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DIDGERIDOO
Chamber Orchestra
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Pop music (32)
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Baritone Ukulele (26)
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SATB, (4 InstrumentS Basse et … (26)
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Musique Légère (26)
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2 Hautbois Et Orchestre (25)
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Tout Instrument (25)
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Instruments à Vent (25)
Trompette, Cordes Et Basse Con… (25)
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Chorale d'Enfants et Piano (25)
Choeur Mixte (SSATBB) (25)
2 Clarinettes, 2 Violons, Orgu… (24)
Petit Choeur SATB, 2 ViolonSBa… (24)
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2 Hautbois, 2 Cors, 2 Clarinet… (24)
Clarinette et Quatuor à Corde… (24)
Quartette Pour Flûtes à Bec … (24)
Hautbois (Flûte), Violon, Alt… (24)
Quatuor à Cordes et Guitare (24)
Trompette, Instruments à Cord… (24)
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Basson, 2 Violons, 2 Altos et … (24)
Solistes SATB, Choeur SATB, 2 … (24)
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Hautbois, Basson et Piano ou O… (24)
Flûte Traversière Violoncell… (24)
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Solistes SATTB, Choeur SSATTBB… (24)
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Bass Clarinet, Piano (24)
Marches de concert (24)
Soli (T (Evangelist), B (Jesus… (24)
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Choeur SATB et Orchestre (24)
CD only (24)
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Orchestre Juniors (23)
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ENS::Ensemble d'cole (23)
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Niels Marthinsen: The Dreamers: Chamber Ensemble: Score and Parts
Chamber Orchestra
[Score and Parts]
Wilhelm Hansen
The Dreamers - A Gothic Tale for Horn Trio by Niels Marthinsen. Programme note: ...
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The Dreamers - A Gothic Tale for Horn Trio by Niels Marthinsen. Programme note: The Dreamers for horn violin and piano is the sixth of a series of seven compositions named after Karen Blixen's collection of short stories Seven Gothic Tales. My musical gothic tales are written for very different ensembles - THE SUPPER AT ELSINORE is a saxophone quartet THE OLD CHEVALIER is for bass trombone and piano THE MONKEY is a chamber orchestra work - but they all share musical material in a criss-cross of contextual references reminiscent of Blixen's narrative complexity: Themes and motivs from one pieceappear in others in new and surprising shapes and combinations. Karen Blixen's THE DREAMERS has the most complex narrative structure of all her seven gothic tales. The story is made up of three tales with different narrators but with the same principal caracter in various disguises all three imbedded within a fourth tale that serves as a framework for the entire short story.The main story line unravels the life of a famous opera diva who looses her voice during a terrible fire. Before this her life was perpetual bliss and the tragedy drives her into assuming different personality guises in order to escape reality.Toward the end she is confronted with her true identity and dies.THE DREAMERS isn't 'about' anything. The music is inspired by the artistic content of Blixen's short story - it's emotionalism dramatic construction atmosphere period and settings - but unfolds in time and musical space in ways that are completely independent of the story's narrative progression...except one might say that the three players try their best to either catch or escape each other and that when they finally meet it happens abruptly even tragically - and only barely provides a little consolation.
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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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kammersymphonie Op, 9 (SCHOENBERG ARNOLD)
Chamber Orchestra
[Study Score / Miniature]
Universal Edition
Par SCHOENBERG ARNOLD. Here the fourths, springing from an entirely different ex...
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Par SCHOENBERG ARNOLD. Here the fourths, springing from an entirely different expressive urge, shape themselves into a defi nite horn theme, spread themselves out architectonically over the whole piece, and place their stamp on everything that happens. Thus it turns out that they do not appear here merely as melody or as a purely impressionistic chord effect; their character permeates the total harmonic structure, and they are chords like all others.' (Arnold Schoenberg, Theory of Harmony, 1911) The Chamber Symphony Op.9 heralded a breakthrough in Schoenberg's compositional style. While the work did not go hand in hand with the complete destruction of the old tonal system it does show an extension in chordal and melodic constructions. It's focus on the interval of the fourth rather than the third is stated right at the start with the horn fanfare and this leads into the use of the whole tone scale soon after. These two elements open up a new sound space which he would explore further in the works to follow. Certainly not a work to be missing from any library where contemporary music is one of the main focuses./ Répertoire / Ensemble de Musique de Chambre
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Hugh Wood: Marina Op.31: Chamber Ensemble: Score and Parts
Chamber Orchestra
[Score and Parts]
Chester
Work for High Voice Alto Flute Horn Harp and Viola. Text: TS Eliot.Quoting Wo...
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Work for High Voice Alto Flute Horn Harp and Viola. Text: TS Eliot.Quoting Wood: 'I had for many years wanted to set Marina and the opportunity came to start work on it in mid August 1988. About a year later havingcompleted in the meantime the Horn Trio Opus 29 and the Cantata Opus 30 I turned back to the drafts of Marina and completed it on 10 September 1989. It is dedicated to the memory of my daughter who was murdered in Bavaria on 10September 1988.Marina is the heroine of Shakespeare’s Pericles a play remarkable for one of the most moving of all Shakespeare’s recognition scenes a dramatic situation which never failed to draw out his deepest expressionof feeling. This is the re-meeting of an ageing father with his long-lost daughter born at sea during the storm in which her mother is thought to have died and long believed to be dead herself. Eliot transforms the twocharacter’s mutual recognition into a transfigured mediation and surrounds it with a wealth of mainly marine imagery. In the words of Helen Gardener these images are: The prelude to a moment of ecstatic recognition. The voyagein Marina discovers in the ocean anisland and sees again a beloved face. Its theme is not the immortality of the soul but resurrection.
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Michael Nyman: Michael Nyman: MGV (Musique A Grande Vitesse): Orchestra: Score
Chamber Orchestra
[Sheet music]
Chester
Michael Nyman's Musique A Grande Vitesse (MGV) translates as ‘high speed m...
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Michael Nyman's Musique A Grande Vitesse (MGV) translates as ‘high speed music’ and was commissioned by the Festival de Lille for the inauguration of the TGV North EuropeanParis-Lille line in 1993. This piece of sheet music runs continuously but was conceived as an abstract imaginary journey; or rather five inter-connected journeys each ending with a slow mainly stepwise melody which isonly heard in its 'genuine' form when the piece reaches its destination. Thematic 'transformation' is a key to MGV as a whole. Throughout the piece ideas - rhythmic melodic harmonic motivic textural -constantly change their identity as they pass through different musical 'environments'. The opening bars establish both a recurrent rhythmic principle - 9 11 or 13-beat rhythmic cycles heard against a regular 8 - and aharmonic process - chord sequences (mainly over C and E) which have the note E in common. (Coincidentally MGV begins in C and ends in E). A later scalic syncopated figure (again first heard over C E and A)begins the second section featuring Brass in D flat. The topography of MGV should be experienced without reference to planning description or timetables. Its tempo changes and unpredictable slowings downbear no logical relation to the high speed of the Paris-Lille journey while the temptation to treat MGV as a concerto grosso with the Michael Nyman band as the ripeno was resisted: more suitably theband (amplified in live performance) lays down the tracks on which MGV runs.
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Katharina Blum (HENZE HANS WERNER)
Chamber Orchestra
[Study Score / Miniature]
Schott
Concert Suite. Par HENZE HANS WERNER. Henze also wrote the music of the successf...
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Concert Suite. Par HENZE HANS WERNER. Henze also wrote the music of the successful film Die verlorene Ehre der Katharina Blum, co-produced by Volker Schlöndorff and Margarethe von Trotta from the novel by Heinrich Böll: 'Böll's novella is about a young woman whose life is ruined because of the persecution and slander of the German yellow press. The story is set in Cologne and its surroundings and casts a light on Germany in the Seventies: estrangement, destruction of the environment, triumph of the middle classes, use of force by the police. The music comments on these circumstances, rather than describing them. Everything that sounds soft and sentimental refers to Katharina and her friend who is pursued by the police and suspected of being a terrorist. Scenes of violence, traffic chaos and, right in the middle, the carnival of Cologne are subjects of the other pieces.'/ Répertoire / Orchestre de Chambre
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Gustav Holst: The Wandering Scholar Vocal Score: Mixed Choir: Vocal Score
Chamber Orchestra
Faber Music Limited
Gustav Holst's The Wandering Scholar a one-act chamber opera for Baritone Sop...
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Gustav Holst's The Wandering Scholar a one-act chamber opera for Baritone Soprano Tenor Bass and Orchestra. Edited by Benjamin Britten and Imogen Holst. Full score and Orchestral parts are availble for hire. The Wandering Scholar Holst’s last opera was written in 1929-30 and was first performed in The David Lewis Theatre Liverpool in 1934 conducted by Dr. J. E. Wallace and produced by Frederick Wilkinson. This was a few months before Holst’s death and he was too ill to go to the performance. He had no chance to revise the score which has remained unpublished until now. He leftseveral pencil queries in the margins such as ‘Tempo?’ ‘More?’ ‘More harmony?’ etc. And in one of his note-books he left queries about several words in the libretto which he had doubts about. The editors have answered these queries by making some alterations in speed and dynamics and by suggesting metronome marks throughout the work. They have also made several alterations in the libretto which they feel that Holst might have made himself if he had had the chance to revise the work with his friend Clifford Bax.
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Outi Tarkiainen: The Lustful Mother: Chamber Ensemble: Score and Parts
Chamber Orchestra
[Score and Parts]
Wilhelm Hansen
Version with Piano and String Quartet - Parts)-A song cycle for baritone voice ...
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Version with Piano and String Quartet - Parts)-A song cycle for baritone voice string quartet and piano. The composer writes: 'Naarasäiti (The Lustful Mother) is about becoming a mother an experience in which sexuality combines in a natural way with the birth of a new life. The texts of the cycle are from the collections of poems Äitejä tyttäriä (Ãrbeeadni The Time of the Lustful Mother 2013) and Kylmä kumppani (Galbma rádna My Cold Companion 1999) by two contemporary Sámi poets Rauni Magga Lukkari and Rose-Marie Huuva. The poems’ primitive matriarchal beat is present throughout in the music: a dark earthy solo viola accompanies the baritone while the sizzling sparkling strings erupt at times in powerfultextures'. Score available: WH33187 A song cycle for baritone voice string quartet and piano. The composer writes: 'Naarasäiti (The Lustful Mother) is about becoming a mother an experience in which sexuality combines in a natural way with the birth of a new life. The texts of the cycle are from the collections of poems Äitejä tyttäriä (Ãrbeeadni The Time of the Lustful Mother 2013) and Kylmä kumppani (Galbma rádna My Cold Companion 1999) by two contemporary Sámi poets Rauni Magga Lukkari and Rose-Marie Huuva. The poems’ primitive matriarchal beat is present throughout in the music: a dark earthy solo viola accompanies the baritone while the sizzling sparkling strings erupt at times in powerfultextures'. Score available: WH33187
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Henrik Skram: Mirror / Memory: Chamber Ensemble: Score and Parts
Chamber Orchestra
[Score and Parts]
Wilhelm Hansen
A work for violin clarinet and piano by Norwegian composer Henrik Skram. A work...
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A work for violin clarinet and piano by Norwegian composer Henrik Skram. A work for violin clarinet and piano by Norwegian composer Henrik Skram.
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The Light Within (Chamber Version)
Chamber Orchestra
[Score]
Chester
Par LUTHER ADAMS JOHN. The Light Within for ensemble is a companion piece to Th...
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Par LUTHER ADAMS JOHN. The Light Within for ensemble is a companion piece to The Light That Fills the World, the harmonic colours of this new piece are more complex and mercurial than those of its outward-looking predecessor. Within this more introspective sonic space, the light changes more quickly, embracing darker hues and deeper shadows. / Date parution : 2023-10-31/ Répertoire / Ensemble de Chambre
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Herzog, Alfred : Petites pièces de couleur
Chamber Orchestra
[Sheet music + CD]
Van de Velde
20 morceaux récréatifs extraits de la Méthode Rose et arrangés par Alfred He...
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20 morceaux récréatifs extraits de la Méthode Rose et arrangés par Alfred Herzog pour diverses formations hétérogènes constituent ce recueil qui fait entrevoir aux jeunes musiciens du premier cycle quelques réalités de la pratique collective.
Le piano est toujours présent, entouré de la flûte, de la clarinette, du violon ou violoncelle et parfois d'une percussion, selon la nature de l'ensemble.
Une construction mélodique et rythmique stimulante de chaque partie favorise le travail individuel. A noter que le recueil ne contient pas de parties séparées afin que chaque instrumentiste puisse lire le texte musical dans sa globalité. / Classique / Partition CD /
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Per Nørgård: Suite: Chamber Ensemble: Score and Parts
Chamber Orchestra
[Score and Parts]
Wilhelm Hansen
Babette's Feast-Based on a story by Isak Dinesen (Karen Blixen) who also wrote ...
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Babette's Feast-Based on a story by Isak Dinesen (Karen Blixen) who also wrote Out of Africa the inspiration for the 1985 Academy Award winning film. Babette's Feast tells the story of Babette Hertsard (Stéphane Audran) a 19th century Parisian political refugee who flees on a boat to Frederikshavn in Denmark with the help of her nephew and her relationship with two elderly and religious sisters. The sisters Martina (named for Martin Luther) and Philippa (named for Luther's friend and biographer Philip Melanchthon) were the daughters of a pastor who had founded his own religious sect.
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Bent Sørensen: Phantasmagoria: Chamber Ensemble: Score and Parts
Chamber Orchestra
[Score and Parts]
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Intermediate/advanced
Wilhelm Hansen
Phantasmagoria for Violin Violoncello and Piano was composed by Bent Sørensen ...
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Phantasmagoria for Violin Violoncello and Piano was composed by Bent Sørensen in 2007. First performance by Trio con Brio 12 Aug 2007 in Roskilde Denmark.Programme note:My Piano Trio “Phantasmagoria” is in five movements. It all began with the fifth movement which originally was a tiny piece for cello and piano. After re-composing this little piece for piano trio I worked composed backwards – The fourth movement – third movement - and I finally got to the beginning of the piece. It all begins with the violin – solo – heavily muted but aggressive and gradually the cello andthe piano enter as shadows of the violin. The first movement ends in a dark shadow of an aria from my opera “Under the Sky”. All five movements are full of shadows of all kinds. Shadows of fragments and traces of movements appear in other movements. Music voices instruments appear behind each other as a play of shadows. “Shadow play” was the first title on my mind but a shadow play can be more physical – the shadow can come alive – alive behind the shadows. Phantasmagoria is a shadow play in darkness where contours of persons and music voices and instruments - create adventures behind each other. “Phantasmagoria” was commissioned by Franz Schubert Society Denmark and dedicated to Trio con Brio Copenhagen. (Bent Sørensen)
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MARTINU BOHUSLAV - LA REVUE DE CUISINE - SUITE POUR ORCHESTRE - PARTITION and PARTIES SEPAREES
Chamber Orchestra
Leduc, Alphonse
Composed by the Czech composer Bohuslav Martinü in 1927, La Revue De Cuisine is...
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Composed by the Czech composer Bohuslav Martinü in 1927, La Revue De Cuisine is a ballet initially created for a sextet. This score was reviewed and tailored for an Orchestra.
This ballet, talking about the life of kitchen utensils, is divided in ten sections:
1. Prologue (Allegretto)
2. Introduction (Tempo de marche)
3. Danse du moulinet autour du caudron (Poco meno)
4. Danse du chaudron et du couvercle (Allegro)
5. Tango (Danse d'amour. Lento)
6. Duel (Poco a poco allegro. Tempo di Charleston)
7. Entracte (Lamentation du chaudron. Allegro moderato)
8. Marche funèbre (Adagio)
9. Danse radieuse (Tempo di marche)
10. Fin du drame (Allegretto)
The story focuses on the marriage of the Pot and Lid which is put at risk by the Twirling Stick, and the music features some strong jazz influences.
Bohuslav Martinü(1890-1959) also wrote 13 other ballets, 15 operas and 6 symphonies and some orchestral and chamber music.
Instrumentation: Clarinet, Bassoon, Trumpet, Violin, Cello, Piano. / Partitions classique / Ensemble et orchestre / Musique de chambre / LEDUC
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Britta Byström: Love In The Afternoon: Chamber Ensemble: Score and Parts
Chamber Orchestra
[Score and Parts]
Wilhelm Hansen
Love In The Afternoon was composed by Britta Byström - for the Kungsbacka Piano...
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Love In The Afternoon was composed by Britta Byström - for the Kungsbacka Piano Trio on their 20th Birthday in 2017.
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Per Nørgård: Delta: Chamber Ensemble: Score and Parts
Chamber Orchestra
[Score and Parts]
Wilhelm Hansen
Delta for Saxofon Cello og Piano (2005). Programme note: Some of my works are c...
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Delta for Saxofon Cello og Piano (2005). Programme note: Some of my works are created in several stages where an earlier work or movement are reborn or recomposed as part of a new work. For instance “Suite for Martin” (1967) for saxophone amplified accordion and prepared piano - used in a Danish documentary film “Kongens Enghave” - was rearranged by me in 2004 in a new instrumentation for saxophone cello and piano and named MELANCOLIA (duration 12 minutes) which became the third movement (with the title MALINCONIA) in an enlarged version from 2005 with the title DELTA (duration around 20minutes). A delta is be nature moving outwards or rather downwards downstream.This movement is characteristic for all three works mentioned. EUFONIA. In the first movement of DELTA the music changes from the light hearted and harmonious towards a darker sound.In the second movement NOSTALGIA this darker colour is intensified dominating the whole movement. MALINCONIA the third and last movement completes the direction downwards – during six shorter sections – going towards a black edged pessimism (and a “black sound”). Per Nørgård (2005)
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L'Heures Des Traces (DUFOURT HUGUES)
Français
Chamber Orchestra
[Sheet music]
Lemoine, Henry
Par DUFOURT HUGUES. / contemporain / Répertoire / Orchestre de Chambre
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Trilogy For Oboe (Clarinet), Bassoon And Piano, Part 2: Another Life
Chamber Orchestra
Doblinger
Für Oboe (Klarinette), Fagott Und Klavier. Par GERNOT WOLFGANG. Die Komposition...
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Für Oboe (Klarinette), Fagott Und Klavier. Par GERNOT WOLFGANG. Die Komposition verbindet aufs Neue die zwei Lieblingsbereiche des Komponisten: die 'E'-Musik des 20. Jh. sowie den Jazz. Vom Jazz kommen die rhythmischen Elemente, während die die Einflüsse der 'E'-Musik in der kompositorischen Entwicklung sowie in den formalen Aspekten hörbar sind. In harmonischer Hinsischt fühlt sich der in L. A. /USA lebende Komponist von beiden musikalischen Welten gleichermaßen inspiriert. Endlich wurde das Repertoire in der klassischen Poulenc-Trio Besetzung um ein zeitgemäßes Werk erweitert./ Répertoire / Musique de Chambre
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Lob Des Rheins
Chamber Orchestra
Schott
/ Orchestre De Salon
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Lob Des Rheins
Chamber Orchestra
Schott
/ Orchestre De Salon
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Lob Des Rheins
Chamber Orchestra
Schott
/ Orchestre De Salon
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Lob Des Rheins
Chamber Orchestra
Schott
/ Orchestre De Salon
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