing #5354271. Published by Mesa Music Publishing (A0.892513). Written by one of the Tango all Stars of Argentina, this graceful short piece belongs in any bass/piano recital. The edition includes piano parts in both solo and orchestra tuning.
$13.20
12.16 €
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Contrebasse, Piano (duo)
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Horacio Cabarcos
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Horacio Cabarcos, Poema en Gris, Melodia en tiempo de tango for piano and bass.
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Mesa Music Publishing
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SheetMusicPlus
Thérèse Brenet : A Thing of Beauty Is A Joy Forever" for alto saxophone and piano
Saxophone Alto et Piano
Instrumental Duet Alto Saxophone,Instrumental Duet,Piano - Level 3 - Digital Download S…
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Instrumental Duet Alto Saxophone,Instrumental Duet,Piano - Level 3 - Digital Download SKU: A0.532886 Composed by Therese Brenet. Contemporary,Sacred,Standards. Score and parts. 20 pages. Musik Fabrik Music Publishing #119471. Published by Musik Fabrik Music Publishing (A0.532886). This work was inspired by the poem of the same name by Keats. It was written originally for saxophone and organ by its comissioner the saxophonist Paul Wehage and Françoise Lvéchin-Gangloff, the organist at the Church of Sain Roch in Paris where the work was premièred on February 12, 2012 It also exists in a version for saxophone and piano and for saxophone and string orchestra (with harp). The orchestral version was recorded on Thérèse Brenet's CD Le Livre de L'Harmonie du Monde on JTB-Prod (http://www.jtbprod.com/llhm.htm ) The work is not a literal illustration of the poem, but an evocation of emotional states between a Romantic literary work and the music which the writing inspired more than a century and a half later, seen through a Modern musical aesthetic. I. - A thing of beauty...(Une belle chose... ) - 1’45 II.- ...is a joy for ever... (...est une joie pour toujours...) - 1’ III. - its lovelyness increases (...son charme s'amplifie...) - 4’ IV. - it will never fall into nothingness... (il ne tombera jamais dans le néant...) - 4’15 Total duration : 11'.
$16.95
15.62 €
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Saxophone Alto et Piano
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Therese Brenet
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Thérèse Brenet : A Thing of Beauty Is A Joy Forever" for alto saxophone and piano
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Musik Fabrik Music Publishing
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SheetMusicPlus
Thérèse Brenet: Poème de Jade, seven mélodies on Chinese Poems for baritone, flute solo and orchestr
Small Ensemble Flute,Medium Voice,Piano - Level 4 - Digital Download SKU: A0.532835…
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Small Ensemble Flute,Medium Voice,Piano - Level 4 - Digital Download SKU: A0.532835 Composed by Therese Brenet. 20th Century,Concert,Contemporary,Standards. Score and parts. 39 pages. Musik Fabrik Music Publishing #45421. Published by Musik Fabrik Music Publishing (A0.532835). Thérèse Brenet was attracted to the Chinese poems in La Flûte de Jade by Franz Toussaint. She chose seven of these poems in a contrasting style and assembled them into a single work, striving to create an unusual orchestration which reflects this delicate, fantastic and sensual qualities of these poems. Her orchestration uses a small group of strings which are re-enforced by a harpsichord, a vibraphone, a harp and percussion, often superimposed, which serve to underline the delicate character of the poems. IN addition, she uses all styles of vocal production, from whispered passages to spoken words or screams, and from singing normally to sprechgesang. The work finishes serenely with a long melody in flute upon which the baritone repeats the last phrases of the poem in a long perdendosi. The voice and the flute slowly die away without there being a definite ending to the work, which allow the listener to imagine that the work continues, as in a waking dream. One could imagine hearing the echo of the words whispered by the baritone and the arien and luminous sounds of the flute which has lulled us as a soloist throughout the seven poems of the cycle. The orchestration is for 4 percussion, harp, harpsichord, piano and strings (44221). The piece generally lasts approximately fourteen minutes. The composer has intentionally broken with tradition by using instrumental notation for the vovcal part. This notations gives, in her view, a greater ease of reading when the voice exchanges with the flute. This version for flute, voice and piano is identical, as much as is possible, with the orchestral version, excpet for short segments in the 5th and 7th poems. These differences only affect the flute and piano parts and do not affect the vocal part. The Baritone may therefore use this score for performances with orchestra. The Flutist should use the part included in the orchestral parts for performances with orchestra. This work was first performed at the Villa Medicis during Thérèse Brenet time spend there during her Prix de Rome voyage. It was recorded in 2014 with Kurt Ollmann Baritone, Christel Rayneau, flute and the National Polish Radio Orchestra under the direction of Paul Wehage. The orchestral materials are on rental from the publisher.
$22.05
20.32 €
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Therese Brenet
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Thérèse Brenet: Poème de Jade, seven mélodies on Chinese Poems for baritone, flute solo and orchestr
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Musik Fabrik Music Publishing
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SheetMusicPlus
Carson Cooman: The Acts of the Apostles (2009), an oratorio for baritone, chorus, congregation/audie
Orchestre de chambre
Chamber Orchestra - Level 5 - Digital Download SKU: A0.533578 Composed by Carson Co…
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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 “Theophilusâ€), yet they are unusual for being composed in such contrasting genres. Luke’sgospel, 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 storiesabout—and speeches from—the 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, Christ’s ascension is narratedand—following an orchestral Sinfonia—the chorus sings words of Jesus from the Sermon on the Plain in Luke’sgospel 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 faith—a 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 Isaiah“Heaven is my throne…â€, the end of the narrative is remarkable for two reasons: firstly, Stephen’s final wordsmirror those of Christ on the cross in Luke’s gospel—where Jesus forgives his executioners and prays “Father, intoyour hands I commend my spirit†(Luke 23:46); secondly, Saul is specifically mentioned as one who approved ofStephen’s 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 Isaiah—whilenot 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 Saul’sConversion is followed here by a Christological poem found in Paul’s 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 Luke’s realistic assessment that in spite of Paul’s energetic evangelism manyremained unconvinced by the Christian message. At the heart of both Luke’s 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 Paul’s 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,“Spirit of mercy, truth, and love†is an eighteenth century poem that e.
$25.95
23.91 €
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Orchestre de chambre
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Carson Cooman
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Carson Cooman: The Acts of the Apostles
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Musik Fabrik Music Publishing
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SheetMusicPlus
Poem and Lamentations
Violon et Piano
Piano,Violin - Level 5 - Digital Download SKU: A0.924836 Composed by Stanley M. Hof…
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Piano,Violin - Level 5 - Digital Download SKU: A0.924836 Composed by Stanley M. Hoffman. 20th Century,Contemporary. 1 pages. Stanleymhoffman.com #3913123. Published by stanleymhoffman.com (A0.924836). One of the more substantial and poignant pieces in the composer's oeuvre, Poem and Lamentations begins with an extended violin solo that serves as the basis for the chromatic music that follows. The violin solo stands alone well, and is available separately, and is also available transcribed for viola, or violoncello. Poem and Lamentations is also available in an intensely moving orchestration for violin solo with string orchestra accompaniment. Duration: 12:00.
$16.25
14.98 €
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Violon et Piano
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Stanley M
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Poem and Lamentations
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stanleymhoffman.com
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SheetMusicPlus
Dawn in the Room for flute and strings
Orchestre de chambre
Chamber Orchestra - Level 3 - Digital Download SKU: A0.578895 Composed by David War…
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Chamber Orchestra - Level 3 - Digital Download SKU: A0.578895 Composed by David Warin Solomons. 20th Century,Contemporary. Score and parts. 23 pages. David Warin Solomons #1954735. Published by David Warin Solomons (A0.578895). Initially based on a song inspired by the poem L'Aube dans la Chambre by Supervielle, as translated by S N Solomons, and a related poem by E M Solomons, these instrumental versions of Dawn in the Room represent the feelings of gentle nostalgia, regret and hope of all three poems. The piece is presented with various melody instruments (flute, clarinet, cor anglais, bassoon or cello) and with various accompaniments (guitar, strings or piano). The sound sample is an electronic preview. The pdf file contains score and parts. Further details regarding the song Dawn in the Room, and various sung versions of it, can be found on http://www.dwsolo.com/serif/dawnintheroom.html.
$16.00
14.75 €
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Orchestre de chambre
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David Warin Solomons
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Dawn in the Room for flute and strings
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David Warin Solomons
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SheetMusicPlus
Chant d'Hiver Op. 15; Poème for violin & orchestra (piano reduction)
Violon et Piano
Piano,Violin - Level 5 - Digital Download SKU: A0.875804 Composed by E. Ysaÿe. A…
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Piano,Violin - Level 5 - Digital Download SKU: A0.875804 Composed by E. Ysaÿe. Arranged by Nandor Szederkenyi. 20th Century. 16 pages. IStrings #5000871. Published by iStrings (A0.875804). This is the second of our project of a new revised edition of four Poème's by Eugène Ysaÿe.
$16.00
14.75 €
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Violon et Piano
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E
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Nandor Szederkenyi
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Chant d'Hiver Op. 15; Poème for violin & orchestra
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iStrings
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SheetMusicPlus
Au Rouet Op. 13; 2nd Poème for violin & orchestra (piano reduction)
Violon et Piano
Piano,Violin - Level 5 - Digital Download SKU: A0.875803 Composed by E. Ysaÿe. A…
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Piano,Violin - Level 5 - Digital Download SKU: A0.875803 Composed by E. Ysaÿe. Arranged by Nandor Szederkenyi. 20th Century. 18 pages. IStrings #4894475. Published by iStrings (A0.875803). This is the first of our project of a new revised edition of four Poème's by Eugène Ysaÿe.
$16.00
14.75 €
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Violon et Piano
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E
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Nandor Szederkenyi
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Au Rouet Op. 13; 2nd Poème for violin & orchestra
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iStrings
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SheetMusicPlus
Divertimento Op. 24; Poème for violin & orchestra (piano reduction)
Violon et Piano
Piano,Violin - Level 5 - Digital Download SKU: A0.875806 Composed by E. Ysaÿe. A…
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Piano,Violin - Level 5 - Digital Download SKU: A0.875806 Composed by E. Ysaÿe. Arranged by Nandor Szederkenyi. 20th Century. 18 pages. IStrings #5009057. Published by iStrings (A0.875806). This is the third of our project of a new revised edition of four Poème's by Eugène Ysaÿe.
$16.00
14.75 €
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Violon et Piano
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E
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Nandor Szederkenyi
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Divertimento Op. 24; Poème for violin & orchestra
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iStrings
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SheetMusicPlus
Poema em Linha Reta
Flûte, Violon, Violoncelle et Piano
Small Ensemble Cello,Flute,Piano,Violin - Digital Download SKU: A0.962298 Composed …
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Small Ensemble Cello,Flute,Piano,Violin - Digital Download SKU: A0.962298 Composed by Sergio Roberto de Oliveira (1970 - 2017). 20th Century,Contemporary. Score and parts. 69 pages. Sergio Roberto de Oliveira #2831839. Published by Sergio Roberto de Oliveira (A0.962298). Lyrics: Fernando Pessoa (Alvaro de Campos)Falls House Press has published his works Faces and Mot pour Laura in the United States. Various articles in specialized journals and sites have cited the composer, such as the Flutist Quarterly (Circus Brasilis - The flute music of Sergio Roberto de Oliveira), Early Music America (Something New for Early Music), Andante.com (The heirs of Villa-Lobos), 21st Century Music, Musicabrasileira.org, etc. Sergio Roberto de Oliveira has frequently been invited to lecture at American universities, and has spoken at more than a dozen institutions including Princeton and Duke. In 2009 he was Artist-in-Residence at Duke University. In addition the USA and the UK, Oliveira's music has also been played in many countries, with invitations for concerts exclusively with his music in México, Italy and Holland (Amsterdam). The Spanish Magazine Sonograma has published 2 interviews with Sergio.Sergio is the founder and a member of the group of composers Prelúdio 21. The group is one of the most active worldwide. It holds a distinguished place in Brazilian contemporary music, having been active for 15 consecutive seasons, with a permanent series of monthly concerts since 2008. In 2011 the group released the CD String Quartets, with performances by the Quarteto Radamés Gnattali. Oliveira is also a member of the group of composers Vox Novus, based in New York.To commemorate 15 years of activity as a composer, Oliveira released a box set with 4 CDs, as well as a CD with composer Mark Hagerty, and produced the series QUINZE, with 13 concerts including his works, between July and October of 2012. More than 130 musicians, including 28 composers, participated of QUINZE (CDs and series).His discography includes 14 CDs as producer, 14 as composer, 22 as general producer, 2 as arranger and 2 as pianist. His catalog of compositions includes approximately 115 works for various ensembles, including Symphony Orchestra. Sergio Roberto de Oliveira is a member of the Latin Academy of the Arts and Science of Recording.He died from pancreatic cancer in 2017.
$22.86
21.07 €
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Flûte, Violon, Violoncelle et Piano
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Sergio Roberto de Oliveira
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Poema em Linha Reta
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Sergio Roberto de Oliveira
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SheetMusicPlus
Lift Every Voice and Sing: Piano Accompaniment
Accompagnement Piano
String Orchestra - Digital Download SKU: AX.00-PC-0017344_K Piano Accompaniment
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String Orchestra - Digital Download SKU: AX.00-PC-0017344_K Piano Accompaniment. Composed by J. Rosamond Johnson. Arranged by Bob Phillips. Folk; Multicultural. Part. 2 pages. Alfred Music - Digital Sheet Music #00-PC-0017344_K. Published by Alfred Music - Digital Sheet Music (AX.00-PC-0017344_K). UPC: 038081518169.The poem and original hymn-like music of Lift Every Voice and Sing, by James and J. Rosamond Johnson, reverberate through the decades of the civil rights movement. Originally performed for Booker T. Washington in 1900, it is sometimes called the African-American National Anthem. This setting, by Bob Phillips, teaches 6/8 and uses chromatic alterations in first position. A vocal lead sheet is included in the reproducible educational packets. The cross-curricular programming possibilities are vast. (2:40)Orchestra and Chorus.
$5.99
5.52 €
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Accompagnement Piano
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J
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Bob Phillips
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Multicultural
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Lift Every Voice and Sing: Piano Accompaniment
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Alfred Music - Digital Sheet Music
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SheetMusicPlus
Arise, My Soul, Arise--Piano/Organ Duet edition
Orgue, Piano (duo)
Instrumental Duet Instrumental Duet,Organ,Piano - Level 4 - Digital Download SKU: A0.82…
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Instrumental Duet Instrumental Duet,Organ,Piano - Level 4 - Digital Download SKU: A0.829322 Composed by Text: Charles Wesley / Music by Lewis Edson and Lyndell Leatherman. Arranged by Lyndell Leatherman. Christian,Sacred. Score and parts. 19 pages. Leatherman Music Services #5742273. Published by Leatherman Music Services (A0.829322). This is the piano/organ duet edition of this arrangement. It is compatible with the orchestration listed separately on SMP, and could be performed with the full orchestra or any of the sections: brass, woodwinds, or strings. The words of the hymn are included between the piano and organ systems, to aid the tech team in tracking with the music if displaying the lyrics during performance (a great idea since the arrangement is–in effect–a tone poem illustrating the narrative of the hymn).
$5.99
5.52 €
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Orgue, Piano (duo)
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Text: Charles Wesley / Music by Lewis Edson and Lyndell Leatherman
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Lyndell Leatherman
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Arise, My Soul, Arise--Piano/Organ Duet edition
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Leatherman Music Services
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SheetMusicPlus
Dawn in the Room for cor anglais and strings
Orchestre à Cordes
String Orchestra - Level 3 - Digital Download SKU: A0.578896 Composed by David Wari…
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String Orchestra - Level 3 - Digital Download SKU: A0.578896 Composed by David Warin Solomons. 20th Century,Contemporary. Score and parts. 23 pages. David Warin Solomons #1954755. Published by David Warin Solomons (A0.578896). Initially based on a song inspired by the poem L'Aube dans la Chambre by Supervielle, as translated by S N Solomons, and a related poem by E M Solomons, these instrumental versions of Dawn in the Room represent the feelings of gentle nostalgia, regret and hope of all three poems. The piece is presented with various melody instruments (flute, clarinet, cor anglais, bassoon or cello) and with various accompaniments (guitar, strings or piano). The sound sample is an electronic preview. The pdf file contains score and parts. Further details regarding the song Dawn in the Room, and various sung versions of it, can be found on http://www.dwsolo.com/serif/dawnintheroom.html.
$16.00
14.75 €
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Orchestre à Cordes
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David Warin Solomons
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Dawn in the Room for cor anglais and strings
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David Warin Solomons
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SheetMusicPlus
Ukrainian National Anthem for Piano Trio
Piano Trio: piano, violon, violoncelle
Piano Trio,String Ensemble Cello,Piano,Violin - Level 1 - Digital Download SKU: A0.1037…
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Piano Trio,String Ensemble Cello,Piano,Violin - Level 1 - Digital Download SKU: A0.1037947 Composed by Mykhailo Verbytsky, 1863. Arranged by James M. Guthrie. Patriotic. Score and parts. 8 pages. Jmsgu3 #642867. Published by jmsgu3 (A0.1037947). Ukrainian National Anthem for Piano TrioThe Ukrainian National Anthem is the national anthem of Ukraine. It was adopted in 2003 and is the official anthem of the country. The lyrics were written by Pavlo Chubynsky and the music was composed by Mykhailo Verbytsky.The anthem is based on a poem written by Chubynsky in 1862, which tells of the struggles of the Ukrainian people throughout their history and their determination to remain a free and independent nation. The lyrics are considered to be a powerful expression of Ukrainian national identity and patriotism. The anthem has become a symbol of the Ukrainian people's strength and resilience in the face of adversity. The song is often sung at public events and gatherings in Ukraine, and it is a popular choice for choirs and orchestras to perform.
$20.00
18.43 €
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Piano Trio: piano, violon, violoncelle
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Mykhailo Verbytsky, 1863
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James M
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Ukrainian National Anthem for Piano Trio
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jmsgu3
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SheetMusicPlus
O Valiant Hearts - Concert Band Score and Parts PDF
Orchestre
Full Orchestra - Level 2 - Digital Download SKU: A0.750890 Composed by Edward John …
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Full Orchestra - Level 2 - Digital Download SKU: A0.750890 Composed by Edward John Hopkins, 1869. Arranged by Brendan Elliget MAGA 537. Christian,Sacred. Score and parts. 41 pages. BJE Music #4366398. Published by BJE Music (A0.750890). O Valiant Hearts is a hymn remembering the fallen of the First World War. Words were taken from a poem by Sir John Stanhope Arkwright (1872-1954), published in ’The Supreme Sacrifice, and other Poems in Time of War (1919) The tune used here is Ellers (Edward John Hopkins, 1869).Especially appropriate for Anzac Day. This is a fairly straight forward arrangement for concert band with a descant for Trumpet (Clarinet) and/or Flute in the last verse. There are also optional parts for Piano and Strings. Grade = 3 Duration = 1:40 mins. (Two verses only) The MP3 was recorded with NotePerformer 3.
$15.00
13.82 €
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Orchestre
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Edward John Hopkins, 1869
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Brendan Elliget MAGA 537
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O Valiant Hearts - Concert Band Score and Parts PDF
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BJE Music
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SheetMusicPlus
Music for Dancing - Score Only
Orchestre à Cordes
String Orchestra - Level 3 - Digital Download SKU: A0.1181395 Composed by Viktor Ko…
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String Orchestra - Level 3 - Digital Download SKU: A0.1181395 Composed by Viktor Kosenko. Arranged by Robert Debbaut. 20th Century,Children,Contest,Festival,Multicultural,Romantic Period,World. Score and parts. 10 pages. ROBERT DEBBAUT #781237. Published by ROBERT DEBBAUT (A0.1181395). Ukrainian and Soviet composer, Viktor Kosenko (1896-1938), was a highly regarded concert pianist, concertmaster and educator. Kosenko began his formal training at the St. Petersburg Conservatory as a composition student of Mikhail Sokolovsky. While in school he served as concertmaster of the Marinsky Theatre. Aleksandr Glazunov, the Director the Conservatory, was greatly impressed with Kosenko and spoke highly of his work.  Regarded by his contemporaries as a master of lyricism, his first compositions were markedly influenced by the works of composers such as Rachmaninov, Scriabin, Tchaikovsky and his fellow Ukrainian Mykola Lysenko.  During his short career he composed over 100 works for piano in a total of about 250 musical works. Other works include his symphonic Moldavian poem, choral and folk music arrangements, violin and piano concertos, trios and string quartets. During the 1930s Kosenko became dedicated to writing music for children. His first compositions for children were Four Children’s Pieces for piano (1930; this arranger has scored these four works for violin and piano, flute and piano, and cello and piano, as well as string orchestra). This work is one of five I have scored for as a Second Suite for String Orchestra from the twenty-four piano works for children he composed in 1936 (The First Suite is available from Carl Fischer).  If you purchase contact me about a set of parts and a wav recording at debbaut@gmail.com, subject line Kosenko.
$4.99
4.6 €
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Orchestre à Cordes
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Viktor Kosenko
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Robert Debbaut
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Music for Dancing - Score Only
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ROBERT DEBBAUT
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SheetMusicPlus
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