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Incantation. Concerto for Piano and Orchestra No. 4 H 358 / Fantasia Concertante. Concerto for Piano and Orchestra No. 5 in B-flat major H 366 (MARTINU BOHUSLAV)
Orchestra
[Sheet music]
Barenreiter
The Bohuslav Martinu Complete Edition III/1/5. Par MARTINU BOHUSLAV. “Incarnat...
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The Bohuslav Martinu Complete Edition III/1/5. Par MARTINU BOHUSLAV. “Incarnation” (1956), Bohuslav Martinu’s fourth piano concerto, follows an atypical two-movement structure. It was composed for Martinu’s friend Rudolf Firkušný, who played from a copy of the autograph until 1970, when the composition was first put into print. The next work, “Concerto in B flat major for Piano and Orchestra”, known under the name “Fantasia Concertante”, was to be Martinu’s very last concert work. The concerto in three movements, composed at the request of Swiss pianist Margrit Weber, is quite different from the previous work in terms of its compositional means. In this case, Martinu strongly influenced the edition of the work. The present volume of the Complete Edition of works by Bohuslav Martinu is based mainly on contemporary copies containing the composer’s own modifications. The edition presents numerous new findings about the genesis of both works./ Recueil / Orchestre
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Witold Lutoslawski: Trois Poemes D'henri Michaux: Orchestra: Instrumental Work
Orchestra
[Sheet music]
Chester
Trois po?mes d?Henri Michaux was written for the Zagreb Biennale and first perfo...
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Trois po?mes d?Henri Michaux was written for the Zagreb Biennale and first performed there by the orchestra and choir of Radio Zagreb conducted by the composer and Slavko Zlatic on 9 May 1963. It is composed for 20-part choirand an orchestra similar to that of the Symphony of Psalms though without the lower strings of the latter.Lutoslaswski has said that the general outline of the work came to him first and only then did he choose the threepoems. These reflect his Francophile taste: Henri Michaux was born in Belgium in 1899 and later became a painter: the trenchant Le Grand Combat with its onomatopoeic invented words dates form the 1920s; the other two texts which are more philosophic than pictorial form the 1930s. Choir and orchestra need separate conductors even though throughout they alternate more often than they combine.A description of the course of the music itself will bemore useful than any discussion of its technical processes or of its notation. A quiet section of orchestral polyphony which brass sforzandi punctuate with increasing frequency frames the beginning and end of Pens?es. Afterthe choir?s first unaccompanied passage the woodwind have a staccato section over which the female voices singing downward glissandi are superimposed (?Ombre de mondes infimes??). Then the woodwind and both pianos join in alapping ostinato which illustrates the text of the next forte choir entry ?Pens?es la nage merveilleuse?? The climax of the movement comes as these characteristic woodwind figures alternate with the tintinnabulation of agamelan-like ensemble of vibraphone c?leste harp and pianos.
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Reza Vali: Segah: Double Concerto: Orchestra and Solo: Score
Orchestra
Lauren Keiser Music Publishing
Full Score-The Persian traditional music (called the Dastgah Segah) is based on ...
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Full Score-The Persian traditional music (called the Dastgah Segah) is based on intervals made of three quarter-tones and natural whole-tones. Segah has no interval in common with the European/ Western equal-temperament tuning. This lack of common intervalsbetween the Segah mode and the equal-temperament tuning will lead to a cognitive dissonance if this mode is set against the equal-temperament system. My goal has been to elaborate on the innate tensions that exists between the two interval systemsand use it as a symbol for the existing political and cultural tensions between the Persian and the Western cultures. The piece consists of two Persian traditional instruments the Ney (Persian vertical bamboo flute) and the Kamanche (Persian spikefiddle) as the musical representatives of the Persian culture set against the Western orchestra as the musical representative of the Western culture. A small ensemble of Western instruments consisting of a harp and string quintet accompanies thePersian instruments. The harp is tuned to the Segah intervals and the string quintet plays in the Segah mode. The orchestra is performing inthe Western equal- temperament tuning. From the very first bars of the main section of the piece confusionsand misunderstandings arise. The orchestra being unable to play in Segah or understand the mode becomes more and more agitated. Musical tensions between the soloists and the orchestra lead to musical confrontations and finally to musicalviolence. The orchestra becomes extremely violent and militaristic and tries to suppress the soloists efforts to express their musical thoughts. In the midst of all these confusions and cultural misunderstandings musical connections and attractionsstart to take place. The orchestra and the soloists find themselves musically attracted to each other and start imitating each others musical phrases. Cognitive dissonances start to be gradually transformed to musical dialogues symbolizing thegradual replacement of the clash of civilizations with the dialogue of civilizations. Segah was written for Khosrow and Kian Soltani and premiered at the Segah Festival on January 15 2016.
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Sinfonia Elegiaca (Symphony 2) (PANUFNIK ANDRZEJ)
Orchestra
[Sheet music]
Boosey and Hawkes
Par PANUFNIK ANDRZEJ. Détails de la formation instrumentale: 3(III=picc).2.corA...
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Par PANUFNIK ANDRZEJ. Détails de la formation instrumentale: 3(III=picc).2.corA.2.b Clarinette 2.dbn-4.3.3.1-timp.perc(3):glsp -SD/TD -SD/ cyms/tam-t-harp-strings - Durée: 22' -/ Répertoire / Orchestre
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Sinfonia Elegiaca (PANUFNIK ANDRZEJ)
Orchestra
Boosey and Hawkes
Hawkes Pocket Scores HPS 881. Par PANUFNIK ANDRZEJ. Détails de la formation ins...
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Hawkes Pocket Scores HPS 881. Par PANUFNIK ANDRZEJ. Détails de la formation instrumentale: 3(III=picc).2.corA.2.b Clarinette 2.dbn-4.3.3.1-timp.perc(3):glsp -SD/TD -SD/ cyms/tam-t-harp-strings - Durée: 22' -/ Répertoire / Orchestre
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Ed Hughes: Crimson Flames: Orchestra: Score
Orchestra
[Sheet music]
University Of York Music Press
For Orchestra (Triple Winds)For Saxophone SAT Percussion Piano Harp and Stri...
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For Orchestra (Triple Winds)For Saxophone SAT Percussion Piano Harp and Strings. First performance: Cambridge University Musical Society Second Orchestra conducted by Neil Chippington 8th December 1989.Recordedand broadcast by BBC Symphony Orchestra conducted by Robert Ziegler 6th February 1992.
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Karl Aage Rasmussen: Double Concerto: Orchestra: Part
Orchestra
Wilhelm Hansen
Harp Solo Part-Harp solo part for Double Concerto for Harp Guitar and Orchestra...
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Harp Solo Part-Harp solo part for Double Concerto for Harp Guitar and Orchestra by Karl Aage Rasmussen (1998). Orch. parts are available on hire: hire@ewh.dk Full score: KP00678Guitar solo part: KP00678D
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Maurice Duruflé: Requiem Opus 9 - Matériel d'orchestre: Mixed Choir: Parts
Orchestra
[Sheet music]
Durand
parts included: Vn1-Vn2-Va-Vlc-Cb-3Trp-Tb- Hp-MzBar soli SATB chorus 3 trumpet...
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parts included: Vn1-Vn2-Va-Vlc-Cb-3Trp-Tb- Hp-MzBar soli SATB chorus 3 trumpets 2 violins viola cello harp and organ with double bass and timpani ad lib.This set includes parts for 3 trumpets 2 violins viola cello harp double bass and timpani. Only one of each string part is inc
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Aulis Sallinen: Symphony No.7 Op.71 'The Dreams of Gandalf': Orchestra: Score
Orchestra
Novello & Co Ltd.
Aulis Sallinen’s Symphony No.7 is related to J.R.R. Tolkien’s grea...
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Aulis Sallinen’s Symphony No.7 is related to J.R.R. Tolkien’s great novel 'The Lord of the Rings.' The symphony does not actually depict the events in the novel; rather it is a musical expression of the literary atmosphere and poetry. The symphony was commissioned by the Gothenburg Symphony Orchestra and composed in 1995-6. Orchestration: 3 Flutes 3 Oboes 3 Clarinets in B flat 3 Bassoons 4 Horns in F 4 Trumpets in B flat 3 Trombones Tuba Timpani Percussion Celesta Harp Strings. The duration of the work is 25 minutes full score and orchestral material is available for hire.
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Richard Rodney Bennett: Symphony No. 3: Orchestra: Score
Orchestra
Novello & Co Ltd.
Richard Rodney Bennet’s Symphony No. 3 commissioned for the 1987 Three ...
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Richard Rodney Bennet’s Symphony No. 3 commissioned for the 1987 Three Choirs Festival by the Elgar Foundation with additional funds from West Midlands Arts is now published in a facsimile study score.In contrast with his first two symphonies which were rather extrovert display pieces Symphony No. 3 is quite thoughtful and lyrical in nature more or less monothematic and has a strong feeling of tonality particularly at the opening and closing of the score. The more moderate orchestration (2 Flutes Oboe Cor Anglais 2 Clarinets in B flat Bassoon 2 Horns in F Percussion 1 (small Triangle Tam-tam 3 suspendedCymbals) Percussion 2 (side Drum tubular Bells) Timpani Piano Harp and Strings) also reflects this. Performance time of the three movements is ca. 22 minutes.Sir Richard Rodney Bennett was an English composer of film TV and concert music and also a jazz pianist. He was based in New York City from 1979 until his death there in 2012.
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Symphony No. 45 In F Sharp Minor: Score
Orchestra
Barenreiter
Haydn?s ?Farewell Symphony? is one of the most frequently played works of the sy...
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Haydn?s ?Farewell Symphony? is one of the most frequently played works of the symphonic repertoire. The popular title did not derive from the composer but refers to the final movement at the end of which (Adagio) the musicians stop playing one after the other leaving only two violins to end the work. According to an anecdote the musicians? exit was a means of making reference to the demands of orchestral work at Esterháza at the end of the season.The publication of Haydn?s ?Sturm und Drang? Symphonies the Farewell Symphony and Symphony No. 48 (the so-called ?Maria Theresia? Symphony) represents a continuation of the cooperation between Bärenreiter and theHenle publishing company for editions of larger choral works operas and symphonic works. The publications are based on the Henle ?Complete Edition of the Works of Joseph Haydn?. Both symphonies (BA 10971 and BA 10972) will be published with a full score and orchestra parts on sale in a large format.
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Anna Thorvaldsdottir: Aeriality Orchestra: Orchestra: Study Score
Orchestra
Chester
Anna Thorvaldsdottir's Aeriality Orchestra for Orchestra.Written for the Iceland...
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Anna Thorvaldsdottir's Aeriality Orchestra for Orchestra.Written for the Iceland Symphony Orchestra and premiered in the new Reykjavik Concert Hall and Conference Center HARPA on 24 November 2011 by IcelandSymphony Orchestra conducted by Ilan Volkov.Duration: 13 minutes
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Rued Langgaard: Danmarks Radio: Orchestra: Score
Orchestra
[Partitions]
-
Intermediate/advanced
Rued Langgaard Edition
Fanfarer-Danmarks Radio for Orchestra BVN 351 was composed by Rued Langgaard i...
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Fanfarer-Danmarks Radio for Orchestra BVN 351 was composed by Rued Langgaard in 1948. Instrumentation: 3.2.2.2/4.3.3.1/timp/2 perc/org/str. Parts are available on hire: hire@ewh.dk This extremely short orchestral piece was composed 7 May1948 in Ribe. Exactly between 5:45 and 6:45 in the morning(“normal time”). Rued Langgaard indicates the time of dayin both the sketch for the composition and the fair copy of thescore. Fair-copying of the score took place on 10 May 4:30 to6:00 in the morning (“summertime”) after it should be noted Langgaard had taken his obligatory morning constitutional inRibe (he suffered from insomnia and arose in the early morninghours). After the work’s final measure Langgaard wrote:“Short razor-sharp line of thought in music excluding allextraneous ‘developmental’ fussiness and with lightning fastmovement in all the parts”. The same day 10 May he sent thescore as program suggestion to the State Broadcasting Servicein Copenhagen under the title Denmark’s Radio Fandfare forGrand Orchestra – “fandfare” as a sarcastically meant spellingmistake with an allusion to “the Devil” (fanden = the Devil inDanish). Langgaard had as is known an ambivalent relationshipwith the State Broadcasting Service. The work was not acceptedand the score was therefore returned to Langgaard whonevertheless submitted it again. The State Broadcasting Serviceclearly regarded the piece as a joke from the composer’s side.When Langgaard died in 1952 the unperformed score was tobe found in broadcasting corporation’s music
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James MacMillan: Sinfonietta: Orchestra: Study Score
Orchestra
[Sheet music]
Boosey and Hawkes
Hawkes Pocket Scores HPS 1512-Composed in 1991 this London Sinfonietta commissio...
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Hawkes Pocket Scores HPS 1512-Composed in 1991 this London Sinfonietta commission was first performed by them in May 1992 at the Queen Elizabeth Hall London. Scored for Orchestra or chamber Orchestra the instrumentation comprises alto Flute/Piccolo cor anglais E flat Clarinet/bass Clarinet soprano Saxophone Contrabassoon Horn Piccolo Trumpet Trombone Tuba Percussion Harp Piano and Strings. Recorded on BIS CD 1119 by the Scottish Chamber Orchestra conducted by the composer.
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Leonard Bernstein: West Side Story - Selections For Orchestra: Orchestra: Score
Orchestra
Boosey and Hawkes
Jack Mason's showcase features six songs skillfully scored for school orchestra....
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Jack Mason's showcase features six songs skillfully scored for school orchestra. This set from Bernstein's timeless West Side Story contains score and seperate parts for Flute I Flute II Piccolo Oboe I Oboe II English Horn Clarinet in B I Clarinet in B II Bassoon I Bassoon II Alto-Sax I Alto-Sax II Tenor-Sax. Baritone-Sax F-Horn I-IV Trompete I-III Posaune I-III Tuba 3 Timpani-Percussion Harp 8 Violin I 8 Violin II 4 Viola 4 Cello and 4 Double Bass.
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Leos Janacek: Sumarovo díte -Des Spielmanns Kind: Orchestra: Score
Deutsch
Orchestra
Barenreiter
Orchester-Ballade-Hardback Complete Edition.Composed 1912-1014 The Fiddlerâ...
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Orchester-Ballade-Hardback Complete Edition.Composed 1912-1014 The Fiddler’s Child is a mature work a dramatic ballad for solo Violin and Orchestra. It is scored for Flute (2) Oboe (2) Clarinet (in B-flat) (2) Bass clarinet Bassoon (2) Horn (3) Trumpet (2) Trombone (3) Tuba Harp Timpani Drums Strings.
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Geoffrey Burgon: Acquainted With Night: Orchestra: Score
Orchestra
[Score]
Chester
'Acquainted with Night' is a cycle of six songs for alto and strings harp and...
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'Acquainted with Night' is a cycle of six songs for alto and strings harp and timpani. The texts are all concerned with different aspects of night. The first song ‘Lullaby’ to a poem by Beaumont and Fletcher seeks to evokethe ‘care-charming’ powers of sleep. The second a setting of Robert Frost’s ‘Acquainted with the night’ is concerned with the lonely world of a strange city at night and the music is characterised by an insistently repeatedfigure in the accompaniment. The third song contrasts the calmness of the night with the turbulence in a lover’s mind - the poem is by the Earl of Surrey. ‘Out in the dark’ a poem by Edward Thomas is the text of the fourthsong. It is in the form of a scherzo and deals with the mystery and strangeness of night and as the poet puts it the ‘might’ of night. It is as the poet says a hymn to night and the chordal nature of the accompanimentsuggests this quality. This song leads directly into the last which is in fact a reprise of the opening ‘Lullaby’ so completing the cycle.
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Aulis Sallinen: A Solemn Overture (King Lear): Orchestra: Score
Orchestra
Novello & Co Ltd.
A facsimile study score for one of Sallinen's most recent works A Solemn Overtu...
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A facsimile study score for one of Sallinen's most recent works A Solemn Overture. Orchestration: 3 flutes 3 oboes 3 clarinets in B flat 3 bassoons 4 horns in F 3 trumpets in B flat 3 trombones in C Tuba Timpani Harp and Strings. Duration approximately 10mins.
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Joseph M. Martin: Appalachian Winter: Orchestra: Parts
Orchestra
Shawnee Press
From the composer of Festival of Carols and The Winter Rose comes a cantata that...
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From the composer of Festival of Carols and The Winter Rose comes a cantata that celebrates the legacy of early American carols and hymnody. Composed in the spirit of folk music the cantata combines traditionalsounds with more rustic elements creating a blend that is fresh and pleasing. Popular American carols like Away In a Manger and O Little Town of Bethlehem dance with traditional spirituals such as Children GoWhere I Send Thee and Go Tell It on the Mountain. Sacred Harp tunes are re-tooled for Advent and stand alongside new versions of Shaker hymns and Appalachian melodies. Thoughtful narration weaves the movements togetherin a meaningful tapestry of song and Scripture. Two orchestral options are available allowing maximum flexibility in performance. A full line of support products is also available. Available separately: SATB CD-ROM FullOrchestration (Score
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Maurice Ravel: La Valse: Orchestra: Miniature Score
Orchestra
Dover Publications
La Valse was originally composed as a tribute to Johann Strauss Jr and in a sty...
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La Valse was originally composed as a tribute to Johann Strauss Jr and in a style that is a parodic and apocalyptic view of wartime Vienna. Subtitled Poeme Choregraphique Pour Orchestre the piece employs the awesome forces of triple winds two harps and a host of percussion and was commissioned by Sergie Diaghilev in 1919 to be first performed in Paris in 1929. The full score is reproduced here in a convenient and attractively-priced miniature format.
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Jacques Ibert: Le Chevalier errant Epopée chorégraphique: Orchestra: Score
Orchestra
[Sheet music]
Leduc, Alphonse
Les Moulins; Danse des Galèriens; L'Age d'Or; Les Comédiens et Finale (wind (3...
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Les Moulins; Danse des Galèriens; L'Age d'Or; Les Comédiens et Finale (wind (3334+6431) alto saxophones 4 timpani percussion celeste bells glockenspiel xylophone guitar 2 harps and strings)
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Jacques Ibert: Diane de Poitiers - Suite No.2: Orchestra: Score
Orchestra
[Sheet music]
Leduc, Alphonse
Introduction et Allegro; Intermezzo et Adage; Marche et Finale (wind (3444+4431)...
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Introduction et Allegro; Intermezzo et Adage; Marche et Finale (wind (3444+4431) 4 timpani percussion glockenspiel vibraphone (or celeste) 2 harps and strings)
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Ernesto Lecuona: Malaguena: Concert Band: Score & Parts
Orchestra
Southern Music Ltd
Born in Havana Cuba in 1895 Ernesto Lecuona is arguably Cuba's greatest seriou...
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Born in Havana Cuba in 1895 Ernesto Lecuona is arguably Cuba's greatest serious composer. He was a gifted pianist who wrote hundreds of songs and piano works before he died in 1963. Most of his music is composed in a rich authentic Cuban style. The most famous of his works is Malagueña the sixth movement of his Suite Andalucia for solo piano which was first published in 1928. Malagueña has been recorded as a popular song (with added lyrics) as a serious piano work (even by Lecuona himself in the 1950's) and also as a jazz standard (Bill Holman's arrangement for the Stan Kenton Orchestra in the early 1960's.) Over the years it has been arranged many times for variousother mediums ranging from symphony orchestra to field arrangements for drum and bugle corps.In 1976 James Barnes arranged Malagueña for the University of Kansas Marching Band. A few years later with permission from the publisher he expanded this original arrangement into a full work for symphonic band called Prelude Fantasy and Fandango on Lecuona's Malagueña. After several performances in the spring of 1978 (most notably at the MENC Convention in Colorado Springs) this work along with over 200 other Barnes manuscripts lay fallow in the KU Band Library. While packing up his office belongings when he retired from The University of Kansas in 2015 Barnes came across this long languishing Prelude Fantasy and Fandango which remained in condensed score. In the fall of 2016 he completely re-composed the opening portion of the work reduced the number of required percussion and disposed of the two harps in his 1978 version. This new setting features evocative thinly scored extended solo passages for clarinet bassoon and flute before the full wind band concludes the work with a powerful dramatic setting of the main themes of Lecuona's masterful Malagueña.
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Malaguena: Concert Band: Score
Orchestra
Southern Music Ltd
Born in Havana Cuba in 1895 Ernesto Lecuona is arguably Cuba's greatest seriou...
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Born in Havana Cuba in 1895 Ernesto Lecuona is arguably Cuba's greatest serious composer. He was a gifted pianist who wrote hundreds of songs and piano works before he died in 1963. Most of his music is composed in a rich authentic Cuban style. The most famous of his works is Malagueña the sixth movement of his Suite Andalucia for solo piano which was first published in 1928. Malagueña has been recorded as a popular song (with added lyrics) as a serious piano work (even by Lecuona himself in the 1950's) and also as a jazz standard (Bill Holman's arrangement for the Stan Kenton Orchestra in the early 1960's.) Over the years it has been arranged many times for variousother mediums ranging from symphony orchestra to field arrangements for drum and bugle corps.In 1976 James Barnes arranged Malagueña for the University of Kansas Marching Band. A few years later with permission from the publisher he expanded this original arrangement into a full work for symphonic band called Prelude Fantasy and Fandango on Lecuona's Malagueña. After several performances in the spring of 1978 (most notably at the MENC Convention in Colorado Springs) this work along with over 200 other Barnes manuscripts lay fallow in the KU Band Library. While packing up his office belongings when he retired from The University of Kansas in 2015 Barnes came across this long languishing Prelude Fantasy and Fandango which remained in condensed score. In the fall of 2016 he completely re-composed the opening portion of the work reduced the number of required percussion and disposed of the two harps in his 1978 version. This new setting features evocative thinly scored extended solo passages for clarinet bassoon and flute before the full wind band concludes the work with a powerful dramatic setting of the main themes of Lecuona's masterful Malagueña.
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Diverse: Celtic: Flexible Band: Score
Orchestra
[Sheet music + CD]
Universal Edition
Leichte Ensembleliteratur Für Den Unterricht-Martin Tourish is an accordionist ...
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Leichte Ensembleliteratur Für Den Unterricht-Martin Tourish is an accordionist composer and musicologist from Co. Donegal now based in Dublin. Celtic music is in his blood for his ancestors were noted collectors of dance music manuscripts dating back to the 19th century. With many recordings to his credit he now offers his expertise to performers wishing to explore the rich culture of Irish and other Celtic music on a variety of instruments.?World Music Celtic? presents material from the Irish Scottish Welsh Cornish and Breton traditions. It makes no great technical demands on the players but Tourish points out that notation of this music is often ?skeletal? hence it is important to gain a knowledge ofthe individual traditions in question and naturally he offers plenty of information on performance practice.The collection spans three centuries from the blind bardic harpists of the 18th century to the international performers of the present day. Tourish accepts that this volume can only scratch the surface of a multi-faceted genre but hopes you will see it as a stepping stone to delve deeper into recordings festivals and the very communities whence this music comes. ?World Music Celtic? is available in four formats each with complete recordings and backing tracks on CD: as solo versions for violin flute or saxophone (with piano) and in an ensemble version for two melodic instruments (C Bb or Eb) piano guitar bass and bodhrán.
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...Le Ciel, Tout A L'Heure Encore Si Limpide, Soudain Se Trouble Horriblement... (JARRELL MICHAEL)
Français
Orchestra
[Sheet music]
Lemoine, Henry
Par JARRELL MICHAEL. De la nature... du musical Michael Jarrell, né en 1958, e...
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Par JARRELL MICHAEL. De la nature... du musical Michael Jarrell, né en 1958, est l'un des compositeurs les plus en vue de sa génération. Dans une démarche toute personnelle, qui ne s'est inféodée à aucun mouvement, et dans une quête intérieure inlassablement poursuivie, il a opéré une synthèse de l'héritage des musiques d'après-guerre dont il a extrait certaines caractéristiques techniques pour les mettre au service d'une véritable poétique musicale. En effet, contrairement à ses aînés, il explore moins le langage pour lui-même, faisant des nouvelles techniques le lieu d'une mutation dans la pensée musicale, qu'il ne cherche à le mettre au service de l'expression. Aussi se méfie-t-il d'une conceptualisation excessive, et de l'utopie dont l'oeuvre serait porteuse, préférant mettre en valeur les vertus d'un artisanat qu'il enseigne par ailleurs à Vienne et à Genève, ainsi que lors de nombreux séminaires à travers l'Europe. Ses oeuvres, facilement identifiables dans l'abondante production contemporaine, sont toutes liées les unes aux autres, non seulement par une certaine forme de sensibilité, leur tonalité propre, mais aussi par la récurrence de certains traits que Jarrell retravaille dans des contextes différents. Il s'est ainsi très tôt constitué un univers qu'il ne cesse de remodeler, visant moins l'originalité apparente de chacune des pièces qu'un déplacement constant des perspectives dans lesquelles les mêmes idées, en elles, peuvent être appréhendées. 'Cent fois sur le métier...' voilà quelle pourrait être sa devise. On trouve ainsi dans chacune de ses oeuvres quelque chose de familier qui acquiert en même temps une certaine étrangeté, sentiment qui constitue peut-être un élément essentiel de son expressivité. La musique de Jarrell arpente les régions du rêve et de l'irréalité, à la recherche de son moment de vérité, souvent situé dans les sonorités les plus graves et tes plus lentes, là où le temps, ailleurs agité, s'immobilise. C'est peut-être ce qui confère à sa musique une forme de tendresse inséparable de la beauté sonore, allant jusqu'à un esthétisme raffiné, loin des recherches extrêmes et des formulations autoritaires. Chez lui, même les techniques instrumentales les plus inhabituelles, ou les sonorités électroniques, auxquelles il a souvent recours, sont rapatriées dans un monde sensible emprunt de pureté où ce sont les qualités expressives qui dominent. Celles-ci ne renvoient pas forcément au moi du compositeur, qui tend au contraire à s'effacer, mais davantage à l'essence même du musical, au phénomène en soi, porteur d'une présence singulière au monde. On retrouve de telles qualités dans sa dernière oeuvre, ...Le ciel, tout à l'heure si limpide, soudain se trouble horriblement..., commandée par l'Orchestre de la Suisse Romande. Elle fait appel à un grand orchestre symphonique standard: 3 flûtes (dont alto et piccolo, 2 hautbois et cor anglais, 2 clarinettes et clarinette basse, 2 bassons et contrebasson, 4 cors, 3 trompettes, 3 trombones, tuba, harpe, timbales, 4 percussions (vibraphone, glockenspiel, cloches tubes, cymbales, bongos, tam-tam, grosse caisse, temple blocks, tom grave, spring coils, triangle, mark tree) et cordes. Malgré un titre qui pourrait sous-entendre un élément programmatique, l'oeuvre appartient à la catégorie de la musique pure. L'orchestre y est traité de façon conventionnelle, mais avec une virtuosité d'écriture, un raffinement dans la sonorité qui exige beaucoup de ses interprètes. D'un seul tenant, l'oeuvre se divise en quatre parties principales d'inégale longueur, les deux premières étant plus importantes que les deux suivantes: la première est constituée d'un continuum de notes rapides réparties entre les cordes et Les bois, tandis que les trompettes, doublées par différents instruments, lancent une figure d'appel incisive qui s'allonge progressivement. L'écriture est d'une grande virtuosité, les figurations en triples croches passant d'un instrument ou d'un groupe à un autre. Les notes rapides se figent une première fois dans des oscillations jouées notamment par les cordes divisées, puis à travers des notes répétées qui traversent toute la texture orchestrale. Après un passage intermédiaire privilégiant les sons graves, l'écriture vive reprend jusqu'à un sommet dramatique marqué par des trilles, aussitôt suivi d'une désintégration qui mène à la seconde partie. Celle-ci débute avec des quintes jouées par les cordes graves divisées et colorées par les percussions (les contrebasses, qui doivent modifier leur accord, jouent des sons harmoniques). La musique semble vouloir repartir d'un point originel, elle se réinvente à partir d'une structure élémentaire, dans une extrême douceur. L'impétuosité du début laisse place à une grande délicatesse des sonorités. C'est un trait que l'on retrouve dans de nombreuses pièces de Jarrell: après l'effervescence d'une écriture brillante, agitée, nerveuse, que l'auditeur suit dans sa course folle, vient un moment réflexif et profond, qui nécessite une réorientation de l'écoule, une plongée dans la nature même du phénomène sonore. La trame qui se déploie dans un tempo lent offre ainsi une autre image de la sonorité orchestrale, comme si une musique des origines, au caractère de litanie, était soudain dévoilée sous la couche éclatante du début. Elle donne le sentiment d'avoir commencé bien avant son moment d'apparition, comme si elle provenait des couches profondes de la conscience, d'une mémoire archaïque. D'ailleurs, Jarrell réélabore ici un passage d'une pièce antérieure, Music for a While, lui reprenant son matériau de base. Le sentiment de profondeur est dû au formidable ralentissement du temps, qui nous met soudainement en apesanteur, mais aussi à une forme en spirale, qui tranche avec la musique directionnelle qui précédait. L'effet que provoque la distance sensible entre de tels contrastes est onirique: on ne sait plus si la première partie, qui nous échappe en se projetant vers l'avant, n'était qu'une forme illusoire, ou si nous entrons, avec la partie lente, dans une sorte de rêve éveillé. Un passage central, dans cette seconde partie, s'organise autour de guirlandes sonores à la harpe et aux cloches que tout l'orchestre remplit de sonorités suaves. Les arpèges descendants des vents doublés par des pizzicatos de cordes, que transpercent des notes répétées aux trompettes et aux cors, dans un climat encore doux, annoncent la reprise du mouvement frénétique. Mais cette fois, ce sont moins des figures virevoltantes qui passent à travers les pupitres que des blocs de notes joués par la masse des instruments: des figures qui s'élancent vers le haut aboutissent à des notes répétées, en une forme d'antiphonie, et mènent à un sommet d'intensité. Après quoi, en guise de coda, une quatrième partie nous conduit à une fin mourante: l'harmonie se fige, les polyrythmes annulent toute sensation de mesure, les longues tenues des instruments graves chutent chromatiquement, les percussions jouant des figures rituelles, en résonance, jusqu'à l'immobilité finale. Le titre de la pièce provient de Lucrèce (De la nature). Il n'a pas de signification structurelle immédiate, comme souvent chez Jarrell, mais exprime en quelques mots l'idée qui avait présidé au morceau. Le trouble s'apparente ici à une forme d'étrangeté, à quelque chose d'inquiétant qui n'apparaît pas de façon narrative, tel un vent d'orage dans un ciel serein, mais comme l'essence même de l'articulation formelle entre deux types d'écriture, deux types d'expression qui exigent des temporalités opposées l'une à l'autre. La soudaineté, c'est le renversement entre les deux. Pourtant, on retrouve un même noyau entre les parties vives et les parties lentes, la quinte jouant dans les deux cas un rôle structurel, et le mib apparaissant comme une note polaire (toute la musique de Jarrell est aimantée par des pôles qui orientent l'écoute). Si le passage du limpide au trouble se traduit par la sonorité orchestrale, par le maniement très sensible des timbres qui provient en grande part de la tradition orchestrale française, il se manifeste aussi par des figures qui évitent tout profil thématique, toute forme mélodique au sens traditionnel du terme, et qui composent la texture. L'auditeur a directement à faire avec la matière sonore. Et celle-ci est composée de part en part. L'adjectif poétique vient à l'esprit pour définir une invention qui s'écarte aussi bien des formes illustratives que des constructions schématiques, et qui repose essentiellement sur l'organisation des hauteurs au détriment des effets, des sonorités bruiteuses ou des gestes iconoclastes. Et malgré les passages brillants, malgré les explosions sonores toujours maîtrisées et un maniement virtuose de l'orchestre, cette poétique révèle un caractère fondamental plutôt intimiste. Philippe Albèra / contemporain / Répertoire / Orchestre
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Per Nørgård: Prelude To Breaking - Vers. 2010: Orchestra: Score
Orchestra
[Sheet music]
Wilhelm Hansen
Vers. 2010-This 2010 version (with Harp instead of Piano and without Percussion)...
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Vers. 2010-This 2010 version (with Harp instead of Piano and without Percussion) was edited by harpist Tine Rehling in 2010 in collaboration with Ivan Hansen and the composer. Instr.: fl(afl).cl(bcl).hp.2vn.va.vc A Mezzo Soprano may (ad lib.) sing the following fragment of a text 'Drunknande i dimman gryningens svindelfåglar: den glasklare drömmens punkter av glömska.' 'Drowning in the mist the birds of dizziness in the dawn: moments of forgetfullness in the crystal clear dream.' by Gunnar Ekelöf in the Coda (bars 85 to 91). Orig. 1986 version: KP00108
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George Butterworth: Banks of Green Willow: Orchestra: Score and Parts
Orchestra
Goodmusic Publishing
George Butterworth was born in London on July 12th 1885 to a well-to-do family....
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George Butterworth was born in London on July 12th 1885 to a well-to-do family. Eton School was followed by university at Trinity College Oxford where he met Vaughan Williams and Cecil Sharp. He taught for a while at Radley studied for a short time at the Royal College of Music then concentrated more or less full time on collecting folk songs sometimes with Vaughan Williams. When the First World War started in 1914 he joined the Durham Light Infantry as a Lieutenant. In the trenches he was mentioned in dispatches for outstanding courage and won the Military Cross. He led a successful raid on August 15th 1916 in the Battle of the Somme but during the raidButterworth was killed by a sniper's bullet.Much of his music is influenced by folk-song. The idyll 'Banks of Green Willow' is one of his best works and perfectly captures the nature of the English countryside. It is almost as if the music occurred naturally and Butterworth just discovered it.This pack comprises one full score string parts 4/4/3/4/2 and any wind brass and percussion parts.Orchestration:2 Flutes 2 Oboes 2 Clarinets in A or Bb 2 Bassoons2 Horns in F Trumpet in Bb Harp Strings (Violin 1 Violin 2 Viola Cello Double Bass)
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John Williams: Harry Potter Symphonic Suite: Orchestra: Instrumental Work
Orchestra
[Score and Parts]
Alfred Publishing
The Harry Potter Symphonic Suite arranged for full orchestra by Jerry Brubaker. ...
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The Harry Potter Symphonic Suite arranged for full orchestra by Jerry Brubaker. This medley based on the endearing themes from the box office smash hit Harry Potter and the Sorcerer's Stone weaves the vivid imagery of the film with varied textures to produce a work that will be loved by all. Wonderful symphonic literature certain to be a hit on any concert program. Duration 7:20. Score and all parts. 1 Conductor 1 1st C Flute/C Piccolo (Alto Flute Opt. Recorder) 1 2nd C Flute (Opt. Recorder) 2 Oboe (English Horn) 1 1st Bb Clarinet 1 2nd Bb Clarinet 1 Bb Bass Clarinet 2 Bassoons 1 1st Horn In F 1 2ndHorn In F 1 3rd Horn In F 1 4th Horn In F 1 1st Bb Trumpet 1 2nd Bb Trumpet 1 3rd Bb Trumpet 1 1st Trombone 1 2nd Trombone 1 3rd Trombone 1 Tuba 4 Percussion 1 (Orchestra Bells Xylophone Antique Bells Marimba Glockenspiel) 1 Percussion 2 (Hand Drums Antique Bells Timpani) 4 Percussion 3 (Vibraphone Chimes Small Tuned Drums Tambourine Snare Drum Suspended Cymbal) 4 Percussion 4 (Suspended Cymbal Small Tambourine Small Triangle Tam-Tam Bass Drum Crash Cymbals) 1 Celeste 1 Harp 8 1st Violin 8 2nd Violin 5 Viola 5 Cello 5 String Bass
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Claude Debussy: Sonate: Ensemble: Miniature Score
Français
Orchestra
[Study Score / Miniature]
Durand
pour flûte alto et harpe-Claude Debussy's Sonate for Flute Viola and Harp. ...
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pour flûte alto et harpe-Claude Debussy's Sonate for Flute Viola and Harp. Miniature score.
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