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ORCHESTRA - BAND
NARROW BY INSTRUMENTATION
NARROW BY INSTRUMENTATION
Piano, Vocal and Guitar (10073)
Piano solo (4021)
Guitar notes and tablatures (2030)
Choral SATB (1824)
Piano, Voice (1263)
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Guitar (753)
Lyrics and Chords (648)
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Violin (623)
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Divers (514)
Flute (511)
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Marching band (365)
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Trombone (231)
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Viola (207)
French horn (194)
All Instruments (193)
Musical course - Solfege (177)
1 Piano, 4 hands (171)
Drums (165)
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Soli, Mixted choir and accompa… (133)
String Orchestra (130)
High voice, Piano (120)
Recorder (112)
B Flat, E Flat, C and Bass cle… (110)
Guitare (108)
Trumpet, Piano (107)
Bb Instruments (106)
Alto Saxophone and Piano (101)
Ensemble A Vent (99)
Piano Trio: piano, violin, cel… (99)
Low voice, Piano (99)
Choral TTBB (95)
Cello, Piano (95)
2 Violins (duet) (94)
Soprano voice, Piano (92)
Chant (89)
Accordion (85)
Voice, Guitar (78)
Baritone voice, Piano (71)
Banjo (70)
Oboe (69)
Chamber Orchestra (68)
Tenor voice, Piano (67)
Mandolin (64)
Band Scores (60)
Eb Instruments (59)
Mezzo-Soprano voice, Piano (57)
Choral SSAA (57)
Piano, Voice, Guitar tablature… (54)
2 Flutes (duet) (54)
CD (52)
Double Bass (52)
Harp (50)
2 Saxophones (duet) (50)
Viola, Piano (48)
Solistes STBB, Choeur SATTBB, … (47)
Brass Quintet: 2 trumpets, hor… (46)
Wind ensemble (46)
Flute and Guitar (45)
Big Note Piano (44)
Harmonica (43)
Soprano voice (42)
Woodwind Quintet: flute, oboe,… (42)
B Flat, E Flat and C Instrumen… (41)
Oboe, Piano (duet) (40)
Opera (40)
French Horn and Piano (40)
2 Clarinets (duet) (39)
Medium voice, Piano (38)
Piano Quartet: piano, violin, … (37)
Saxophone and Piano (35)
Children choir, Piano (34)
2 Trumpets (duet) (33)
Choral SSATB (33)
Percussion (32)
Piano Accompaniment (32)
Trombone and Piano (32)
Descant (Soprano) Recorder (32)
2 Pianos, 4 hands (31)
Choral Unison (30)
Piano and Orchestra (29)
Children choir (29)
2 Cellos (duet) (29)
Bass Clef Instruments (28)
Chant et Guitare (28)
Conducteur (28)
Low voice (26)
Piano, Guitar (Chords) (26)
Trio avec Piano (26)
Bassoon, Piano (duet) (26)
2 Guitars (duet) (26)
Concert band, Choral (25)
Quartette Pour Flûtes à Bec … (24)
2 Recorders (duet) (24)
Piano Quintet: piano, 2 violin… (24)
Violin, Cello (duet) (24)
Tenor voice (24)
Harpsichord (24)
Clavier Electronique et Ligne … (23)
Orchestra, Violin (23)
Saxophone Ténor et Piano (23)
Bassoon (23)
Saxophone Quartet: 4 saxophone… (23)
High voice (22)
Music Theory (22)
Baritone voice (21)
Diverses Formations (20)
Mezzo-Soprano voice (20)
Vocal duet, Piano (20)
2 Trombones (duet) (19)
Recorder Quartet (19)
Cello, Orchestra (18)
Solistes SATB, Choeur SATB, 2 … (18)
Guitar Tab, Voice, Bass, Drum (18)
Pennywhistle (18)
Euphonium en Clé de Fa Do ou … (18)
Tuba (18)
Parties Orchestrales (18)
Violin, Basso continuo (17)
Trompette ou Cornet, Trombone … (16)
Hautbois, Basson et Piano ou O… (16)
Petit Choeur SATB/SATB, Contre… (16)
Flûte Traversière, Clarinett… (16)
Quintette à vent (16)
Tuba en Do et Piano (15)
Solistes STB, Choeur SATB, 3 C… (15)
4 Voix (SATB) (15)
Musical Awakening (15)
Chanson (15)
String Quintet: 2 violins, vio… (14)
Biography (14)
DVD concert (14)
Flute, Basso continuo (14)
Marimba (14)
Trompette en Do ou et Trompett… (14)
Solistes ATB, Choeur SATB, Tro… (13)
Dulcimer (13)
Recorder Ensemble (13)
Solistes SB, Choeur SATB, 2 Tr… (13)
Treble (Alto) Recorder (13)
Violin, Viola (duet) (12)
Recorder, Piano (12)
Trombone or Euphonium (12)
Solistes SATB, Choeur SATB, 2 … (12)
Euphonium or Saxhorn and Piano… (12)
String Trio: violin, viola, ce… (12)
2 Euphoniums et Piano ou Orgue… (12)
4 Euphoniums (12)
Guitare et Musique de Chambre (12)
Flute, Cello, Piano (trio) (12)
Piano, Chant et Guitare Tablat… (12)
Ensemble (12)
Travaux Pour Choeurs (12)
Trumpet, Trombone (duet) (12)
Piano, Guitar (duet) (12)
3 Euphoniums et Piano ou Clavi… (12)
Clarinet Quartet: 4 clarinets (12)
Solo A, Choeur SATB/SATB, 2 Or… (11)
Ocarina (11)
Solo T et Orchestre (11)
Solistes SATB, Choeur SATB, Tr… (11)
:: (11)
Tuba and Piano (11)
Violoncello, Basso continuo (11)
Paroles et CD (11)
Symphonic Band (11)
Flexible Instrumentation (11)
Livret (11)
Piano Quintet: piano, violin, … (11)
Flûte Traversière ou Flûte … (10)
Soprano voice, Orchestra (10)
Choeur SATB (TTBB), 2 Cors, 2 … (10)
Tenor Saxophone and Piano (10)
Saxophone (band part) (10)
Flute ensemble (10)
Voice and Orchestra (10)
Treble (Alto) Recorder, Basso … (10)
Choral CD (10)
Double bass, Piano (duet) (10)
Lyrics only (10)
Brass Quartet: 4 trombones (10)
Solistes SATB, Choeur SATB, Ha… (9)
Clarinet Ensemble (9)
Baryton ou Tuba Basse Continue… (9)
Orgue, 2 Hautbois, Basson Et C… (9)
Solistes SATB, SATB et Orchest… (9)
Solistes SB, Choeur SATB, Haut… (9)
Ensemble A 4 Parties (9)
Saxhorn and Piano (9)
Woodwind Quintet (9)
Partition de Poche (9)
5 A 9 Instruments A Vent (9)
Flute, Clarinet (duet) (9)
Descent (Soprano) Recorder, Pi… (9)
Solo T, 2 Violons et Basse Con… (9)
5 Part Ensemble (9)
Clarinet, Cello, Piano (trio) (9)
Guitar and Bass Tablatures, Ch… (9)
Scores (9)
Xylophone or Marimba or Vibrap… (9)
Concert Band/Harmonie (9)
Matériel D'Orchestre (9)
Choral SSAATTBB (9)
Trio à Cordes (8)
Quatuor (8)
Violon I, Violon II, Alto et V… (8)
Solistes, Div. Instruments à … (8)
Trompette ou Cornet, Euphonium… (8)
Piano, Violin, Bandoneon, Guit… (8)
Euphonium (8)
3 Violons, Alto et Violoncelle… (8)
Quartette Pour Flûtes Travers… (8)
Baritone Saxophone (8)
Solo B, 4 Trombones (2 Trombon… (8)
Soli and Orchestra (8)
K7 Vidéo (8)
Petit Orchestre: Récitant, So… (8)
Trompette ou Cornet, Cor en Mi… (8)
Organ, Piano (duet) (8)
School Ensemble (8)
2 Cornets, Cor en Mib et Tuba (8)
Conga (8)
Treble (Alto) Recorder, Piano (8)
3 Parties Mixtes, Flûte A Bec… (7)
Clarinette, Basson, Cor, 2 Vio… (7)
Orchester (7)
Solistes SSA, Choeur SSA, 2 Vi… (7)
Choeur Mixte, Ensemble de Cham… (7)
Flûte Traversière, Violon, I… (7)
Bass Clarinet (7)
Voix et Instruments Divers (7)
Violon I (7)
Vibraphone (7)
Big band (7)
2 Violins, Piano (7)
DVD (7)
Choral, Orchestra (7)
Fake Book (7)
Guitare et Voix (7)
Guitar Ensemble (7)
4 Guitars (Quartet) (7)
Flute, Viola and harp (6)
Euphonium ou Saxhorn Solo (6)
Choeur Mixte (SATB), Soli Et O… (6)
Euphonium ou Saxhorn en Clé d… (6)
Solistes ST, Violon, (Cornet … (6)
Voix et Piano ou Guitare (6)
Orchestre A Cordes Et Instrume… (6)
Solistes STB, Choeur SATB, (Ba… (6)
Solo Bar (Ms), Hautbois Da Cac… (6)
2 Sopranos, Choeur Mixte (SATB… (6)
Viola and orchestra (6)
Piano/Vocal/Guitare (PVG) (6)
2 Saxophones Alto et Piano ou … (6)
Trombone (band part) (6)
Violin, Viola and Orchestra (6)
Voix, Flûte à Bec et Percuss… (6)
String quintet (6)
Parties Supplémentaires (6)
Octuor A Vent (6)
Guitar, Orchestra (6)
2 Violins and Basso (6)
Saxhorn Basse en Sib et Piano (6)
Solo A, 2 Flûtes Traversière… (6)
String Quintet: 2 violins, 2 v… (6)
Violin, Guitar (duet) (6)
3 Recorders (trio) (6)
Voix Mixtes (6)
Choral, Organ (6)
Lute (6)
Lyrics & Chords (6)
2 Bassons et Piano ou Orgue (6)
2 Flutes, Piano (6)
Exemplaire Complet (5)
Choeur SATB, 2 Hautbois, 2 Cla… (5)
2 Trumpets, Horn, Trombone an… (5)
Partie Séparée (5)
Solo A, Violon, Dulcian (Tromb… (5)
Handbells (5)
Solo B, 2 Flûtes à Bec, (2 V… (5)
Choeur SS (SA), 2 Violons et B… (5)
Percussion Ensemble (5)
Violon, Viole Et Orchestre (5)
Solistes SA (TBar), Choeur SS … (5)
Ligne Mélodique/Instruments D… (5)
Solo S, 2 Violons et Basse Con… (5)
Dobro (5)
Clavier (5)
Voix Seule (5)
Oboe and Orchestra (5)
Instruments A Vent (5)
Solo B et Orchestre (5)
2 Cellos, Piano (5)
Voix Haute (5)
Flute, Orchestra (5)
Melody line, Piano (5)
Solo S (T), 2 Violons et Basse… (5)
2 Trumpets, Keyboard (piano or… (5)
2 Hautbois, 2 Cors Et 2 Basson… (5)
Voix et Orchestre (5)
Voix, piano (5)
Clarinette (5)
ENS::Ensemble (5)
Accordion ensemble (5)
Saxophone ensemble (5)
Descant (Soprano) Recorder, Ba… (5)
Choeur d'Enfants à 1 Partie, … (5)
Cornet and Piano (5)
2 Clarinets, Piano (5)
Piano Quartet: piano, 2 violin… (5)
3 Clarinets (trio) (5)
Piano, Bass, Drums (trio) (5)
Flûte à Bec et Piano (5)
Ensemble Mixte (5)
Flute Trio: 3 flutes (5)
Clarinette, Saxophone, Trompet… (4)
Trompette Sib 1 Cor en Fa 1 Tr… (4)
S, A, A, T, B, Choeur Mixte A … (4)
Vents (4)
2 Flûtes Traversières et Vio… (4)
Flûte Traversière, Clarinett… (4)
Oboe, Violin, Viola and Violon… (4)
Flûte à Bec, Ténor/Bassgamb… (4)
Flûte Traversière (Ney), Sop… (4)
Ensemble à Cordes (4)
Guitare, Violon, Mandoline, ba… (4)
2 Flûtes Traversières ou Fl… (4)
Horn Ensemble (4)
Batterie-Fanfare (4)
Flûte Traversière, Hautbois,… (4)
Clarinette, Violoncelle, Percu… (4)
Orchestre Scolaire (Piano Ad L… (4)
Flûte Traversière Basse, Ele… (4)
Flûte Traversière, Violons I… (4)
Flûte Traversière Hautbois, … (4)
Flûte Traversière, Clarinett… (4)
2 Instruments A Cordes (Ou Fl… (4)
String Quintet : 2 Violins, Vi… (4)
Violon, Alto, Violoncelle et C… (4)
Clarinet, Violin, Cello, Piano… (4)
Hautbois et Harpe (4)
Ensembles de Cordes et Piano (4)
Hautbois, Clarinette, Piano, V… (4)
Percussion, Piano (duet) (4)
Hautbois ou Flûte Traversièr… (4)
2 Cornets et Piano ou Orgue (4)
Pop music (4)
Solistes STB, Choeur SATB, ou … (4)
Flûte Traversière, Alto et V… (4)
String Trio: 2 violins, cello (4)
2 Euphoniums et Piano (4)
Clarinet (band part) (4)
Musique de Chambre (Fac-simil… (4)
Bagpipe (4)
Piano 4 Mains, Clarinette, Sax… (4)
Musical (4)
Flûte Traversière (Piccolo),… (4)
Ensembles de Cordes (4)
String Quartet (4)
2 Violons, Violoncelle et Pian… (4)
Trompette ou Cornet, Cor en Mi… (4)
4-8 Instruments à Cordes (4)
Flûte Traversière, Accordéo… (4)
Trompette Sib 1 Cor en Fa 1 Tr… (4)
Trompette et Réduction pour P… (4)
Nursery rhyme (4)
Orchestre de Chambre Spatialis… (4)
Flûte Traversière, Violon, V… (4)
Solistes, Choeur, Quatuor A Co… (4)
Saxophone Baryton (4)
3 Trombones et Piano ou Orgue (4)
Quintette à vent et Percussio… (4)
Clarinette et 4 Violoncelles (4)
Trombone and Orchestra (4)
2 Saxophones Ténor et Piano o… (4)
Flûte Traversière, Violon, A… (4)
Flûte Traversière ou Hautboi… (4)
Vocal duet (4)
4 Saxophones (Soprano, Alto, T… (4)
Flute, Violin, Cello and Piano… (4)
Piano, 2 Violons, Alto, Violon… (4)
Trumpet (band part) (4)
Piano, Clavier ou Orgue (4)
Flûte à Bec Alto, 2 Flûtes … (4)
Madrigaux (4)
Contrebasse, Orchestre à Cord… (4)
3 Saxophones (Alto, Ténor) et… (4)
Violon, Clarinette (Alto) et O… (4)
Viola, Organ (4)
5 Voix (SSATB), 2 Violons et B… (4)
Saxophone Alto Solo (4)
Quatuor à Cordes et Guitare (4)
Violons I et II, Alto ou Violo… (4)
Trompette Solo (4)
Guitare, Flûte Traversière V… (4)
Clarinette, Cor, Trio Pour Cor… (4)
Violon, Viole et Basse Continu… (4)
2 Trombones, Piano (4)
Clarinet, Orchestra (4)
Hautbois, Basson et Piano (4)
Sextuor à Cordes et Quintette… (4)
3 Flûtes Traversières et Pia… (4)
Snare drums (4)
2 Violoncelles et Basse Contin… (4)
Clarinette en Sib et Trio de C… (4)
Cor, Trombone et Piano (4)
2 Trompettes ou Cornets et Cor… (4)
Soli (SATB), Choeur Mixte (SAT… (4)
Orchestre à Cordes et Basse C… (4)
Flûte Traversière, Clarinett… (4)
Clarinette en A, Flûte Traver… (4)
Voix, Instruments (4)
Violon, Alto ou Violoncelle (4)
Gemischter Chor (SSATB/SSATB/S… (4)
Hautbois 1 Clarinette en Sib 1… (4)
Voix et Brass Band (4)
Accessoire (4)
Contrebasse, Alto et Piano (4)
Voix, Flûte à Bec et Basse C… (4)
Clavier ou Orgue Electronique (4)
Clavecin (4)
Flute, Violin, Violoncello and… (4)
Brass Quartet (4)
Cor en Fa Solo (4)
3 Cornets (4)
Chamber Music (4)
4 Clarinettes et Piano ou Orgu… (4)
Saxophone Alto, Saxophone Tén… (4)
4 Voix (SSAB) (4)
2 Clarinettes et Piano ou Orgu… (4)
SAM a Cappella (4)
3 Clarinettes et Piano ou Orgu… (4)
Flute Quartet: 4 flutes (4)
2 Cors et Piano ou Orgue (4)
2 Trombones et Piano ou Orgue (4)
3 Saxophones (trio) (4)
Trompette I (3)
Choral SSATBB (3)
Soli (SATB), Chor (SATB) und K… (3)
Musique de chambre (3)
Percussions (3)
Solo, Choeur SATB, 2 Trompette… (3)
Saxhorn Basse, Euphonium ou Tu… (3)
Baryton et Quatuor à Cordes (3)
Choeur A L'Unisson Et Orgue (3)
2 Flûtes Traversières, Instr… (3)
2 Saxophones, Piano (3)
Flute, Clarinet, Piano (trio) (3)
Piccolo, Piano (3)
Violon, Cordes et Basse Contin… (3)
Violin, Clarinet, Piano (trio)… (3)
Soprano Et Instruments Divers (3)
Instruments en Clé de Fa (3)
Choeur Mixte Et 8 Instruments … (3)
3 Saxhorns (3)
Petit Choeur SATB et Orgue (3)
Piano, Oboe and Bassoon (3)
String Quartet : 4 violas (3)
Tuba Basse Solo (3)
Baritone Ukulele (3)
Solo à (B), Violon et Basse C… (3)
Euphonium ou Saxhorn en Clé d… (3)
Solistes SST, Contrebasse et O… (3)
Choeur SATB, 2 Hautbois, 2 Cla… (3)
2 Tubas et Piano (3)
3 Violons en Solo et en Groupe… (3)
Choeur Mixte (SATB) Avec Solis… (3)
4 Tubas (3)
Voix Et Choeur Et Orchestre (3)
Clavier, Guitare Et Voix (3)
Vocal duet, Piano and Guitar c… (3)
2 Bassoons (duet) (3)
Trompette, Orchestre à Cordes… (3)
String trio (3)
Baryton / Euphonium / Saxhorn … (3)
Flûte à Bec Alto et Basse Co… (3)
Soprano voice, Organ (3)
Violon, Alto Et Violoncelle (O… (3)
Baryton, Choeur Mixte Et Orche… (3)
Solistes SATB, Choeur SATB, ou… (3)
Ukulélé Soprano (3)
Flute, Clarinet and Bassoon. (3)
Alto (Partie séparée) (3)
Orchestre De Chambre Et Basse … (3)
Choeur De Femmes (SSA) A Cappe… (3)
Choeur Mixte (SSATBB), Narrate… (3)
Fanfare Band (3)
Voice Mezzo-Soprano, Orchestra… (3)
Lignes Mélodiques/Paroles/Acc… (3)
Guitare Electrique (3)
Méthodes Diverses (3)
2 Trompettes (duo) (3)
Musical dictation (3)
Solistes TTB, Cornet à Bouqui… (3)
Flûtes A Bec Et Orff-Instrume… (3)
Baryton (3)
Soprano, Piano (3)
Solo Bar (Ms), Hautbois Da Cac… (3)
Solistes (SB), Choeur Mixte (S… (3)
Parties (3)
Xylophone (3)
Double bass, Orchestra (3)
Archet (3)
2 Cors en Mib et Piano ou Orgu… (3)
Tuba et Hélicon (3)
Quatuor A Cordes Et Piano (3)
2 Trompettes ou Cornets et Tub… (3)
2 Cors en Mib et Piano (3)
Timpani (3)
Recorder, Bass Continuo (3)
Tenor Banjo (3)
3 Trombones (trio) (3)
2 Violas (duet) (3)
2 Flûtes à Bec (3)
3 Guitars (trio) (3)
Solo S (T) et Orgue (Choeur SA… (3)
Trombone et Basse Continue (3)
Contralto voice, Piano (3)
Orchestre De Chambre (3)
Medium Voice (3)
Lyrics & Chords (with Chord Bo… (3)
Opéra (3)
Tenor (3)
Piano ou Pianoforte (Fac-simil… (3)
Hautbois Solo (3)
Piano Trio: Violin, Viola, Pia… (2)
Melody Line, Lyrics & Chords (2)
8 Voix (SSAATTBB), 2 Violons e… (2)
Flute (band part) (2)
6 Voix (SSATTB), 2 Violons et … (2)
Balalaika (2)
Chœur Mixte [SATB] et Orchest… (2)
Cello, String Bass (duet) (2)
2 Saxophones Ténor et Piano (2)
2 Flûtes à Bec Alto, 2 Flût… (2)
Choeur (SA), 2 Violons et Bass… (2)
Voix Moyenne(s), 2 Flûtes Tra… (2)
SOP/BAR/ENS::Soprano, Baritone… (2)
Trompette Alto En Sol, 2 Tromp… (2)
ATTBB (2)
Cor, Trombone et Concert Band … (2)
Choeur Mixte Et Orgue (Ou Pian… (2)
Tambours (2)
Cor en Fa (2)
Accordion, Flute (2)
Saxophone, Band scores (2)
Soprano Et Tenor (2)
Contrebasse (Partie séparée)… (2)
Batterie et Percussions (2)
Violon 1 (2)
Voix Moyenne(s), 3 Clarinettes… (2)
Clarinette Solo en Sib (2)
Cello, Organ (2)
Tuba Ou Saxhorn Et Piano (2)
Flûte Traversière et Basse C… (2)
Hautbois et Instruments Divers… (2)
Sopran and Violin (2)
Voix Et Orff-Instruments (2)
Soprano, Ténor, Basse, Choeur… (2)
Oboe, Percussion (2)
4 Voix Mixtes et Guitare (2)
Percussion (band part) (2)
Brass ensemble, Organ (2)
Drum set and Piano (2)
Cor Anglais et Orgue (2)
Clarinette en Sib Solo (2)
VLN/VLC/PF DUET::Violon, Violo… (2)
2 Parties Voix Aigues (SA), Ha… (2)
3 Violons, 2 Altos Et Violonce… (2)
Orgue ou Clavecin ou Harmonium… (2)
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1951
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Coffret Scores (BEATLES THE)
Conducteur
[Sheet music]
-
Intermediate
Novello & Co Ltd.
Par BEATLES THE. In over one thousand pages, the complete music and lyrics, in f...
(+)
Par BEATLES THE. In over one thousand pages, the complete music and lyrics, in full 'rock score' transcriptions, of all the 203 songs they wrote and recorded as The Beatles, plus nine by others which they covered on their early albums. All transcribed with separate staves for vocals, each guitar (in tab and standard notation) and all other instruments...the essential Beatles collection. / Niveau : Intermédiaire / Rép International / Recueil / Conducteur
141.40 EUR - Sold by LMI-partitions
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Jan Bosveld: Odyssee: Concert Band: Score & Parts
Concert band
[Score and Parts]
Gobelin Music Publications
The Odyssee tells the story of Odysseus the undaunted hero. In times long ago t...
(+)
The Odyssee tells the story of Odysseus the undaunted hero. In times long ago the blind poet Homer wrote this famous epic. The 'Odyssey' follows the 'Iliad' the story of the bloody war between the Greek and the Trojans. This battle endsafter ten years thanks to the Odysseys famous trick. the Trojan Horse. The Odyssey is not a war epic but a story about perseverance loyalty adventure and the survival instinct of its ingenious hero. In The Odyssey Homer describes howOdysseus the king of Ithaca had to endure another ten years of affliction after the ten years of war in Troy before he could finally return to his home land. During those years his wife Penelope had to try and keep her many admirers away.These men not only wanted het hand but also the kingship. To prove her husbands worth she played a trick: 'As soon as I have finished weaving this shroud for my father-in-law Laertes I will choose one of you to become my husband' she promisedthem. But during the night she secretly loosened what she had woven during the day prolonging the time until Odysseus would finally return. After twenty long years when he finally stood at the door she wondered: Is this really my husband? Ishe an imposter? Cunningly she asked him to move the bed because only she and her husband know that the bed was immovable and was build around an old three trunk! Odysseus was deeply moved: this really was his wife his Penelope! Nearly threethousands years later the loyalty and strength of this character and all the dangerous adventures that Odysseus survived thanks to courage and intelligence still moves us today. Odyssee by Jan Bosveld is not just an adventure story butrather a characteristic piece in which memories of Homers story can be heard. The composition opens with a firm stirring theme describing our hero Odysseus in detail: This man is not to be taken lightly. The further development of thisshort introduction completes this character sketch: trustworthy perseverant and a genius. After that we can picture Odysseus on the lonely beach of Ogygia. Do the trumpets depict his memories of the war of Troy? Does he think of his wife as werecognise the weaving loom of Penelope in the murmuring eighth? In the solemn plaintive part that follows we can imagine Penelope feeling lonely sitting in the womens room with her servants.One of the girls plays the harp but that does notclear the sombre atmosphere. Then we can imagine seeing the sorceress Circe who changed Odysseus men into swine. After she gives a simple magic sign something follows that reminds us of the sound of pigs grunting. Then the Odysseus theme resounds:the hero comes to savi his comrades. Assisted by Hermes he forces Circe to lift the spell. The piece ends the same way as it began with an animated theme: Odysseus is still the same undefeated and not to be taken lighty!
124.99 GBP - Sold by Musicroom UK
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Jan Bosveld: Odyssee: Fanfare Band: Score & Parts
Marching band
[Score and Parts]
Gobelin Music Publications
The Odyssee tells the story of Odysseus the undaunted hero. In times long ago t...
(+)
The Odyssee tells the story of Odysseus the undaunted hero. In times long ago the blind poet Homer wrote this famous epic. The 'Odyssey' follows the 'Iliad' the story of the bloody war between the Greek and the Trojans. This battle endsafter ten years thanks to the Odysseys famous trick. the Trojan Horse. The Odyssey is not a war epic but a story about perseverance loyalty adventure and the survival instinct of its ingenious hero. In The Odyssey Homer describes howOdysseus the king of Ithaca had to endure another ten years of affliction after the ten years of war in Troy before he could finally return to his home land. During those years his wife Penelope had to try and keep her many admirers away.These men not only wanted het hand but also the kingship. To prove her husbands worth she played a trick: 'As soon as I have finished weaving this shroud for my father-in-law Laertes I will choose one of you to become my husband' she promisedthem. But during the night she secretly loosened what she had woven during the day prolonging the time until Odysseus would finally return. After twenty long years when he finally stood at the door she wondered: Is this really my husband? Ishe an imposter? Cunningly she asked him to move the bed because only she and her husband know that the bed was immovable and was build around an old three trunk! Odysseus was deeply moved: this really was his wife his Penelope! Nearly threethousands years later the loyalty and strength of this character and all the dangerous adventures that Odysseus survived thanks to courage and intelligence still moves us today. Odyssee by Jan Bosveld is not just an adventure story butrather a characteristic piece in which memories of Homers story can be heard. The composition opens with a firm stirring theme describing our hero Odysseus in detail: This man is not to be taken lightly. The further development of thisshort introduction completes this character sketch: trustworthy perseverant and a genius. After that we can picture Odysseus on the lonely beach of Ogygia. Do the trumpets depict his memories of the war of Troy? Does he think of his wife as werecognise the weaving loom of Penelope in the murmuring eighth? In the solemn plaintive part that follows we can imagine Penelope feeling lonely sitting in the womens room with her servants.One of the girls plays the harp but that does notclear the sombre atmosphere. Then we can imagine seeing the sorceress Circe who changed Odysseus men into swine. After she gives a simple magic sign something follows that reminds us of the sound of pigs grunting. Then the Odysseus theme resounds:the hero comes to savi his comrades. Assisted by Hermes he forces Circe to lift the spell. The piece ends the same way as it began with an animated theme: Odysseus is still the same undefeated and not to be taken lighty!
124.99 GBP - Sold by Musicroom UK
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2 sellers
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Jan Bosveld: Odyssee: Fanfare Band: Score
Marching band
Gobelin Music Publications
The Odyssee tells the story of Odysseus the undaunted hero. In times long ago t...
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The Odyssee tells the story of Odysseus the undaunted hero. In times long ago the blind poet Homer wrote this famous epic. The 'Odyssey' follows the 'Iliad' the story of the bloody war between the Greek and the Trojans. This battle endsafter ten years thanks to the Odysseys famous trick. the Trojan Horse. The Odyssey is not a war epic but a story about perseverance loyalty adventure and the survival instinct of its ingenious hero. In The Odyssey Homer describes howOdysseus the king of Ithaca had to endure another ten years of affliction after the ten years of war in Troy before he could finally return to his home land. During those years his wife Penelope had to try and keep her many admirers away.These men not only wanted het hand but also the kingship. To prove her husbands worth she played a trick: 'As soon as I have finished weaving this shroud for my father-in-law Laertes I will choose one of you to become my husband' she promisedthem. But during the night she secretly loosened what she had woven during the day prolonging the time until Odysseus would finally return. After twenty long years when he finally stood at the door she wondered: Is this really my husband? Ishe an imposter? Cunningly she asked him to move the bed because only she and her husband know that the bed was immovable and was build around an old three trunk! Odysseus was deeply moved: this really was his wife his Penelope! Nearly threethousands years later the loyalty and strength of this character and all the dangerous adventures that Odysseus survived thanks to courage and intelligence still moves us today. Odyssee by Jan Bosveld is not just an adventure story butrather a characteristic piece in which memories of Homers story can be heard. The composition opens with a firm stirring theme describing our hero Odysseus in detail: This man is not to be taken lightly. The further development of thisshort introduction completes this character sketch: trustworthy perseverant and a genius. After that we can picture Odysseus on the lonely beach of Ogygia. Do the trumpets depict his memories of the war of Troy? Does he think of his wife as werecognise the weaving loom of Penelope in the murmuring eighth? In the solemn plaintive part that follows we can imagine Penelope feeling lonely sitting in the womens room with her servants.One of the girls plays the harp but that does notclear the sombre atmosphere. Then we can imagine seeing the sorceress Circe who changed Odysseus men into swine. After she gives a simple magic sign something follows that reminds us of the sound of pigs grunting. Then the Odysseus theme resounds:the hero comes to savi his comrades. Assisted by Hermes he forces Circe to lift the spell. The piece ends the same way as it began with an animated theme: Odysseus is still the same undefeated and not to be taken lighty!
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Jan Bosveld: Odyssee: Concert Band: Score
Concert band
Gobelin Music Publications
The Odyssee tells the story of Odysseus the undaunted hero. In times long ago t...
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The Odyssee tells the story of Odysseus the undaunted hero. In times long ago the blind poet Homer wrote this famous epic. The 'Odyssey' follows the 'Iliad' the story of the bloody war between the Greek and the Trojans. This battle endsafter ten years thanks to the Odysseys famous trick. the Trojan Horse. The Odyssey is not a war epic but a story about perseverance loyalty adventure and the survival instinct of its ingenious hero. In The Odyssey Homer describes howOdysseus the king of Ithaca had to endure another ten years of affliction after the ten years of war in Troy before he could finally return to his home land. During those years his wife Penelope had to try and keep her many admirers away.These men not only wanted het hand but also the kingship. To prove her husbands worth she played a trick: 'As soon as I have finished weaving this shroud for my father-in-law Laertes I will choose one of you to become my husband' she promisedthem. But during the night she secretly loosened what she had woven during the day prolonging the time until Odysseus would finally return. After twenty long years when he finally stood at the door she wondered: Is this really my husband? Ishe an imposter? Cunningly she asked him to move the bed because only she and her husband know that the bed was immovable and was build around an old three trunk! Odysseus was deeply moved: this really was his wife his Penelope! Nearly threethousands years later the loyalty and strength of this character and all the dangerous adventures that Odysseus survived thanks to courage and intelligence still moves us today. Odyssee by Jan Bosveld is not just an adventure story butrather a characteristic piece in which memories of Homers story can be heard. The composition opens with a firm stirring theme describing our hero Odysseus in detail: This man is not to be taken lightly. The further development of thisshort introduction completes this character sketch: trustworthy perseverant and a genius. After that we can picture Odysseus on the lonely beach of Ogygia. Do the trumpets depict his memories of the war of Troy? Does he think of his wife as werecognise the weaving loom of Penelope in the murmuring eighth? In the solemn plaintive part that follows we can imagine Penelope feeling lonely sitting in the womens room with her servants.One of the girls plays the harp but that does notclear the sombre atmosphere. Then we can imagine seeing the sorceress Circe who changed Odysseus men into swine. After she gives a simple magic sign something follows that reminds us of the sound of pigs grunting. Then the Odysseus theme resounds:the hero comes to savi his comrades. Assisted by Hermes he forces Circe to lift the spell. The piece ends the same way as it began with an animated theme: Odysseus is still the same undefeated and not to be taken lighty!
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Music for Children Vol. 5 (ORFF CARL / KEETMAN GUNILD)
Voix, Flûte à Bec et Percussion
[Score]
Schott
Minor: Triads. Par ORFF CARL / KEETMAN GUNILD. Carl Orff devoted much of his lif...
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Minor: Triads. Par ORFF CARL / KEETMAN GUNILD. Carl Orff devoted much of his life to the development of a philosophy of Music for Children, based on his belief that music is the natural outcome of speech, rhythm and movement. His ideas and pioneering work have had a major influence on music and dance education throughout the world and today that work continues under the guidance of leading teachers and educators in many countries. The five basic German volumes of 'Music for Children' by Carl Orff and Gunild Keetman were published between 1950 and 1954. Edition have since been published in Bolivia, Brazil, Canada, Czechoslovakia, Denmark, Estonia, France, Ghana, Great Britain (including a special Welsh edition), Greece, Italy, Japan, Korea, Latin-America, the Netherlands, Portugal, Spain, Sweden, Taiwan and the USA. In 1952 the first edition in translation appeared, an English language adaptation by Doreen Hall and Arnold Walter for their Canadian and American students. A few years later, Margaret Murray independently developed a version (1957-1966), essentially to fulfil the needs of United Kingdom teachers. Inevitably the considerable growth of Orff-Schulwerk in the United States led to the publication of the American Edition (1977) to satisfy the requirements of a different educational system and national heritage. Orff-Schulwerk: Music for Children has proved itself to be a stimulating source of material for music teaching. Carl Orff's fundamental educational ideas have revitalized music education in nursery schools, at all levels of primary and secondary education and in special music schools, based on the concepts that: - music, dance and language are inter-related and animated through rhythm. - when children discover, invent, improvise and compose, their experience of music is intensified. These creative activities are complementary to those of interpreting and listening to music. - all who take part are encouraged to contribute, not only vocally but also instrumentally. - the Orff approach to music education is many sided; it is concerned with practical music-making, it provides fundamental experiences and it lays the foundation for a comprehensive musical training. - movement games and activities for body awareness in space, time and flow, lead to movement improvisation and dance forms. - music and dance have been notated in many different ways in history. Various ways of writing down sounds and music, as well as playing from and interpreting different kinds of sources are being explored. Today, countless teachers and institutions are using these ideas. More and more teachers look for ways of invovling their students in active music making. In particular, they seek to challenge their pupils' creativity by the use of music, dance and speech - as media of human expression - as a foundation of all education. A prerequisite for work in Orff-Schulwerk is the artistic and pedagogical training of teachers. The Orff Institute was founded in 1961 as a Department of the 'Mozarteum', in Salzburg, Austria. Training offered includes a four-year diploma course, a two-year post-graduate course, and a one-year-course in English. At the opening of the Orff Institute in Salzburg in 1963, Carl Orff ended his speech with a quotation from Schiller: 'I have done my part, now do yours.' That challenge has been taken up by teachers worldwide. Hall/Walter Edition Based on Volumes 1, 2 and 4 of the original German Edition 'musik für Kinder', english adaption with additional material by Doreen Hall and Arnold Walter./ Recueil / Voix, Flûte à Bec et Percussion
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Konzert (WEILL KURT)
Violon et Orchestre d'Instruments à Vent
[Study Score / Miniature]
Universal Edition
Par WEILL KURT. Kurt Weill developed his creative energies mainly within the wor...
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Par WEILL KURT. Kurt Weill developed his creative energies mainly within the world of musical theater, where he proved to be an immensely productive and imaginative innovator, but he also left behind a small body of work for the concert hall. The Concerto for Violin and Wind Orchestra op. 12 dates from the spring of 1924. Scored for two flutes, clarinets, bassoons, horns, one oboe and trumpet, percussion and four contrabasses, the concerto comprises three movements. While composing the work, Weill informed his publisher: 'I am working on a concerto for violin and wind orchestra that I hope to finish within two or three weeks. The work is inspired by the idea - one never carried out before - of juxtaposing a single violin with a chorus of winds.' The specific character of Weill's concerto as music written for chamber orchestra (with an often soloistic treatment of instruments) leads to a transparency that requires utmost precision in the ensemble playing. In the quest for an overall sonic balance, the coarser-sounding wind instruments need to explore all dynamic nuances. The solo part is challenging not only from a technical standpoint but also from an acoustic one (it is crucial to make the violin 'sound'). In spite of these challenges - or precisely because of them - critics in the 1920s called the solo part highly idiomatic and extremely rewarding. Since then the concerto has become a 'modern classic' in concert halls around the world. (Elmar Juchem, August 2010)/ Répertoire / Violon et Orchestre d'Instruments à Vent
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Symphonie Nr. 8 (MAHLER GUSTAV)
Chœur Mixte [SATB] et Orchestre
[Study Score / Miniature]
Universal Edition
Symphonie der Tausend. Par MAHLER GUSTAV. All my earlier symphonies are mere pre...
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Symphonie der Tausend. Par MAHLER GUSTAV. All my earlier symphonies are mere preludes to this one. In the other works everything is subjective tragedy, - this one is a huge giver of joy.' (Gustav Mahler) Gustav Mahler's 'Symphony No. 8' is a work of exceptions. Seen from the outside, this is true of the forces that are used: with its three choirs, eight soloists and an orchestra of far more than one hundred musicians, there are few similar works in the annals of music. This cast of performers determines the second exceptional element of the work, the mix of instrumental and vocal characteristics that makes it to the prototype of a 'vocal symphony', which - as Mahler put it - 'is sung from beginning to end'. In turn, the texts that are sung influence the structure of the whole, replacing, as it were, the usual four movements of a symphony with two strongly divergent 'parts'. And, finally, as if to emphasize this divergence, the texts used - the hymn 'Veni creator spiritus' in the first part and the final scene of Goethe's Faust in the second - are not only written in two languages but also separated in their origins by more than one thousand years. Thus it is a work of extremes, and a work of contradiction. It seems, however, that it was exactly these distinctive features that lifted the symphony above the others and convinced Mahler that his 'Symphony No. 8' was 'the greatest' work 'that I have composed'./ Répertoire / Chœur Mixte [SATB] et Orchestre
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Symfoni Nr. 2 - Snapshot Symphony: Orchestra: Score
Orchestra
Wilhelm Hansen
Niels Marthinsen's Symphony No. 2 - Snapshot Symphony (2009). 1st movement Fiest...
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Niels Marthinsen's Symphony No. 2 - Snapshot Symphony (2009). 1st movement Fiesta Mexicana: fortissimo accelerando (ca. 6 minutes) 2nd movement Arabian Nights: adagio intensivo e furioso (ca. 11 minutes) 3rd movement Great Fireworks in China: giocoso esplosivo e marcatissimo (ca. 8 minutes) Programme note I’ve never been to Mexico and Arabia or to China. But I love the way those countries sound in Hollywood movies and inpop culture generally: When Clint Eastwood rides south of the border when Disney’s Alladin or Mulan takes me far east when arabic pop music roars past me out of the open windows of a car... and bull fighter music and the sound of acrobatic beat-em-up’s in John Woo’s Hong Kong karate movies – and so on: powerful images splashed all over my eye balls and ear drums. My recollections of this ethnic-pop-film-music has turned itself into a symphony. And I don’t even have to just remember what I have heard: A few internet clicks gives me access to incredible sound libraries containing live-and-kicking ethnic music from my three favorite countries just waiting to be put together in new combinations and energize my personal imagery. The symphony is like a huge slide show – musical snapshots from my travels in the western pop culture versions of three exotic locations: Mexico Arabia and China – original and popular melodies welded together by my personal musical language and associations. I use all the effects of modern pling-plong-music plus a few of my own inventions to create a spectacular contemporary orchestral sound sporting a bee hive of melodies from either East or West played simultaneously in different keys and differents tempos at once while kept firmly in place by
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Wolf-Gang (MARTLAND STEVE)
Octuor d'Instruments à Vent
[Score]
Schott
Six Mozart Opera Arias. Par MARTLAND STEVE. With Wolf-Gang, the British composer...
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Six Mozart Opera Arias. Par MARTLAND STEVE. With Wolf-Gang, the British composer Steve Martland, ironizingly, follows the 18-century tradition of wind music ensembles with which underpaid musicians made some money on the side. Martland arranged six arias from Don Giovanni, The Magic Flute and Le Nozze di Figaro for wind octet, adapting them to today‘s possible playing techniques. By adding cor anglais and soprano saxophone, it was possible to have each aria played by a different combination of instruments so that each aria stands out against the others with regard to the sound. While rearranging the instrumentation, Martland left the musical material of Mozart untouched./ Répertoire / Octuor d'Instruments à Vent
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Requiem (WEISS HARALD)
Divers
Schott
Teil I: Schwarz Vor Augen... · Teil Ii: ...Und Es Ward Licht!. Par WEISS HARALD...
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Teil I: Schwarz Vor Augen... · Teil Ii: ...Und Es Ward Licht!. Par WEISS HARALD. Sur letting go (en ce qui concerne la sélection des textes) dans la sélection des textes, j'ai me permettais d'être motivés et inspiré par le concept de ' lâcher '. Cela me semble être l'un des aspects essentiels de la mort, mais aussi de la vie elle-même. Nous, les humains s'accrochent beaucoup trop fortement aux réalisations réussies, si elles ont à voir avec le matériel ou les valeurs idéales ou de relations de toutes sortes. Nous ne pouvons et ne veulent pas laisser aller, presque comme si notre vie en dépendait. Comme nous devons pratiquer l'art de letting go au plus tard au cours de notre heure de la mort, peut-être nous déjà pourrions commencer sur ce alors que nous sommes encore en vie. Tagore décrit cette adieu avec des images très simple mais étonnamment vives: ' Je reviendrai à la clé de la porte de mon '. J'ai fixé ce texte pour ténor solo. Ici j'imagine et ont proportionnellement a noté dans un certain passage de la partition, que le protagoniste retrouve comme si ' dans un océan 'des voix dans lequel il est toutefois pas se noyer, mais s'immergeant.../ Répertoire / Divers
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Nobody Knows The Trouble I'Ve Seen (NAULAIS JEROME)
Quintette à vent et Percussion
[Score and Parts]
-
Easy
Soldano
Par NAULAIS JEROME. / Niveau : 2ème Cycle / Répertoire / Quintette à vent e...
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Par NAULAIS JEROME. / Niveau : 2ème Cycle / Répertoire / Quintette à vent et Percussion
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The Virtuoso Teacher
Brass ensemble
I.M.P.
Frank Sinatra, chanteur et acteur de l'Academy Award-winning, signé avec Capito...
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Frank Sinatra, chanteur et acteur de l'Academy Award-winning, signé avec Capitol Records dans les années 1950 et a sorti plusieurs albums acclamé par la critique (In the Wee petites heures, Songs For Swingin ' Lovers, Come Fly With Me, seuls le Lonely et Nice 'n' Easy). Plus tard, il quitte Capitol pour créer son propre label, Reprise Records, fait des tournées internationales et fraternisait avec le ' Rat Pack ' et le président John f. Kennedy. En 1965, Sinatra enregistré la rétrospective septembre de mes années et a marqué des hits avec des inconnus dans la nuit et My Way. Arrangement de Mark Freeh rassemble trois chansons classiques dans une suite pour instruments solo et bande : I've Got vous Under My Skin (flugel solo), All The Way (solo de trombone) et New York, New York (solo de cornet ou euphonium). / Brass Band
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Helen Grime: Seven Pierrot Miniatures (Piano): Chamber Ensemble: Score and Parts
Chamber Orchestra
[Score and Parts]
Chester
For Chamber Ensemble.Commissioned by the Hebrides Ensemble and first performed o...
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For Chamber Ensemble.Commissioned by the Hebrides Ensemble and first performed on their Scottish tour in March 2010.In Seven Pierrot Miniatures I took the Commedia dell’arte character Pierrot as my primary sourceof inspiration. Other more tenuous links to Schoenberg’s Pierrot Lunaire also served as a starting point in forming the general shape of the work. The piece is cast in seven short movements whereas the Schoenberg comprises threesets of seven movements. Although there is no part for voice I have taken seven poems by Albert Giraud (none of them set in Pierrot Lunaire) as points of departure:1. The Clouds2. Decor3. Absinthe4.Suicide5. The Church6. Sunset7. The HarpEach movement takes its impetus from the corresponding poem but in the piece as a whole I wanted to explore the extreme contrasts of the multi-faceted character ofPierrot in a musical setting. There is an almost mirror-like quality to the form of the piece and a sense of ending where it has begun: movements 1 3 5 and 7 are closely linked both in terms of their musical material and asense of melancholy dream-like quality and longing. Movements 2 and 6 are also strongly connected with allusions to the more mischievous violent side of Pierrot. Movement 4 serves as a sort-of pivotal point within the work juxtaposing a surreal shimmering calm with brutal outbursts. There is never any direct repetition yet there is a strong sense of material returning and mutating as the workunfolds.InstrumentationFlute doubling piccoloClarinet in Bb doubling Bass Clarinet in BbViolin doubling ViolaCelloPiano
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Gustav Mahler: Symphony No 8: Mixed Choir: Vocal Score
Orchestra
[Sheet music]
Universal Edition
Symphonie der Tausend-Gustav Mahler's Symphony No. 8 is a work of exceptions. Se...
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Symphonie der Tausend-Gustav Mahler's Symphony No. 8 is a work of exceptions. Seen from the outside this is true of the forces that are used: with its three choirs eight soloists and an orchestra of far more than one hundred musicians there are few similar works in the annals of music. This cast of performers determines the second exceptional element of the work the mix of instrumental and vocal characteristics that makes it to the prototype of a 'vocal symphony' which - as Mahler put it - 'is sung from beginning to end'. In turn the texts that are sung influence the structure of the whole replacing as it were the usual four movements of a symphony with twostrongly divergent 'parts'. And finally as if to emphasize this divergence the texts used - the hymn Veni creator spiritus in the first part and the final scene of Goethe's Faust in the second - are not only written in two languages but also separated in their origins by more than one thousand years. Thus it is a work of extremes and a work of contradiction. It seems however that it was exactly these distinctive features that lifted the symphony above the others and convinced Mahler that his Symphony No. 8 was 'the greatest' work 'that I have composed'. It is an understandable coincidence that he thus raised Symphony No. 8 to the same rank within his oeuvre as Goethe who claimed that the drama was his 'Hauptgeschäft' [main work] did with Faust. Even after composing his late works Mahler retained his belief that Symphony No. 8 was his 'opus summum'. (Christian Wildhagen)
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Chamber Music I (SCHOENBERG ARNOLD)
Sextuor à Cordes et Quintette à vent
[Sheet music]
Schott
Par SCHOENBERG ARNOLD. / Répertoire / Sextuor à Cordes et Quintette à vent
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I'Ve Got My Love To Keep Me Warm (In.Pak
Flexible Instrumentation
Hal Leonard
Le vent froid peut être souffle, mais vos publics seront essuyer la tempête av...
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Le vent froid peut être souffle, mais vos publics seront essuyer la tempête avec ce classique chaleureux par Irving Berlin. Défini dans une balançoire facile, c'est un nombre de grande fonctionnalité pour les concerts des fêtes et bien plus encore !Disponible séparément : SATB, SAB, SSA, Pak instrumentale (guitare, basse, batterie) et ShowTrax CD. Temps de performance : 02:45 approx. / Ensemble Variable
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Energie Blanche, Bleu Lointain (PEPIN CAMILLE)
String Orchestra
[Score and Parts]
Billaudot
Par PEPIN CAMILLE. Ce nonette s'inspire de la série Énergie blanche de Fabienn...
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Par PEPIN CAMILLE. Ce nonette s'inspire de la série Énergie blanche de Fabienne Verdier. Sur le fond lisse et bleu nuit des toiles viennent contraster des traits de peinture blanche, comme une force opposée. Au fil des tableaux, cette énergie évolue en ondulations nocturnes fluides ou rugueuses, en scintillements légers, en nuages vaporeux ou encore en crépitements. Les toiles semblent emplies de matière en apesanteur et c'est pourquoi j'ai imaginé une musique planante, cherchant un équilibre entre mouvement et immobilité. Pour moi, il se dégage de cette série bicolore l'idée d'une vitalité, d'une force, d'une lumière qui habite le vide infini et lointain du ciel. J'ai recréé cette énergie blanche en aspérités (grains de matière ou frêles touches de lumière) venant perturber ces nappes de bleu vibrant et mystérieux aux valeurs longues et étirées. Mon travail a été d'imaginer des variations de ces deux matière-couleurs grâce à la palette de textures extraordinaire qu'offrent les instruments à cordes. La pièce est ainsi conçue comme un voyage coloré et hypnotique en sept tableaux correspondant chacun à une toile de la série de Verdier. Hors champ est un épisode froid et nocturne au sein duquel de faibles lueurs de lumière tentent à peine de percer l'obscurité de la nuit. Des glissandi inquiétants naissent aux altos et violoncelles en stéréo et présentent le motif qui irriguera toute l'œuvre. La contrebasse émet une pulsation irrégulière et mystérieuse, au loin. Une ondulation douce puis majestueuse s'élève dans Ascendance. Avec l'arrivée des violons, elle traverse la matière sombre en répandant ses faisceaux brillants et lumineux. Turbulence est le lieu des perturbations. L'énergie blanche constituée ici de particules vives et chaotiques se dérègle sans cesse et envahit l'espace. Dans Synchronie I, les violoncelles se partagent le motif fondateur de l'ouvrage en un seul et même souffle, pur et suspendu. Puis, ils s'unissent pour ne former qu'une seule voix et un chant de violon les rejoint. Ce dernier se fait l'annonciateur de lumière durant cette brève accalmie. Mémoires du vent rappelle le début de l'œuvre avec cette palpitation irrégulière de la contrebasse et les glissandi inquiétants des cordes graves. Mais ces mémoires sont aussi l'écho des Turbulences qui se transforment ici en Vortex, dans lequel l'énergie blanche et chaotique devient un véritable tourbillon de lumière liquide. Pour clore la pièce, Synchronie II reprend Synchronie I avec la couleur plus froide et mystérieuse des altos, toujours en stéréo. Les touches de lumière des cordes aiguës s'affaiblissent avant de s'éteindre complètement, au loin. Cette pièce appartient au même cycle que mon quatuor à cordes Feuilles d'eau de Silvacane inspiré par la série du même nom de Fabienne Verdier. Camille Pépin / Date parution : 2022-06-08/ Répertoire / Orchestre à Cordes
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Suite for Helena (KARLSSON LARS)
Woodwind Quintet
[Score and Parts]
Fennica Gehrman
Svit för Helena för blåskvintett. Par KARLSSON LARS. Lars Karlsson's Suite fo...
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Svit för Helena för blåskvintett. Par KARLSSON LARS. Lars Karlsson's Suite for Helena (Svit för Helena, 1994) for wind quintet is built on folk tunes from his native Åland Islands. In five movements, it takes a form from classical models (French suite, fuga, scherzo) and also of 'family diary' describing the first steps of a baby boy (David's promenade), the bird sounds at the sea next to beloved summer cottage etc. This product includes a full score (A4) and a set of wind parts (B4 sized). Movements: I Uvertyr på åländska II Spanska nätter III Davids promenad IV Helenas dröm V Sandvik / Date parution : 2022-05-31/ Répertoire / Quintette de Vents
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Songs of the Brave (for Brass Band or Wind Band)
Brass Band ou Vents et SATB
[Score]
Hawes Music
(Vocal Score). Par HALLATT CRAIG. This medley features three well-known songs fr...
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(Vocal Score). Par HALLATT CRAIG. This medley features three well-known songs from World War I: Pack Up Your Troubles; Keep the Home Fires Burning and It's A Long Way to Tipperary. This gives a quick-slow-quick feeling to the arrangement which is through-composed and linked by transitional passages. The work ends with a section from Holst's 'The Planets' - Mars and I Vow To Thee My Country. 8 minutes / Date parution : 2022-10-12/ Répertoire / Brass Band ou Vents et SATB
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Robert Schumann: Concerto for Cello and Orchestra (Concertstück): Cello and
Cello, Orchestra
Peters
Original Version. Schumann?s Cello Concerto Rediscovered In her first Urtext edi...
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Original Version. Schumann?s Cello Concerto Rediscovered In her first Urtext edition for Edition Peters, internationally renowned cellist Josephine Knight reveals Robert Schumann?s original version of his Cello Concerto in A minor Op. 129 ? a piece he actually called a ?Concertstück? ? removing generations of inauthentic editorial interventions. This is the only available modern scholarly edition of the work as Schumann originally conceived it, and restores the text from October 1850, based on the composer?s manuscript held in the Biblioteka Jagiello?ska in Kraków. This Full Score matches the separately available edition for Cello and Piano (EP 73488). Matching orchestral material is also available from the publisher. Only modern Urtext edition based on Schumann?s original 1850 manuscript Many new corrections and clarifications, especially to the cello part Scholarly preface detailing history of the work and this edition by editor Josephine Knight, Piatti Professor of Cello at the Royal Academy of Music London Cello Part contains Josephine Knight's fingering and bowing suggestions Critical Commentary Cello and piano edition available separately from Edition Peters: orchestral parts available for rental Recording of the Concertstück featuring Josephine Knight available from Dutton Robert Schumann?s tragic last years have mired many of his greatest works in unnecessary doubt. The story of the suppression of his Violin Concerto by well-meaning friends is relatively well-known. Few, however, know that the version of the Cello Concerto that is routinely heard today is so far from Schumann?s original conception of the work ? not only in details of phrasing and articulation, but also featuring a different ending with a bold final flourish from the cello. Composed in a burst of inspiration in two weeks in October 1850 shortly after he and Clara had moved to Düsseldorf, Schumann (who in 1850 was still in good health) never heard the piece performed. In an effort to promote a performance of the work, he gave the score to the cellist Robert Emil Bockmühl. Bockmühl made revisions that Schumann resisted, and the hoped-for performance never happened. Schumann?s health failed and he died aged just 46 in 1856. The Concerto, in an already substantially revised form, was premiered in 1860 but it was not given significant recognition until it was championed by Pablo Casals in the 20th century by which time (and since) the text for the work had accreted additions and alterations from generations of soloists. Now Josephine Knight, Piatti Professor of Cello at the Royal Academy of Music, London has returned to the original 1850 manuscript of the work, which is in the Biblioteka Jagiello?ska in Kraków, to reveal Schumann?s original thoughts for the first time in a modern Urtext edition. The edition reflects Schumann?s original conception of the work as a Concertstück and restores Schumann?s musical text, free of posthumous interventions. ?My ultimate wish,? says the editor, ?is to give performers both access to, and confidence that they are playing from, an edition which is a true representation of the piece in its original form, no matter how much more difficult this might be. I found that incorporating the changes enabled the piece to take on a completely different character ? one that is lighter and happier, even ?cheerful?, as Schumann himself described the work.'
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Versuche I-IV (SCHNEBEL DIETER)
I: Pour Cordes et Percussions - II: Pour Quatuor à
Schott
Par SCHNEBEL DIETER. Durée: 25',/ Répertoire / I: Pour Cordes et Percussions -...
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Par SCHNEBEL DIETER. Durée: 25',/ Répertoire / I: Pour Cordes et Percussions - II: Pour Quatuor à
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Cole Porter: So In Love: Concert Band: Score & Parts
Concert band
[Score and Parts]
De Haske Publications
L?auteur-compositeur américain Cole Porter (1891-1964) est initié au piano dè...
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L?auteur-compositeur américain Cole Porter (1891-1964) est initié au piano dès son plus jeune âge. Plus tard il suit un cursus universitaire à Yale puis à Paris. Sa vie a suscité bien des commentaires. En 1918 il épouse Linda Lee Thomas. Le couple partage sa vie entre Paris Venise New York et Hollywood où Cole Porter se consacre à la composition de musiques de films. Le mariage est heureux en dépit de l?homosexualité notoire de Cole Porter. En 1937 il est victime d?un grave accident qui le laisse handicapé à vie. Cole Porter restera meurtri par cette expérience. Son épouse meurt en 1954. Quatre ans plus tard il est amputé de la jambe droite. Son appétit de vivre et saflamme créatrice s?éteignent. Il meurt en 1964.Cole Porter a composé de superbes chansons et comédies musicales dont certaines sont encore très appréciées de nos jours. Il suffit d?évoquer I?ve Got You Under My Skin ou Every Time We Say Goodbye. Sa musique a été reprise par de nombreux artistes : des crooners et grandes vedettes du jazz telles que Frank Sinatra Ella Fitzgerald et Oscar Peterson aux cantatrices Renée Fleming et Kiri Te Kanawa. Certains artistes pop notamment U2 ou Tom Waits ont également fait une incursion dans son riche répertoire.So in Love est une chanson romantique extraite de la comédie musicale Kiss Me Kate (1948).
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Cole Porter: So in Love: Brass Band: Score & Parts
Brass ensemble
De Haske Publications
L?auteur-compositeur américain Cole Porter (1891-1964) est initié au piano dè...
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L?auteur-compositeur américain Cole Porter (1891-1964) est initié au piano dès son plus jeune âge. Plus tard il suit un cursus universitaire à Yale puis à Paris. Sa vie a suscité bien des commentaires. En 1918 il épouse Linda Lee Thomas. Le couple partage sa vie entre Paris Venise New York et Hollywood où Cole Porter se consacre à la composition de musiques de films. Le mariage est heureux en dépit de l?homosexualité notoire de Cole Porter. En 1937 il est victime d?un grave accident qui le laisse handicapé à vie. Cole Porter restera meurtri par cette expérience. Son épouse meurt en 1954. Quatre ans plus tard il est amputé de la jambe droite. Son appétit de vivre et saflamme créatrice s?éteignent. Il meurt en 1964.Cole Porter a composé de superbes chansons et comédies musicales dont certaines sont encore très appréciées de nos jours. Il suffit d?évoquer I?ve Got You Under My Skin ou Every Time We Say Goodbye. Sa musique a été reprise par de nombreux artistes : des crooners et grandes vedettes du jazz telles que Frank Sinatra Ella Fitzgerald et Oscar Peterson aux cantatrices Renée Fleming et Kiri Te Kanawa. Certains artistes pop notamment U2 ou Tom Waits ont également fait une incursion dans son riche répertoire.So in Love est une chanson romantique extraite de la comédie musicale Kiss Me Kate (1948).
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Cole Porter: So in Love: Brass Band: Score
Brass ensemble
De Haske Publications
L?auteur-compositeur américain Cole Porter (1891-1964) est initié au piano dè...
(+)
L?auteur-compositeur américain Cole Porter (1891-1964) est initié au piano dès son plus jeune âge. Plus tard il suit un cursus universitaire à Yale puis à Paris. Sa vie a suscité bien des commentaires. En 1918 il épouse Linda Lee Thomas. Le couple partage sa vie entre Paris Venise New York et Hollywood où Cole Porter se consacre à la composition de musiques de films. Le mariage est heureux en dépit de l?homosexualité notoire de Cole Porter. En 1937 il est victime d?un grave accident qui le laisse handicapé à vie. Cole Porter restera meurtri par cette expérience. Son épouse meurt en 1954. Quatre ans plus tard il est amputé de la jambe droite. Son appétit de vivre et saflamme créatrice s?éteignent. Il meurt en 1964.Cole Porter a composé de superbes chansons et comédies musicales dont certaines sont encore très appréciées de nos jours. Il suffit d?évoquer I?ve Got You Under My Skin ou Every Time We Say Goodbye. Sa musique a été reprise par de nombreux artistes : des crooners et grandes vedettes du jazz telles que Frank Sinatra Ella Fitzgerald et Oscar Peterson aux cantatrices Renée Fleming et Kiri Te Kanawa. Certains artistes pop notamment U2 ou Tom Waits ont également fait une incursion dans son riche répertoire.So in Love est une chanson romantique extraite de la comédie musicale Kiss Me Kate (1948).
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Cole Porter: So In Love: Concert Band: Score
Concert band
De Haske Publications
L?auteur-compositeur américain Cole Porter (1891-1964) est initié au piano dè...
(+)
L?auteur-compositeur américain Cole Porter (1891-1964) est initié au piano dès son plus jeune âge. Plus tard il suit un cursus universitaire à Yale puis à Paris. Sa vie a suscité bien des commentaires. En 1918 il épouse Linda Lee Thomas. Le couple partage sa vie entre Paris Venise New York et Hollywood où Cole Porter se consacre à la composition de musiques de films. Le mariage est heureux en dépit de l?homosexualité notoire de Cole Porter. En 1937 il est victime d?un grave accident qui le laisse handicapé à vie. Cole Porter restera meurtri par cette expérience. Son épouse meurt en 1954. Quatre ans plus tard il est amputé de la jambe droite. Son appétit de vivre et saflamme créatrice s?éteignent. Il meurt en 1964.Cole Porter a composé de superbes chansons et comédies musicales dont certaines sont encore très appréciées de nos jours. Il suffit d?évoquer I?ve Got You Under My Skin ou Every Time We Say Goodbye. Sa musique a été reprise par de nombreux artistes : des crooners et grandes vedettes du jazz telles que Frank Sinatra Ella Fitzgerald et Oscar Peterson aux cantatrices Renée Fleming et Kiri Te Kanawa. Certains artistes pop notamment U2 ou Tom Waits ont également fait une incursion dans son riche répertoire.So in Love est une chanson romantique extraite de la comédie musicale Kiss Me Kate (1948).
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John McCabe: Pilgrim Sextet For Strings (Parts): String Ensemble: Instrumental
String Orchestra
[Sheet music]
Novello & Co Ltd.
The composer writes:Pilgrim was inspired it will be no surprise to learn by re...
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The composer writes:Pilgrim was inspired it will be no surprise to learn by reading Bunyan's Pilgrim's Progress - Vaughan Williams's great opera on the subject had fascinated me from its first performance yet it was a long time before I caught up with this essential item in any well-stocked library of English classics. It made a great impression not least because of its theme of a journey of self-discovery and a rediscovery or renewal of faith. These are ideas which have a strong interest for me not in religious terms but in their application to every aspect of human life (including great journeys) and this piece reflects my response in musical terms to this concern. The tempo of the whole piece which lasts about 18 minutes is basically slow. There are two quick episodes but these act somewhat like the trio sections of a classical scherzo save that the tempo relationships are inverted (the classical trios would have been slower not quicker) and the canvas is much larger being that of a single substantial slow movement. The form of the whole is perhaps fantasia-like rather than having any relationship to classical forms such as sonata or rondo - some motifs and themes are varied as the work develops and the opening chords are of primary importance throughout the work. There has been no attempt to convey any pictorial elements deriving from Bunyan's great book. There is however one feature which upon completion of the score struck me with some force which is that almost all the thematic material is essentially striving upwards - there is a constant upward movement (sometimes over a lengthy period) throughout the work. Pilgrim was commissioned by the Luton Music Club for the Raphael Ensemble with funds provided by the Eastern Arts Board and Bedfordshire County Council and is dedicated to the Luton Music Club. The first performance was given in Luton on February 10th 1997 and followed as part of a joint scheme by performances in the same week at the Music Clubs of Bedford and Leighton Buzzard.
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John McCabe: Pilgrim String Sextet: String Ensemble: Score
String Orchestra
[Sheet music]
Novello & Co Ltd.
The composer writes:Pilgrim was inspired it will be no surprise to learn by re...
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The composer writes:Pilgrim was inspired it will be no surprise to learn by reading Bunyan's Pilgrim's Progress - Vaughan Williams's great opera on the subject had fascinated me from its first performance yet it was a long time before I caught up with this essential item in any well-stocked library of English classics. It made a great impression not least because of its theme of a journey of self-discovery and a rediscovery or renewal of faith. These are ideas which have a strong interest for me not in religious terms but in their application to every aspect of human life (including great journeys) and this piece reflects my response in musical terms to this concern. The tempo of the whole piece which lasts about 18 minutes is basically slow. There are two quick episodes but these act somewhat like the trio sections of a classical scherzo save that the tempo relationships are inverted (the classical trios would have been slower not quicker) and the canvas is much larger being that of a single substantial slow movement. The form of the whole is perhaps fantasia-like rather than having any relationship to classical forms such as sonata or rondo - some motifs and themes are varied as the work develops and the opening chords are of primary importance throughout the work. There has been no attempt to convey any pictorial elements deriving from Bunyan's great book. There is however one feature which upon completion of the score struck me with some force which is that almost all the thematic material is essentially striving upwards - there is a constant upward movement (sometimes over a lengthy period) throughout the work. Pilgrim was commissioned by the Luton Music Club for the Raphael Ensemble with funds provided by the Eastern Arts Board and Bedfordshire County Council and is dedicated to the Luton Music Club. The first performance was given in Luton on February 10th 1997 and followed as part of a joint scheme by performances in the same week at the Music Clubs of Bedford and Leighton Buzzard.
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Lakescape Vi (LIANG LEI)
Quintette à vent
[Score and Parts]
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Advanced
Schott
Par LIANG LEI. Having been interested in Mahayana Buddhism for a number of years...
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Par LIANG LEI. Having been interested in Mahayana Buddhism for a number of years, I went to a Buddhist monastery in upstate New York to study meditation in 1999. One evening, while walking alone by the side of the lake, I caught the sight of a “V” shape floating and extending on the surface of the water. It was a beaver taking a swim under the moon. This image gave me insight into my relationship with silence: underneath the music is a profoundly deep silence upon which I seek to inscribe my signature through sound. It serves as a point of departure that led to a series of works. – Lei Liang / Niveau : Avancé / Répertoire / Quintette à vent
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Argraffiad Cymraeg Vol. 1 (ORFF CARL / KEETMAN GUNILD)
Voix, Flûte à Bec et Percussion
[Score]
Schott
Pentatonig. Par ORFF CARL / KEETMAN GUNILD. Carl Orff devoted much of his life t...
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Pentatonig. Par ORFF CARL / KEETMAN GUNILD. Carl Orff devoted much of his life to the development of a philosophy of Music for Children, based on his belief that music is the natural outcome of speech, rhythm and movement. His ideas and pioneering work have had a major influence on music and dance education throughout the world and today that work continues under the guidance of leading teachers and educators in many countries. The five basic German volumes of 'Music for Children' by Carl Orff and Gunild Keetman were published between 1950 and 1954. Edition have since been published in Bolivia, Brazil, Canada, Czechoslovakia, Denmark, Estonia, France, Ghana, Great Britain (including a special Welsh edition), Greece, Italy, Japan, Korea, Latin-America, the Netherlands, Portugal, Spain, Sweden, Taiwan and the USA. In 1952 the first edition in translation appeared, an English language adaptation by Doreen Hall and Arnold Walter for their Canadian and American students. A few years later, Margaret Murray independently developed a version (1957-1966), essentially to fulfil the needs of United Kingdom teachers. Inevitably the considerable growth of Orff-Schulwerk in the United States led to the publication of the American Edition (1977) to satisfy the requirements of a different educational system and national heritage. Orff-Schulwerk: Music for Children has proved itself to be a stimulating source of material for music teaching. Carl Orff's fundamental educational ideas have revitalized music education in nursery schools, at all levels of primary and secondary education and in special music schools, based on the concepts that: - music, dance and language are inter-related and animated through rhythm. - when children discover, invent, improvise and compose, their experience of music is intensified. These creative activities are complementary to those of interpreting and listening to music. - all who take part are encouraged to contribute, not only vocally but also instrumentally. - the Orff approach to music education is many sided; it is concerned with practical music-making, it provides fundamental experiences and it lays the foundation for a comprehensive musical training. - movement games and activities for body awareness in space, time and flow, lead to movement improvisation and dance forms. - music and dance have been notated in many different ways in history. Various ways of writing down sounds and music, as well as playing from and interpreting different kinds of sources are being explored. Today, countless teachers and institutions are using these ideas. More and more teachers look for ways of invovling their students in active music making. In particular, they seek to challenge their pupils' creativity by the use of music, dance and speech - as media of human expression - as a foundation of all education. A prerequisite for work in Orff-Schulwerk is the artistic and pedagogical training of teachers. The Orff Institute was founded in 1961 as a Department of the 'Mozarteum', in Salzburg, Austria. Training offered includes a four-year diploma course, a two-year post-graduate course, and a one-year-course in English. At the opening of the Orff Institute in Salzburg in 1963, Carl Orff ended his speech with a quotation from Schiller: 'I have done my part, now do yours.' That challenge has been taken up by teachers worldwide. Welsh Edition This volume closely follows the English Volume 1, substituting Welsh for English wherever words are used in speech or song. It should be used in conjunction with the English version, since only the sung and spoken parts are provided./ Répertoire / Voix, Flûte à Bec et Percussion
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