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47
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45
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3
Clavecin
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2 Pianos, 8 mains
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95
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26
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15
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7
2 Ukuleles
5
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41
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36
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30
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30
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23
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22
Chorale SSAATTBB
22
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11
Voix duo
10
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7
Voix haute
6
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6
Voix Tenor
6
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5
Soli, choeur mixte et accompagnement
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2
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1
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940
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915
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854
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762
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611
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571
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331
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303
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270
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252
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212
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59
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54
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52
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51
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47
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43
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42
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34
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29
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28
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28
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18
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17
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16
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15
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13
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12
Violoncelle, Contrebasse (duo)
10
Quintette à cordes : 2 violons, alto et 2 violoncelles
9
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Harpe et mandoline
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9976
Bach: Aria 'Mache dich, mein Herze, rein' for Bass Solo and Chamber Baroque Orchestra
Orchestre de chambre
Chamber Orchestra - Level 4 - Digital Download SKU: A0.1283479 By Johann Sebastian …
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Chamber Orchestra - Level 4 - Digital Download SKU: A0.1283479 By Johann Sebastian Bach and Netherlands Bach Society. By Johann Sebastian Bach. Arranged by Flavio Regis Cunha. Baroque,Contest,Easter,Festival,Instructional,Sacred. Score and Parts. 51 pages. Flavio Regis Cunha #874665. Published by Flavio Regis Cunha (A0.1283479). Bach: Aria 'Mache dich, mein Herze, rein' for Bass Solo and Chamber Baroque Orchestra from the St Matthew Passion (BWV 244).Discover timeless music with the Bach classic - 'Mache dich, mein Herze, Rein'! Enjoy the intricate and vibrant performance of the piece from the renowned Netherlands Bach Society. Perfect for both professional orchestras and soloists – as well for the joy of schools performing the revered composer's masterpiece. Get the perfect accompaniment for your performance with the authentic sheet music available now!The aria 'Mache dich, mein Herze, rein' from the St Matthew Passion (BWV 244), performed here by the Netherlands Bach Society and conducted by Jos van Veldhoven for All of Bach. The St Matthew Passion tells the story of the last days of Jesus. He is betrayed, tried, crucified and buried. The lyrics were compiled by Picander (the pseudonym of Christian Friedrich Henrici), probably in close consultation with Bach himself. For their theme, they took the story as told by St Matthew the Evangelist. As different groups or people have their say, the singers get different roles – Christ, Judas, Peter, a slave girl, the pupils, the high priests, the people and the soldiers, etc. At key moments in the story, Bach and Picander added chorales and arias as a reflection of the biblical story. The action is suspended and the events are placed in the theological context of Bach’s day. The chorale lyrics and melodies come from the Lutheran hymn book, and were well known to the congregation in Leipzig. Even though Bach’s harmonies were new, everyone would have recognised the melody and the words. The lyrics for the opening and closing choruses and the arias were brand new, however. Both the arias and the chorales often link up seamlessly with the evangelical words. Advanced IntermediateFormat: Concert, 9 x 12 inches51 pagesProgram NotesMache dich, mein Herze, rein is a deeply poignant and emotional piece from the renowned work by Johann Sebastian Bach, St Matthew Passion (BWV 244). Written as a part of the 16th passion oratorio as a love song sung by Jesus to his disciples, this piece brilliantly conveys the struggle of redemption and longing for peace.Accompanied by a chamber baroque orchestra, the stark vocal line is delivered with an intense intricacy by the bass solo. Each note is carefully laden with sincere emotion, imbuing within the words a sense of longing and deep sorrow. As the piece progresses, the reprise of the chorus adds a layer of reflection to the message, driving home the power of the connection between Christ and his disciples.Mache dich, mein Herze, rein is a highly moving and truly remarkable piece of music that has rightly earned a place amongst Bach's most renowned works. Mache dich, mein Herze, rein is one of the most stunningly tender and moving chorales from Johann Sebastian Bach's monumental oratorio the St Matthew Passion (BWV 244). Originally written with a full choral accompaniment for the Easter Week Vespers of 1729, Bach's skilful reworking of the melody for bass and chamber baroque orchestra in the St Matthew Passion gives the solo voice a unique poignancy and fragility. The Lutheran chorale on which Bach based his composition speaks of hearts needing to be cleansed of sin and sorrow as they prepare to meet the Savior - an idea timeless in its poignancy and universality. Bach's arrangement is akin to a prayer of reflection and contemplation, the music's restrained dynamics and sighing counterpoint creating an atmosphere of resignation and acceptance. Mache dich, mein Herze, rein is a sublime masterpiece of sacred music, truly embodying the spirit of Easter.
$18.99
17.22 €
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Orchestre de chambre
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Johann Sebastian Bach and Netherlands Bach Society
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Flavio Regis Cunha
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Bach: Aria 'Mache dich, mein Herze, rein' for Bass Solo and Chamber Baroque Orchestra
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Flavio Regis Cunha
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SheetMusicPlus
Two Scenes from The Rubáiyát of Omar Khayyám (Trio for Bb Clarinet, Violin and Piano)
Violon, Clarinette, Piano (trio)
B-Flat Clarinet,Piano,Violin - Level 5 - Digital Download SKU: A0.1208741 Composed …
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B-Flat Clarinet,Piano,Violin - Level 5 - Digital Download SKU: A0.1208741 Composed by Adam Lenhart. Chamber,Classical,Contemporary,Contest,Festival. 33 pages. Adam Lenhart #806841. Published by Adam Lenhart (A0.1208741). Introduction to The Rubáiyát of Omar KhayyámThe Rubaiyat of Omar Khayyam is a Persian poetry collection first put together in 1460 in Shiraz.  It consists of quatrains, four-line poems, with a set of unconventional themes.  The poetry is irreligious and questions the afterlife and God's providence.  It shows keen awareness of the shortness of life and the finality of death. It advises therefore that every fleeting moment of every day should be savored, with wine, lovers and song. The combination of a serious philosophy of life and a carefree attitude has made the poetry popular for centuries.  In 1859, Edward FitzGerald brought out a loose English translation that took the world by storm.  It became the most beloved and widely known poem in the English language for decades until its popularity finally faded in the late twentieth century. Although they were attributed to the great mathematician and astronomer, Omar Khayyam (d. 1131), the poems were by many anonymous hands, and he was just a frame author, akin to Scheherezade in the Arabian Nights.- Dr. Juan Cole, Richard P. Mitchell Collegiate Professor of History at the University of MichiganAbout the CompositionTwo Scenes from The Rubáiyát of Omar Khayyám explores and embodies two of the main themes that carry throughout the quatrains of the poem collection. In FitzGerald's translation, the quatrains follow a day to night cycle. The two movements reflect this by starting off with an abrupt wake up section and ending the piece with a nocturne.  The first movement, Wine, celebrates the camaraderie, joy and chaos that comes through the physical joy of being with friends. The clarinet, violin and piano interact in a conversational way, talking, laughing, and insulting one another in their own independent lines.The second movement is entitled Intimacy and explores the emotional joy of connecting with one another. The movement is set in a waltz style dance and draws influence from Chopin, Liszt and other romantic era composers. This is juxtaposed by youthful and energetic phrases so that the piece embodies all forms of love: young love, years of marriage and even friendship. Each movement has a sense of urgency and density which is present in the rubá'iyát as well, expressing to the reader that our time on Earth is so short and to make the most of each day.---------------------------Adam Lenhart (b. 2002) is a University of Michigan student of music theory, composition, voice and organ from Ottawa Lake, Michigan. As a theorist, his areas of study vary widely, including 18th century counterpoint, the early American Sacred Harp tradition, and impressionism. As a composer, his music draws inspiration from nature, mathematics and poetry. In 2020 he was awarded the Michigan Music Education Association’s Young Composers of Michigan award, as well as first prize in the University of Toledo Young Composers competition. Lenhart has also participated in numerous ensembles across Michigan, including the MYAF All-State Choir, Tecumseh Pops Orchestra, University of Michigan Men’s Glee Club and the SMTD University Choir. He thoroughly enjoys collaboration with other composers, performers, poets and visual artists. Some of his recent projects include collaborations with individuals from the University of Michigan Chamber Music, History, and Poetry departments.
$14.99
13.59 €
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Violon, Clarinette, Piano (trio)
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Adam Lenhart
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Two Scenes from The Rubáiyát of Omar Khayyám
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Adam Lenhart
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SheetMusicPlus
The Oboe
Piano Quartet - Level 5 - Digital Download SKU: A0.1329920 Composed by James E. And…
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Piano Quartet - Level 5 - Digital Download SKU: A0.1329920 Composed by James E. Andersson. 19th Century,21st Century,Classical,Comedy,Contemporary. 35 pages. Sahale Studios #917904. Published by Sahale Studios (A0.1329920). Once there was an oboist who was a member of a chamber ensemble consisting of flute, oboe, cello, and, piano. The oboist was highly skilled; a virtouoso who could ornament without the slighest effort. They were notorious for doing so.One day during dress rehearsal, the oboist, familiar enough with the music began ornamenting and adding stylistic flourishes, becoming increasingly carried away with their part. It finally reaches a point where the others stop playing and let the oboe go completely overboard with a full cadenza. Not far into the solo, the oboe realizes everyone else has stopped playing and stops themself and the rehearsal continues. However, not much farther along, the oboist becomes carried away in their part again, resulting in the other musicians pausing again as the oboist proceeds into another cadenza passage before realizing the others have stopped again.The rehearsal continues, and they all get further along (due to the oboe simply not playing), but when the oboe plays the melody, the ornaments and finesse return in full display, and finally the piano cuts the oboe off. At the slightest hint of an ornament all the other musicians in the ensmeble join in and cut off the oboe. From this, the oboist sinks into low spirits.The rehearsal continues unabated through the next section, and when the oboist enters, they play their part as written, but the ornamentations begin creeping in again. But rather than admonish the oboist the others instead speed the music up into the recapitulation section and for the remainder of the piece and rehearsal they all go wild with flourishes and ornamentations of their own, bringing the piece to a rollicking and lively conclusion.
$22.99
20.85 €
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James E
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The Oboe
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Sahale Studios
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SheetMusicPlus
Syzygy | Ethereal Chamber Orchestra
Orchestre de chambre
Chamber Orchestra - Level 3 - Digital Download SKU: A0.1133304 By Fiona Cork. By Fi…
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Chamber Orchestra - Level 3 - Digital Download SKU: A0.1133304 By Fiona Cork. By Fiona Cork. Arranged by N/A. Baroque,Chamber,Classical,Contemporary,Multicultural,World. Score and Parts. 22 pages. Fiona Cork #733457. Published by Fiona Cork (A0.1133304). Syzygy is an amalgam of four movements, all very different in feel, yet blended smoothly to paint a picture of the divine cosmos. With pronounced usage of the pentatonic scale, Syzygy invokes my personal love of Chinese orchestra (as well as some genre fusion to spice up the general aesthetic). I was sixteen when I wrote this, my first large-scale piece, and therefore was very fond of it; but I never got so big for my britches that I didn't ask for help. After the four-ish months I spent writing this, I revised it with several local music directors and composers, as well as personal friends who played specific instruments used in the score. _____________________________ syz·y·gy /ˈsizijē/ noun ASTRONOMY a conjunction or opposition, especially of the moon with the sun. the planets were aligned in syzygy a pair of connected or corresponding things. animus and anima represent a supreme pair of opposites, the syzygy.
$3.00
2.72 €
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Orchestre de chambre
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Fiona Cork
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N/A
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Syzygy | Ethereal Chamber Orchestra
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Fiona Cork
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SheetMusicPlus
"On the beaches of Tijuana"
Orchestre de chambre
Chamber Orchestra - Level 4 - Digital Download SKU: A0.1029901 Composed by Luis Car…
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Chamber Orchestra - Level 4 - Digital Download SKU: A0.1029901 Composed by Luis Carlos Diaz. Arranged by Luis Carlos Diaz. 20th Century,Contemporary,Film/TV. Score and parts. 67 pages. Azdi #5983045. Published by azdi (A0.1029901). On the beaches of Tijuana August 2018 It is a sound work for chamber orchestral ensemble based on the traditional and anonymous Son Istmeño La Llorona. Developed under a minimalist aesthetic influenced by ambient and experimental music. It fuses the themes of the traditional son with melodic and rhythmic motifs of popular Mexican rock songs also inspired by this traditional rhythm: La muerte chiquita by Café Tacuba and Llorona by Caifanes. It is structured similar to the format of a rock song. Start with a long base note or drone. Introduction (intro) about a descending harmony in the key of La Menor. A melody as a verse and a different melody as choir. Both melodies are presented and performed by different instruments with variations and different combinations of accompaniment and instrumentation. Variations of the thematic patterns and the ¨intro¨. A rhythmic-melodic experiment towards the end on the same descending harmonic progression as the solo part in a rock song. It ends with a fading orchestral atmosphere (outro). All oriented towards a minimalist style setting focused on melodic lines and emotional expressiveness. For a chamber orchestra. Ideally a string septet consisting of: 2 violins. 2 violas. 2 cellos. 1 double bass. Breaths: 1 trombone. 1 trumpet. 1 transverse flute. 1 Picollo flute. 1 Clarinet. 1 Oboe. Percussion of a determined note. It can be a vibraphone. Xylophone (preferably) or marimba. If it is not possible to use this type of instrument, that part is played an octave up on a piano. The number of instruments can be increased for each of the parts if needed and be convenient for the chamber orchestra in question. The Tempo can vary between 95 and 115 bpm. The work is designed so that it can be performed mainly by youth and children's orchestras. Dedicated to Tijuana beaches. pre.cjk { font-family: WenQuanYi Micro Hei Mono, monospace; }p { margin-bottom: 0.1in; line-height: 115%; }
$22.00
19.95 €
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Orchestre de chambre
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Luis Carlos Diaz
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Luis Carlos Diaz
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"On the beaches of Tijuana"
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azdi
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SheetMusicPlus
Colores (Let the Children Teach Us)
Woodwind Ensemble Bass Clarinet,E-Flat Clarinet - Level 4 - Digital Download SKU: A0.12…
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Woodwind Ensemble Bass Clarinet,E-Flat Clarinet - Level 4 - Digital Download SKU: A0.1256884 Composed by Lon W. Chaffin. 21st Century,Chamber. 71 pages. LCS Productions #850272. Published by LCS Productions (A0.1256884). Imagine a place where cultures are blended and people of all races can laugh, play, sing, dance, and even pray together.  Colores is a musical tale in which children show us how to create such a place.A child walks on to a deserted playground, looking for others.  Another child joins.  They introduce themselves and begin to talk to each other.  A third joins the conversation, then another, and another, until there is a large group of children, creating a colorful, contrapuntal cacophony of vocal chatter.  After the introductions and lively conversations, they pause to decide what to do next.  As would be expected, they decide to just play.  They run races, play chase and tag, catch and kickball, and laugh and giggle until their energy is gone.  Settling down, and wondering what to do next, one child begins singing a tune that is familiar.  …but not to all of them.  So, it’s time to teach the song to everyone.The tune is shared, bit by bit, and one by one every child learns it and joins in.  Before it’s over, their full-voiced singing creates a choral tapestry in which every child adds his or her own color to the musical palette.After a brief conversation, they add their renewed energy to the song they just learned, pick up the pace, and dance.  They twist and spin, jump and swing, making up their moves as they go along.  But, as before, their energy wanes.  This time, as they settle down, one child feels so comfortable with these new friends, he chooses to share his faith in the form of a chant — a prayer.Some join his prayer, as others add a familiar religious tune.  They pray and sing, and their separate experiences combine to produce a stirring, blended chorale.  As they finish, the day ends and they quickly reminisce about the blended experiences that are now behind them.  Before they go their separate ways, they share a moment of gratitude for the place where they can be free to be who they are, together.On a musical note, Colores combines multiple scale structures and varying types of vertical harmonies to give the piece its color palette.  Each of the five voices is set in a different mode, with different tonal centers and sets of accidentals.  The harmony combines both traditional tertian chords with secondal, quartal, and quintal structures.The colors within the music are intended to represent the racial diversity of the borderland from which the composer drew his inspiration.  It is hoped that we can learn from the example of children who talk, laugh, play, sing, dance, and pray together.  …who are grateful for the time and experiences they share.
$35.00
31.73 €
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Lon W
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Colores
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LCS Productions
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SheetMusicPlus
TELEMANN – VIOLIN CONCERTO IN A MAJOR "THE FROGS", TWV 51:A4 (Score and parts in PDF)
Orchestre de chambre
Chamber Orchestra - Level 5 - Digital Download SKU: A0.890767 Composed by Georg Phi…
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Chamber Orchestra - Level 5 - Digital Download SKU: A0.890767 Composed by Georg Philipp Telemann. Arranged by Sneakwood Editions. Baroque,Classical. Score and parts. 41 pages. Sneakwood Editions #4781035. Published by Sneakwood Editions (A0.890767). Edition based on Ms. D MÜu, ms. 775Score (20 pages) and Parts (friendly performance edition): Violino principale, Violin I, Violin II, Violin III, Viola, Violoncello and Harpsichord.The Violin Concerto in A major (TWV 51:A4), which has come to light only fairly recently, does not take as its musical model the song of the nightingale (as in ‘La Bizarre’ [TWV 55:G2]) or of the goldfinch (Vivaldi), but the croaking of the common frog, also called ‘Reling’ in certain regions of Germany, whence the concerto’s subtitle. Nothing better could be expected of a composer who found inspiration even in crows and in the out-of-tune playing of village musicians! Although this concerto, which the manuscript attributes to Telemann, bears traces of his personal style, other features, such as the exceptionally high solo part, leave room for doubt. At a structurally important point in the first movement the soloist produces no more than a succession of repeated notes, ‘a-a, a-a’, which infect the other parts as well. Of course, this is the vowel that the frog croaks, given a distinctive tone-colour by use of the open A string and stopped D string. But worse is to come. In the second ritornello the orchestral violins ‘forget’ the beginning of their theme, whilst the cello inappropriately pushes its way into the foreground. The setting of the second movement (Adagio), probably a moonlit stretch of shallow water, then audibly inspires a pair of courting frogs to make sweet music together. We are given the opportunity to rejoice in their croaking offspring in the concluding Menuet and its rapid Double. This movement entirely dispenses with concertante sounds of nature and thereby betrays its origins in the suite, where it always takes its accustomed place in Telemann’s music. If we knew that a satirist was at work in this ‘Relinge’ Concerto, someone who was deliberately exhibiting all these deviations from good taste, then we could infer with some certainty that the composer is indeed Telemann. Since his own concertos ‘smack of France’ (as he puts it in his autobiography of 1718), we may most likely credit him with permitting his not at all ‘sullen old heart’ a little joke at the expense of the relevant concertos of a certain Italian composer… – Peter Huth (trans. Charles Johnston)www.snakewoodeditions.com
$18.00
16.32 €
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Orchestre de chambre
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Georg Philipp Telemann
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Sneakwood Editions
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TELEMANN – VIOLIN CONCERTO IN A MAJOR "THE FROGS", TWV 51:A4
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Sneakwood Editions
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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
23.53 €
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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
When I Survey the Wondrous Cross - Orchestration
Orchestre de chambre
Chamber Orchestra - Level 3 - Digital Download SKU: A0.976713 Composed by Isaac Wat…
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Chamber Orchestra - Level 3 - Digital Download SKU: A0.976713 Composed by Isaac Watts / Lowell Mason. Arranged by Robert Myers. Christian,Holiday,Love,Sacred. Score and parts. 49 pages. WheatMyer Music #4775721. Published by WheatMyer Music (A0.976713). When I Survey the Wondrous Cross, written by the Father of English Hymnody, Isaac Watts, in 1707 and later matched with Lowell Mason’s 1824 tune, HAMBURG, has long stood at the forefront of English hymnody.This arrangement, taken from my Passion Week cantata, Wounded, Bleeding, Still Proceeding, allows the full talent-spectrum of the Body of Christ to contemplate His sacrifice and offer their devotion.The first two stanzas feature an alto/soprano duet, set in a minor key with frequent diminished and augmented chords to reflect the despair and loss of a witness to the crucifixion. The entire third stanza, set for SATB chorus, never really moves off the F minor tonic until the end. That, and the relentless pounding of the bass line, ponders the witnesses' anguish and our vicarious experience of it through Scripture. So, sing these stanzas sadly – they are sad! When the choir enters, be sure to observe the swelling crescendos/diminuendos as the sorrow and love mingle together.The fourth stanza offers optional congregational participation and may be used to provide a responsorial to the Word of God or a preparation for the Table. The choir sings this stanza in four part harmony as the congregation joins on the melody. It stays in a major key and closely follows the traditional consonances used in Lowell Mason’s harmonization; thus, the choral parts will feel familiar and the congregational melody will flow naturally. Take the text literally (Love so amazing, so divine, demands my soul, my life, my all.) and sing it firmly, enthusiastically, passionately, but never triumphantly. Sing it as a song of personal devotion to commit all that you have, all that you are, and all that you will ever be, to the one who humbled Himself by becoming obedient to the point of death, even death on a cross (Phil 2:8b) so that we might become the righteousness of God in Him (2 Cor 5:21)The music is well within the grasp of any ensemble competent with traditional SATB anthems. The instrumental accompaniments are straightforward yet very colorful, suitable for high school or higher level players. When I Survey the Wondrous Cross is an unapologetic Christian worship anthem suitable for sacred services, yet it does not compromise on artistic expression.This is the orchestral accompaniment for the choral octavo version sold separately. This version includes full score and all instrumental parts.
$60.00
54.4 €
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Orchestre de chambre
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Isaac Watts / Lowell Mason
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Robert Myers
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When I Survey the Wondrous Cross - Orchestration
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WheatMyer Music
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SheetMusicPlus
Songs from the Pomegranate Garden (Kantes del Verdjel de Granadas)
Orchestre de chambre
Chamber Orchestra - Digital Download SKU: A0.944036 Composed by Ofer Ben-Amots. Con…
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Chamber Orchestra - Digital Download SKU: A0.944036 Composed by Ofer Ben-Amots. Contemporary,Jewish,World. Score and parts. 124 pages. The Composer's Own Press #4627681. Published by The Composer's Own Press (A0.944036). Kantes del verdgel de granadas – Songs from the Pomegranate Garden A Judeo-Spanish song cycle for solo voice and chamber symphony orchestra Composer’s notes: Kantes del verdgel de granadas, or in its English translation: Songs from the Pomegranate Garden, is a cycle of five songs in the Judeo-Spanish dialect, also known as Ladino. The texts, based on folk-poetry, are magical, passionate, and encompass a wide range of human emotions and experiences. We can find in them love and longing, sorrow and death, lightheartedness and folly, as well as burning love and even sexual innuendo. The vocal part portrays different stories and a variety of human characters in each of the five songs. It, thus, ranges in expression from parlando secco to lirico espressivo. The role of the orchestra in this cycle is more than just an accompaniment; it converses with the voice, adds colors and ambience, and serves as a commentary over the sung text. Thus, the orchestral part is equal to, or at times even more predominant than the voice itself. The initiative to write this composition came in response to a specific cultural approach by which creativity based on traditional Judaic material should correspond to four stages in the artistic process: Exploration, Preservation, Interpretation, and Innovation (as translated by the Hebrew terms: חידוש – פירוש – שימור – חיפוש). The main idea behind this initiative was to conserve crucial elements within traditional Jewish folk music, and then, bring about their revival as art music through new contemporary interpretations. Thus, the musical arrangement is partially based on the traditional Ladino tunes and partially original. However, phrases based on old Ladino melodies are starkly modified and composed in such way to completely evoke personal imagery and interpretation. The songs I selected for the cycle were taken from the four-volume collection: Chants judéo-espagnols by Isaac Levy. My criteria for the selection was finding lesser-known melodies, yet most intriguing ones and with a strong Judeo-Spanish character. The five songs have various degrees of arrangement vs. original composition: songs 2 and 3, Mi korason and Entre las huertas, for example, are almost unchanged, while songs 1 and 4, Dos amantes and Malato ‘sta el hijo del rey, heavily combine the old Ladino romancero melodies with originally composed material. The concluding song (Nr. 5) is entirely original, but correspond stylistically to the Judeo-Spanish musical language. While all five songs are secular in nature, the ballad Malato ‘sta el hijo del rey (The King’s Son is Ill) has been traditionally sung - according to Isaac Levy - on the night of Tisha B’Av along the scroll of Eicha to bemoan the destruction of the Holy Temple in Jerusalem. The Judeo-Spanish text of the songs can be found below along with its English translation. Duration: ca. 24 min.Performance material by rental only! For demo recording, questions, or any additional information please e-mail Ofer Ben-Amots at: thecomposerspress@gmail.com
$54.00
48.96 €
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Orchestre de chambre
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Ofer Ben-Amots
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Songs from the Pomegranate Garden
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The Composer's Own Press
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SheetMusicPlus
Toasting Mother Earth
Piano, Voix
Piano,Vocal,Voice - Level 5 - Digital Download SKU: A0.1255098 Composed by Ross Fid…
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Piano,Vocal,Voice - Level 5 - Digital Download SKU: A0.1255098 Composed by Ross Fiddes. 21st Century,Chamber,Classical,Contemporary. Score. 25 pages. Ross Fiddes #848692. Published by Ross Fiddes (A0.1255098). It was in the aftermath of the 2020 summer bushfires in Australia that soprano Ayse Goknur Shanala rang me from Cyprus to suggest I compose a work about climate change, a subject of concern for me.  My research for lyrics did not elicit anything I considered suitable, so I turned to Derek Dowding, a local poet, singer, actor, raconteur, and a person vitally interested in the future of humanity and of the planet.Derek and I had worked together before – he brilliantly performed the role of Abelard in the workshopping and concert performances of my hybrid opera “Abelard and Heloiseâ€, which, in 1997, won the supreme CONDA (City of Newcastle Drama Award)  for ‘Outstanding Achievement in Newcastle Theatre’ against some 200 other stage productions in Newcastle’s bi-centenary year.Derek worked long and late on the lyrics for the work, producing an emotional document covering history, cause and effect.  His words produced musical responses from me which I consider react appropriately to both his words and the subject matter. I hope our listeners will agree.For the musical treatment I had to consider that the length of the work, through-sung, 20+ minutes, required a recurrent grounding to avoid too many thematic ideas getting in the way of the words.  To that end, I created a quasi-reflective section which appears, rondo-style, quite a few times during the length of the piece.  And, for further cohesion, I built an ABA (ternary) section early to address certain word structures.  Mostly, the various sections followed the stanza structure provided by Derek, with some combinations.  My musical style is essentially melodic, but with dramatic and other episodes, be they tonal, astringent, harmonically indecisive and so on.  In building the work I was principally influenced by the impact and flow of the words.The work is quite mammoth for both the singer and the pianist.  I was absolutely delighted that Anna Fraser again premiered a work of mine – in 2015 she marvellously premiered another major composition of mine, reviewed here:  http://soundslikesydney.com.au/reviews/concert-review-the-man-in-the-other-roomacacia-quartetanna-fraser/19830.htmlWe can only hope that the new work ultimately adds to the chorus of warnings and concern about the climactic future that awaits if we continue to ignore or postpone dramatic and urgent attention to addressing the causes of climate change.A living orb cloaked white and blue and greenRevolving and evolving, tight-hugged in orbit flightWe ride her back; dependent, fragile offspring.Suckling all the while …but have we bonded?A world unlike any other world we’ve seenGifted with Water, Air, Earth and perfect Light.The essentials of life. Freely, these gifts she brings.Free for all but how have we responded?                                   Poem© 2020 Derek DowdingRoss FiddesJanuary 2023.
$35.00
31.73 €
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Piano, Voix
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Ross Fiddes
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dependent, fragile offspring
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Toasting Mother Earth
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Ross Fiddes
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SheetMusicPlus
Oot-kwa-tah, Dance of the Seven Children for Woodwind Quintet
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
Small Ensemble Bassoon,Clarinet,Flute,Horn,Oboe - Level 5 - Digital Download SKU: A0.83…
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Small Ensemble Bassoon,Clarinet,Flute,Horn,Oboe - Level 5 - Digital Download SKU: A0.837507 Composed by Brett L. Wery. Concert,Contemporary. Score and parts. 26 pages. Sonata Grendel Publishing #5997463. Published by Sonata Grendel Publishing (A0.837507). M45 is the Messier catalog number for an open star cluster better known as the Pleiades. Originally for chamber orchestra, Oot-kwa-tah is dedicated to SUNY Schenectady County Community College on the forty-fifth anniversary of the college’s establishment as part of the State University of New York. The college sits on land that was once part of the Mohawk nation of the Iroquois Confederacy. Oot-kwa-tah is inspired by the Iroquois legend of M45, the Pleiades star cluster. The Iroquois tell a story about seven children who met each day and danced for hours at a time instead of doing chores. An old man appeared to them one day as they danced. He shone magnificently like silver and was clad from head to toe in brilliant white feathers. The old man warned them to stop dancing lest something terrible happen to them. Ignoring the old man’s warning and growing more and more hungry and lightheaded the children began to rise into the air. If only they had listened to me, the old man thought. As the children’s parents gathered, one little boy heard his father’s voice below. The little boy looked down and saw his father. At that instant he fell back to earth. The other children continued to float higher and higher into the sky to become the Pleiades star cluster. The Iroquois call them Oot-kwa-tah and are reminded of these reckless children each time they see a falling star. Duration: 5:00
$24.95
22.62 €
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Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
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Brett L
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Oot-kwa-tah, Dance of the Seven Children for Woodwind Quintet
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Sonata Grendel Publishing
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SheetMusicPlus
Air On The G String (BWV 1068) / Fugue c minor (BWV 847)
Orchestre de chambre
Chamber Orchestra - Level 4 - Digital Download SKU: A0.1103957 Composed by Johann S…
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Chamber Orchestra - Level 4 - Digital Download SKU: A0.1103957 Composed by Johann Sebastian Bach. Arranged by Uwe Roessler Rössler Rassler. 20th Century,Baroque,Contemporary,Contest,Festival,Jazz. Score and parts. 32 pages. Uwe Roessler #707241. Published by Uwe Roessler (A0.1103957). This arrangement consists of two parts which can be played either seperately, or consecutively: the famous “Air On The G String†(BWV 1068, as in the 1871 arrangement by August Wilhemj), inspired by Jaques Loussier´s “Play Bachâ€- version, and the fugue c-minor from the Well-Tempered Piano (BWV 847), inspired by the magnificent Turtle Island String Quartet´s incomparable swinging rendition (hence the video link). There are several options of playing this arrangement: “Air†has two parts which can be repeated – thus, violin1 and cello can distribute the theme. Of course, these repetitions are optional. If you want to play the Air only – there is an optional ending in bar 22. If you want to play only the fugue – start from bar 23 (intro), or from bar 30 (theme). Or you choose to play Air and fugue consecutively. The arrangement works great either ways ;-). Piano voice is written out. However, there are also chord symbols for your own voicings. Minimal instrumentation: piano trio (violin1, cello, piano). Comes with full score and all individual parts. Optional voices for violin 2 and bass, clarinet Bb, guitar, and drums included. Professional sheet material. I´ve listed quite a lot of songs, so far: Movie Themes and classic Pop songs for this kind of instrumentation, and others. Browse ;-) Have fun with my arrangements!
$30.00
27.2 €
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Orchestre de chambre
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Johann Sebastian Bach
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Air On The G String
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Uwe Roessler
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SheetMusicPlus
Norwegian Wood (this Bird Has Flown) - Beatles for Chamber Orchestra
Orchestre de chambre
Harpsichord, Violin, Viola, Cello - Intermediate - Digital Download By The Beatles. A…
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Harpsichord, Violin, Viola, Cello - Intermediate - Digital Download By The Beatles. Arranged by Javier Martínez. Score, Set of Parts. 18 pages. Published by Arte Nova Music Lab
"Norwegian Wood (This Bird Has Flown)" is a song by the English rock band the Beatles from their 1965 album Rubber Soul. It was written mainly by John Lennon and credited to the Lennon–McCartney songwriting partnership. Influenced by the introspective lyrics of Bob Dylan, the song is considered a milestone in the Beatles' development as songwriters. The track features a sitar part, played by lead guitarist George Harrison, that marked the first appearance of the Indian string instrument on a Western rock recording. The song was a number 1 hit in Australia when released on a single there in 1966, coupled with "Nowhere Man".<br> <br> Lennon wrote the song as a veiled account of an extramarital affair he had in London. When recording the track, Harrison chose to add a sitar part after becoming interested in the instrument's exotic sound while on the set of the Beatles' film Help!, in early 1965. Further to several British bands, including the Beatles, using guitars to imitate the drone and other musical textures of the sitar in their recordings, "Norwegian Wood" was influential in the development of raga rock andpsychedelic rock during the mid 1960s. The song also helped elevate Ravi Shankar and Indian classical music to mainstream popularity in the West. Many other rock and pop artists, including the Byrds, the Rolling Stones and Donovan, began integrating elements of the genre into their musical approach. "Norwegian Wood" is also recognised as a key work in the early evolution of world music.<br> <br> Taken from https://en.wikipedia.org/wiki/Norwegian_Wood_(This_Bird_Has_Flown)"Norwegian Wood (This Bird Has Flown)" is a song by the English rock band the Beatles from their 1965 album Rubber Soul. It was written mainly by John Lennon and credited to the Lennon–McCartney songwriting partnership. Influenced by the introspective lyrics of Bob Dylan, the song is considered a milestone in the Beatles' development as songwriters. The track features a sitar part, played by lead guitarist George Harrison, that marked the first appearance of the Indian string instrument on a Western rock recording. The song was a number 1 hit in Australia when released on a single there in 1966, coupled with "Nowhere Man".<br> <br> Lennon wrote the song as a veiled account of an extramarital affair he had in London. When recording the track, Harrison chose to add a sitar part after becoming interested in the instrument's exotic sound while on the set of the Beatles' film Help!, in early 1965. Further to several British bands, including the Beatles, using guitars to imitate the drone and other musical textures of the sitar in their recordings, "Norwegian Wood" was influential in the development of raga rock andpsychedelic rock during the mid 1960s. The song also helped elevate Ravi Shankar and Indian classical music to mainstream popularity in the West. Many other rock and pop artists, including the Byrds, the Rolling Stones and Donovan, began integrating elements of the genre into their musical approach. "Norwegian Wood" is also recognised as a key work in the early evolution of world music.<br> <br> Taken from https://en.wikipedia.org/wiki/Norwegian_Wood_(This_Bird_Has_Flown)
$40.00
36.27 €
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Orchestre de chambre
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The Beatles
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Javier Martínez
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Norwegian Wood
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SheetMusicPlus
Story No. 2, for narrator and chamber orchestra
Orchestre de chambre
Chamber Orchestra - Digital Download SKU: A0.944028 Composed by Music by Ofer Ben-A…
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Chamber Orchestra - Digital Download SKU: A0.944028 Composed by Music by Ofer Ben-Amots, Story by Eugene Ionesco. Contemporary. Score and parts. 92 pages. The Composer's Own Press #4605319. Published by The Composer's Own Press (A0.944028). COMPOSER’S NOTE: Story Nr. 2 for chamber ensemble and a narrator, was written as a commission for the 1983 Children's Music Festival in St. Omer, France. Since its inception, the work has been widely performed in French, German and English. The narrative of Story Nr. 2 is a little known children's story by the great French author and playwright Eugene Ionesco (1912 – 1994). The story is about play on words. Little Josette has a conversation with her father who teaches her the new meaning of words: A Telephone is called Cheese, a Cheese is a Music Box, the Music Box is called a Rug and so on. The meanings become funnier and stranger ad absurdum. Then Josette and her father combine the words into sentences and practice the new mismatched names and objects. The characters participating in the story beside of Josette and her father are Josette's pretty mother and the maid Jacqueline. Each of the characters has its own musical theme and color represented by distinguished instrumentation: Jossette's theme is played by the flute, the father is represented by the trumpet and trombone, the pretty mother by the oboe and Jacqueline by the xylophone and piano. The new orchestral version which includes the string section was written in 1990. Performance material by rental only! For demo recording, questions, or any additional information please e-mail Ofer Ben-Amots at: thecomposerspress@gmail.com
$36.00
32.64 €
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Orchestre de chambre
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Music by Ofer Ben-Amots, Story by Eugene Ionesco
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Story No. 2, for narrator and chamber orchestra
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The Composer's Own Press
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SheetMusicPlus
One Second to the Future - Guitar Orchestra
Orchestre de chambre
Chamber Orchestra - Level 4 - Digital Download SKU: A0.1412646 By Brent C Robitaill…
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Chamber Orchestra - Level 4 - Digital Download SKU: A0.1412646 By Brent C Robitaille. By Brent C Robitaille. 21st Century,Classical. 83 pages. Brent C Robitaille #994677. Published by Brent C Robitaille (A0.1412646). One Second to the Future (Guitar Orchestra) Composer: Brent Robitaille  • “One Second to the Future†is a two-movement piece for either a single or optional double guitar orchestra with four separate parts for electric guitar and classical guitar. Two optional steel string guitar and electric bass parts are available but may be substituted if these instruments are unavailable. The total score will be around 500 measures with a running time of approximately 12-15 minutes. The piece is quite approachable for intermediate-level guitarists, with the more challenging sections arranged for the 1st and 2nd parts of the electric and classical guitar. Three overhead mics from the stage will be used to spatialize the sound into a stereo or surround sound system.  • The first movement starts with a fixed audio shortwave recording from the Canadian time signal shortwave station CHU, gently fading in for approximately 20 seconds before the guitar orchestra begins with natural and artificial harmonics.  • The second fixed audio track gently enters around the 1:00-minute mark. This track was recorded using eight amplified and non-amplified guitars in altered tunings with eight separate microphones to integrate into stereo or surround sound. The guitar's open strings were left to vibrate sympathetically as the volume increased and struck on the headstock with various rubber and metal sticks, violin bows or paint brushes to get the strings vibrating. The resulting wave files were then imported into a sampling program and filtered into the overtone series with “C†as the fundamental, emphasising the first 14 partials. This recording will be used intermittently throughout the first movement, acting primarily as a background pad.   • At approximately 3:00 minutes into the first movement, the players are asked to use a glass or metal slide to tap out rhythms based on the international Morse code. Several other standard slide guitar techniques are also integrated into this section. See instructions in the score. The first movement ends with both fixed audio tracks fading away.  • The second movement integrates a more traditional guitar playing and composition approach. Its bulk is at a robust tempo of 160 bpm and uses several rhythmic and timbral techniques, including sul tasto, sul ponticello, harmonics, golpe, string snaps, and the further use of guitar slides.  • Midway through the second movement, a rallentando proceeds to a section indicated by the tempo mark “slow motion.†At this point, a third fixed audio recording of a single vibrating guitar string slowed down by 3000% will fade in. The orchestra is instructed to play with this recording in slow motion or approximately 30 bpm. See score for details. The orchestra eventually returns to the original tempo to finish the 2nd movement.  Technical Requirements • Three mono or stereo mics from the orchestra will be required and blended with the stereo or surround sound. • A standard guitar delay and distortion pedal for electric guitar parts one and two is required. • Glass and metal guitar slides are required.   To download the fixed audio tracks, go here: https://soundcloud.com/kalymi/sets/one-second-to-the-future-guitar-orchestra-fixed-audio-tracks For fixed audio track information and information, contact me at:info@brentrobitaille.com.
$75.00
68 €
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Orchestre de chambre
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Brent C Robitaille
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One Second to the Future - Guitar Orchestra
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Brent C Robitaille
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SheetMusicPlus
Bull: Three Pieces from Parthenia In-violata for Harpsichord & Gamba or Cello
Harpsichord,Instrumental Duet,Viola da gamba - Level 2 - Digital Download SKU: A0.12654…
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Harpsichord,Instrumental Duet,Viola da gamba - Level 2 - Digital Download SKU: A0.1265431 Composed by Dr. John Bull, 1562-1628. Arranged by James M. Guthrie. Chamber,Contest,Early Music,Festival,Historic,Renaissance. 6 pages. Jmsgu3 #858250. Published by jmsgu3 (A0.1265431). John Bull was an English composer, organist, virginalist, and organ builder who lived from 1562/63 to 1628. He was educated as a chorister of the Chapel Royal in London and later became a doctor of music at the universities of both Oxford and Cambridge. Bull was one of the most famous composers of keyboard music of the early 17th century, and most of his compositions were written for the virginal, a keyboard instrument popular in the Renaissance period. He was known for his outstanding technical ability and keyboard virtuosity, and his music is distinguished by unfailing resourcefulness in devising new musical ideas. Bull's reputation rests on his extensive compositions for virginals and organ, some 150 extant pieces, published in Musica Britannica. He was also one of the contributors to Parthenia, a collection of keyboard music published in 1611. Bull wrote an anthem, God the Father, God the Son, for the wedding in 1613 of the Princess and the Elector Palatine, in addition to his keyboard compositions, verse anthems, canons, and other works. Bull's music ranked among the foremost composers along with Byrd, Gibbons, and Tomkins.John Bull had several contemporaries who were also prominent composers during the Renaissance period. Some of these composers include:William Byrd: Byrd was an English composer and one of the most influential figures in English Renaissance music. He was a contemporary of John Bull and is considered one of the greatest composers of his time. Byrd's compositions include sacred choral music, keyboard works, and consort music.Orlando Gibbons: Gibbons was an English composer and organist who lived during the same period as John Bull. He was known for his sacred choral music, particularly his anthems and verse anthems. Their expressive harmonies and intricate counterpoint characterize Gibbons' compositions.Thomas Tomkins: Tomkins was another English composer active during the same time as John Bull. He was known for his sacred choral music, including anthems and services. Tomkins' compositions are notable for their rich harmonies and expressive melodies.Jan Pieterszoon Sweelinck: Sweelinck was a Dutch composer and organist who was highly regarded during the Renaissance period. He was known for his keyboard music, particularly his variations and fantasies. Sweelinck's compositions had a significant influence on Bull and other composers of the time.These composers, along with John Bull, were influential figures in the development of Renaissance music and made significant contributions to the repertoire of keyboard and choral music during that era.
$32.95
29.88 €
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Dr
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James M
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Bull: Three Pieces from Parthenia In-violata for Harpsichord & Gamba or Cello
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jmsgu3
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SheetMusicPlus
Chamber Music No. 4
Orchestre de chambre
2 Picc. · 0 · 0 · Es-Klar. · 1 · Bassklar. · 2 · Kfg. – 0 ·…
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2 Picc. · 0 · 0 · Es-Klar. · 1 · Bassklar. · 2 · Kfg. – 0 · Cornet à pistons in B · 0 · 1 · 1 – S. (4 Ring-Tamb. o. Schellen) (1 Spieler) – Str. (0 · 0 · 4 · 4 · 4) violin solo and large chamber orchestra - difficult - Digital Download SKU: S9.Q21078 (Violin Concerto). Composed by Paul Hindemith. This edition: study score. Ernst Eulenburg - chamber music - Score. Eulenburg Miniature Scores. Downloadable, Study score. Op. 36/3. Duration 23 minutes. Ernst Eulenburg & Co. GmbH - Digital #Q21078. Published by Ernst Eulenburg & Co. GmbH - Digital (S9.Q21078). German • English.The chamber music works are among Hindemith's most successful instrumental works of the 1920s. At the world premiere of Chamber Music No. 1, the audience even demanded a repetition of the third and fourth movements. But the title is misleading: The individual pieces rather have concertante soloistic features than bow to chamber music traditions. Not least the epithet Violin Concerto in the title of Chamber Music No. 4 refers to that fact.
$18.99
17.22 €
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Orchestre de chambre
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Paul Hindemith
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Chamber Music No. 4
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Ernst Eulenburg & Co. GmbH - Digital
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SheetMusicPlus
Thérèse Brenet : Concerto for violoncello and chamber orchestra - score plus solo part
Orchestre de chambre
Chamber Orchestra - Level 5 - Digital Download SKU: A0.532846 Composed by Therese B…
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Chamber Orchestra - Level 5 - Digital Download SKU: A0.532846 Composed by Therese Brenet. Contemporary,Standards. Score and parts. 46 pages. Musik Fabrik Music Publishing #61889. Published by Musik Fabrik Music Publishing (A0.532846). This concerto is a stormy work: dry and violent in the first movement, full of rich harmonies in the third movement. Only the second movement, in contrast, resounds with an infinite softness. There are very few metronomic indications or other indications of tempo. Thérèse Brenet wanted to write a music which breathes and which gives the conductor the possibility to make choices to create an interpretation in the true sense of the word Instrumentation 1111/1000/timp/2perc/piano/strings (43322) Parts on rental from the publisher.
$19.95
18.09 €
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Orchestre de chambre
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Therese Brenet
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Thérèse Brenet : Concerto for violoncello and chamber orchestra - score plus solo part
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Musik Fabrik Music Publishing
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SheetMusicPlus
Three Laments of Heloise for Chamber Orchestra
Orchestre de chambre
Chamber Orchestra - Level 4 - Digital Download SKU: A0.876665 Composed by Dosia McK…
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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 Heloise’s 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 sweet… They are always there before my eyes, bringing with them awakened longings… The second movement If Not With You, My Heart Is Nowhere, expresses Heloise’s 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 Heloise’s 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).
$100.00
90.67 €
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Orchestre de chambre
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Dosia McKay
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Three Laments of Heloise for Chamber Orchestra
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Gavia Music
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SheetMusicPlus
Othello Suite, Op. 79 for Brass Choir
Brass Band Bass Trombone,Euphonium,Flugelhorn,Piccolo Trumpet,Tuba - Level 5 - Digital Dow…
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Brass Band Bass Trombone,Euphonium,Flugelhorn,Piccolo Trumpet,Tuba - Level 5 - Digital Download SKU: A0.1132715 Composed by Samuel Coleridge-Taylor. Arranged by Richard Decker. 20th Century,Contest,Festival,March,Multicultural,World. 110 pages. Charles Decker Music Press #732911. Published by Charles Decker Music Press (A0.1132715). This multi-movement brass choir arrangement adapted from Samuel Coleridge-Taylor's orchestral Othello Suite, Op. 79 provides a technical and musical showpiece to highlight any performance. Four distinctive movements in this Suite include a driving Dance, melancholy Funeral March, languid Willow Song featuring a flugelhorn solo and a rousing Military March to conclude. Every player gets an opportunity to shine and display not only their technical expertise but also their musicianship as well. The work is arranged for a brass choir of four B-trumpets with trumpet I doubling on piccolo B-flat trumpet and flugelhorn, 4 F horns, 3 trombones, euphonium and tuba. The recording is of the entire edition.“The Music of Black Composers Series is a welcome and timely addition to the brass repertoire. Interesting music, expertly arranged, fun to perform, and well received by audiences. Highly recommended!â€Â  Wesley Nance, Rochester Philharmonic Orchestra, Eastman School of Music“I was so pleased to see the great works arranged for brass ensemble by Charles Decker Music Press especially the Music of Black Composers’ Series. It was especially rewarding to perform several of these with Summit Brass and with the students attending the Rafael Mendez Brass institute. Please keep these wonderful settings coming. You have provided the brass world with some real gems.† Joseph Parisi, Director Summit Brass, Fountain City Brass Band, University of Missouri Kansas City Conservatory Wind EnsembleThe Interlochen Arts Academy and the University of Denver have purchased the Music of Black Composer Series with Charles Decker Music Press and the summer Rafael Mendez Brass Institute and Eastman School of Music uses the series arrangements in their chamber and brass ensembles music programs. See 50+ homogeneous brass editions for trumpet, horn and trombone ensembles and 75+ mixed brass ensemble publications with Charles Decker Music Press at Sheet Music Plus for inexperienced to advanced musicians with music ranging from the Renaissance to contemporary new works for trios, quartets, quintets, brass choir and brass band. Many of the mixed brass ensemble editions include alternate and substitute parts being alternate C trumpet parts for B-flat trumpet parts, flugelhorn/trumpet substitute for horn, horn substitute for trombone and treble clef euphonium substitute for trombone. To see our Music of Black Composers Series enter “Black Composers Series†in the search box at Charles Decker Music Press for arrangements for mixed brass ensembles ranging from early jazz to symphonic works with composers Samuel Coleridge-Taylor, R. Nathaniel Dett, William Grant Still, Will Marion Cook, James Reese Europe, James Johnson and others.Use this link to Cherry Classics Music to see Richard Decker arrangements of Cherubini’s Sonata in F for Solo Horn and Wind Ensemble and Coleridge-Taylor’s Sea Drift for Trombone Octet.
$39.99
36.26 €
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Samuel Coleridge-Taylor
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Richard Decker
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Othello Suite, Op. 79 for Brass Choir
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Charles Decker Music Press
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SheetMusicPlus
Anthem: Lift Up Your Heads for Mixed Chorus and Brass Quartet
B-Flat Trumpet,Baritone Horn TC/Euphonium,Choir,Trombone - Level 3 - Digital Download S…
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B-Flat Trumpet,Baritone Horn TC/Euphonium,Choir,Trombone - Level 3 - Digital Download SKU: A0.1156067 Composed by Samuel Coleridge-Taylor. Arranged by Richard Decker. 20th Century,Christmas,Contest,Easter,Festival,Praise & Worship. 42 pages. Charles Decker Music Press #756379. Published by Charles Decker Music Press (A0.1156067). Samuel Coleridge-Taylor was an early 20th century English composer and conductor who was an influential advocate for Black composers. His numerous choir anthems offer dramatic performance opportunities for church or the concert hall. His festival anthem SATB choral anthem Lift Up Your Heads is an expressive and dramatic work enhanced with brass quartet accompaniment of two B-flat trumpets and two trombones with alternate F horn and treble clef euphonium parts provided for the trombone parts. The organ/piano part can be used for chorus preparation as well as additional support for performances if desired. However, not using the keyboard part in its entirety for a performance in addition to the brass group will create a more interesting interplay of different timbres. Conductors should ensure accompaniment parts don't overwhelm the chorus especially if the keyboard part is added with the brass. The recording is of the entire edition.Use this link to see all the Charles Decker Music Press Christmas holiday music for mixed brass and homogeneous groups.“The Music of Black Composers Series is a welcome and timely addition to the brass repertoire. Interesting music, expertly arranged, fun to perform, and well received by audiences. Highly recommended!†Wesley Nance, Rochester Philharmonic Orchestra, Eastman School of Music “I was so pleased to see the great works arranged for brass ensemble by Charles Decker Music Press especially the Music of Black Composers’ Series. It was especially rewarding to perform several of these with Summit Brass and with the students attending the Rafael Mendez Brass institute. Please keep these wonderful settings coming. You have provided the brass world with some real gems.† Joseph Parisi, Director Summit Brass, Fountain City Brass Band, University of Missouri Kansas City Conservatory Wind EnsembleThe Interlochen Arts Academy and the University of Denver have purchased the Music of Black Composer Series with Charles Decker Music Press and the summer Rafael Mendez Brass Institute and Eastman School of Music uses the series arrangements in their chamber and brass ensembles music programs. See 50+ homogeneous brass editions for trumpet, horn and trombone ensembles and 75+ mixed brass ensemble publications with Charles Decker Music Press at Sheet Music Plus for inexperienced to advanced musicians with music ranging from the Renaissance to contemporary new works for trios, quartets, quintets, brass choir and brass band. Many of the mixed brass ensemble editions include alternate and substitute parts being alternate C trumpet parts for B-flat trumpet parts, flugelhorn/trumpet substitute for horn, horn substitute for trombone and treble clef euphonium substitute for trombone. To see our Music of Black Composers Series enter “Black Composers Series†in the search box at Charles Decker Music Press for 25 arrangements for mixed brass ensembles ranging from early jazz to symphonic works with composers Samuel Coleridge-Taylor, R. Nathaniel Dett, William Grant Still, Will Marion Cook, James Reese Europe, James Johnson and others. Use this link to Cherry Classics Music to see Richard Decker arrangements of Cherubini’s Sonata in F for Solo Horn and Wind Ensemble and Coleridge-Taylor’s Sea Drift for Trombone Octet.
$19.99
18.12 €
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Samuel Coleridge-Taylor
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Richard Decker
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Anthem: Lift Up Your Heads for Mixed Chorus and Brass Quartet
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Charles Decker Music Press
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SheetMusicPlus
The Bremen Town Musicians for String Quartet and Narrator (score & narration)
Orchestre de chambre
Chamber Orchestra - Level 4 - Digital Download SKU: A0.873786 Composed by Douglas M…
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Chamber Orchestra - Level 4 - Digital Download SKU: A0.873786 Composed by Douglas Meyer. Romantic Period. Score and parts. 33 pages. Douglas Meyer #5952753. Published by Douglas Meyer (A0.873786). The full score that goes with The Bremen Town Musicians for String Quartet and Narrator (narration included) The story of a donkey, a dog, a cat, and a rooster, all past their prime years in life and usefulness on their respective farms, soon to be discarded or mistreated by their masters. One by one they leave their homes and set out together. They decide to go to Bremen, known for its freedom, to live without owners and become Bremen Town Musician. Story by the Brothers Grimm and music a parody on music of Saint-Saens, Liszt, Elgar and many others. Narration included.
$10.95
9.93 €
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Orchestre de chambre
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Douglas Meyer
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The Bremen Town Musicians for String Quartet and Narrator
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Douglas Meyer
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SheetMusicPlus
Variations on a Rossini Theme op.Posth
Orchestre de chambre
Chamber Orchestra - Digital Download SKU: A0.1035224 Composed by Frederik Franço…
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Chamber Orchestra - Digital Download SKU: A0.1035224 Composed by Frederik François Chopin (1810-1949). Arranged by James Strauss. Romantic Period. Score and parts. 33 pages. James Strauss #5806027. Published by James Strauss (A0.1035224). Unless your name is Mozart, Mendelssohn or Korngold, the first compositional steps are always the hardest. Chopin was probably no older than 14 when he set to work on a set of variations for piano and flute. Already in love with opera, he decided on the happy- ending aria, Non più mesta (No longer sad) from Rossini’s opera Cinderella. As the curtain comes down, Cinderella gleefully warbles, No longer sad beside the fire shall I sit alone, singing; my long years of heartache were but a streak of lightning, a dream, a game. We are unsure what actually prompted Chopin to select this for his unique combination of flute and piano, but it was most likely written for the composer’s father who was a capable amateur flute player. In the end, the piece was probably dedicated to Józef Cichowski, a close friend of his fathers and an amateur flautist as well. We are indeed fortunate that this early piece of Chopin juvenilia has actually survived, as Jozef Nowakowski, one of the composer’s friends, kept the single manuscript copy as a memento. For one reason or another, the work did not appear in print until 1953. This charming and fluent set of variations presents the theme and four decorated versions of the original tune. Added triplet figuration enlivens the first variation, while the second relies on a florid bel canto style to embellish the theme. Rapid downward arpeggios propel variation three, and the concluding variant displays rapid staccato figuration. Stylistically, there is nothing in this composition to suggest Chopin’s hand. You certainly won’t hear Chopin’s fingerprint in the piano part, as all the interesting bits are given to the flute. In addition, it’s the only Chopin piano part that can comfortably be played by most amateurs. Clearly, the future poet of the piano had a long way to go! Here in a Flute and orchestra version.
$29.99
27.19 €
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Orchestre de chambre
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Frederik François Chopin
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James Strauss
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Variations on a Rossini Theme op.Posth
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James Strauss
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SheetMusicPlus
Symphony No. 8 ... City of Light (2011) for chamber orchestra
Orchestre de chambre
Chamber Orchestra - Level 4 - Digital Download SKU: A0.869356 Composed by Thomas Ob…
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Chamber Orchestra - Level 4 - Digital Download SKU: A0.869356 Composed by Thomas Oboe Lee. 20th Century,Baroque,Classical,Contemporary,Romantic Period. Score and parts. 113 pages. Thomas Oboe Lee #15879. Published by Thomas Oboe Lee (A0.869356). Instrumentation: 1 flute, 1 oboe, 1 English horn, 2 bassoons, 2 French horns, timpani and strings.Program note: In the year 2010, my wife Kristin Beckwith and I went to Paris twice, the first time in May and the second time in December right after Christmas. The weather was magnificent in May. Our friends Seph and Roger met us there. Being long-time veterans of Paris, they took us all over the city: Le Marais, the Left Bank, Montmartre, Sacré Coeur, Père LaChaise cemetery, Avenue des Champs-Élysées, Jardin du Luxembourg, Jardin des Tuileries, Notre Dame cathedral, Eiffel Tower, the flea market at Porte de Clignancourt, the canal at Saint Martin, etc. Since the weather was so great we basically stayed outside the entire two weeks. My wife Kris said that we had to return next again to Paris to go inside the museums. So we did. The weather in Paris after Christmas was very damp and chilly. So we did indoor activities: Le Louvre, Musée D’Orsay, Palais Garnier, etc. We even attended a beautiful performance of Swan Lake by the Paris Opera Ballet at L’Opéra Bastille. I should also mention that on both occasions I met up with a former student of mine from Berklee, Joe Makholm. He makes a living in Paris playing jazz piano. Joe got us a gig at the Swan Bar in Montparnasse. On the first occasion we did it as a trio with a French bass player. I played flute. On the second occasion, we did it as a duo. Playing jazz in Paris? You can’t beat that!!! Early this year, Steven Lipsitt and I had a chat about my writing a new work for the Boston Classical Orchestra. My last work for the BCO was a piano concerto with Robert Levin as soloist. I told Steven that this time I wanted to write a symphony. He said, Sure. Go ahead. I told him it would be about Paris. He said he would put Mozart’s Paris Symphony on the same program. I said, Fabulous! Symphony No. 8 … City of Light (2011) is in five movements. 1. La Seine Presto, Moderato 2. Basilique du Sacré-Coeur Largo 3. Palais Garnier Allegro, Trio 4. Avenue des Champs-Élysées Allegro 5. Musée du Louvre Largo, Moderato This work is dedicated to my wife and muse, Kristin Beckwith. Audio Link: https://thomasoboelee.bandcamp.com/album/symphony-no-8-city-of-light-2011Video link: https://youtu.be/-Yn76vWg7jE
$9.99
9.06 €
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Orchestre de chambre
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Thomas Oboe Lee
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Symphony No. 8 ... City of Light
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Thomas Oboe Lee
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