| Quintet in F Major, K. 497 Carl Fischer
Chamber Music Cello, Flute, Viola 1, Viola 2, Violin SKU: CF.MXE219 Compo...(+)
Chamber Music Cello, Flute, Viola 1, Viola 2, Violin SKU: CF.MXE219 Composed by Wolfgang Amadeus Mozart. Arranged by Robert Stallman. Sws. 56+16+16+16+16+12 pages. Carl Fischer Music #MXE219. Published by Carl Fischer Music (CF.MXE219). ISBN 9781491157794. UPC: 680160916399. 9 x 12 inches. Preface In 1990, during an intense rehearsal of a Mozart Quartet transcription for flute and strings by Franz Anton Hoffmeister, at the Marblehead Summer Music Festival, a disgruntled violist friend complained about HoffmeisterAs awkward string writing, suddenly daring me to create my own arrangement. I balked. But the following winterA3despite scruples about treading on hallowed groundA3I grew curious and began to experiment. Soon I was hooked on the challenge of learning to speak MozartAs language with conviction. This fascination, encouraged by pianist Richard Goode and other Mozarteans, would eventually generate a total of thirty-nine recreations of Mozart piano sonatas as works for flute and strings. With zero tolerance for alteration of melodic or harmonic materialA3MozartAs friend Hoffmeister had regrettably attempted such A!improvementsA(r)A3I always tried to envision what Mozart himself would have desired. Many of the sonatas can be heard as if they were MozartAs A!blueprintsA(r) of imagined chamber works. Hence my task was to A!flesh outA(r) the keyboard versions as Mozart might have done, had a commission or performance opportunity arisen. I spent hours pondering how Mozart might have set these sonatas in four- or five-part form, providing the needed textural or contrapuntal enhancements. With immersion in the composerAs dialect, various apt solutions presented themselves. The search for the A!rightA(r) one then became a most absorbing study. On the eve of releasing my BognerAs CafA recording of Mozart-Stallman New Quintets (2006), I discovered to my delight that a prominent scholar had long before endorsed such an effort. Eric Blom (1888A+-1959), author of Mozart (1935), had taken note of the four-hand piano works as A!a kind of keyboard chamber music.A(r) Regarding Sonata, K. 497, Mr. Blom had observed that Mozart is often dealing with, not the expected four voices (one to a hand), but five. Blom states: A!The F major Sonata (K. 497) removes us to another worldA3the world of the great chamber music, especially of the string quintets. Indeed an arrangement of some sort for a combination of instruments would make a magnificent concert work of this almost uncomfortably great piece of domestic music.A(r) That Mozart was in 1786 writing for piano duo from a quintet perspective makes sense, as we find him returning to the quintet form with keen interest in his last years, writing four String Quintets, the Clarinet Quintet, rearranging a wind serenade for String Quintet, and leaving several other quintets incomplete. My arrangement presented here is made for flute and strings but is also intended for string quintet. Quintet in F Major for Flute and Strings, K. 497, was completed in 1999 and performed with the Martin Quartet in the Czech Republic prior to recording it in 2004. Mozart had finished the original Sonata in F Major for Piano, Four-Hands, K. 497, on August 1, 1786. It shows the unmistakable influence of Figaro, completed and premiered exactly three months prior. As signaled by the imposing introductory Adagio, the conception is on a grand symphonic scale, all three movements being richly developed with contrapuntal episodes and an abundance of marvelously contrasting textures and themes throughout. Called A!the crowning work of its kindA(r) by Alfred Einstein, the Sonata is laden with examples of MozartAs mercurial originality. Here we have a perfect synthesis of concertante brilliance, operatic intensity and intimate dialogue. The work opens in unison with a probing, minor-tinged Adagio, whose question comes to a pause on the dominant, before being answered with jaunty certainty by the opening theme of the Allegro di moltoA3an F-major tune as sunny and confident as an aria from Figaro itself. This movementAs declamatory A!opera chorusA(r) persistently intones its rhythmic motto over a swirling scale figure. The amorous second theme (initially presented in the first viola) also seems to be plucked from Figaro. The Andante opens with a heavenly melody, which takes as its springboard the Romanza theme from the Horn Concerto in E Major, K. 495, written only five weeks before. The A!love duetA(r) between flute and first viola seems to anticipate the impassioned A!duettingA(r) between violin and viola in the Andante of the String Quintet in C Major, K. 515, written about nine months later. The ingenious stretto canon of the AndanteAs middle section requires the precision of a Swiss clock (which its chiming thirds recall). Affecting bucolic codettas close each of the main sections of the movement. In the final Allegro, a rondo in 6/8a time, the puckish, yet aristocratic character of the opening theme contrasts with the bumptious, popular tune used for the second theme (heard first in the violin and then the flute, over pizzicato cello). Lilting hymn-like episodes in three, four- and finally five-part counterpoint are repeatedly interrupted by startling scale figures that rise up in furioso episodes throughout the movement. As in the A!Swiss clockA(r) section of the Andante, Mozart uses a stretto imitation treatment with this tempest theme, thereby heightening both intensity and sense of instability. I am most grateful to the adventuresome Martin Quartet for their warm support and collaboration over the years with several of my arrangements, and to my friend Edwin Swanborn for the original typesetting of this score. Gratitude is also due Weekend Edition, Performance Today and innumerable classical stations across the United States for their enthusiastic and repeated airings of my A!newA(r) Mozart Quintet endeavorsA3and most of all, to violist Katherine Murdock for that dare in 1990. A3Compiled from the writings of Robert Stallman by Hannah Woods Stallman, February 2, 2020. Preface In 1990, during an intense rehearsal of a Mozart Quartet transcription for flute and strings by Franz Anton Hoffmeister, at the Marblehead Summer Music Festival, a disgruntled violist friend complained about Hoffmeisteris awkward string writing, suddenly daring me to create my own arrangement. I balked. But the following winterodespite scruples about treading on hallowed groundoI grew curious and began to experiment. Soon I was hooked on the challenge of learning to speak Mozartis language with conviction. This fascination, encouraged by pianist Richard Goode and other Mozarteans, would eventually generate a total of thirty-nine recreations of Mozart piano sonatas as works for flute and strings. With zero tolerance for alteration of melodic or harmonic materialoMozartis friend Hoffmeister had regrettably attempted such iimprovementsioI always tried to envision what Mozart himself would have desired. Many of the sonatas can be heard as if they were Mozartis iblueprintsi of imagined chamber works. Hence my task was to iflesh outi the keyboard versions as Mozart might have done, had a commission or performance opportunity arisen. I spent hours pondering how Mozart might have set these sonatas in four- or five-part form, providing the needed textural or contrapuntal enhancements. With immersion in the composeris dialect, various apt solutions presented themselves. The search for the irighti one then became a most absorbing study. On the eve of releasing my Bogneris CafE recording of Mozart-Stallman New Quintets (2006), I discovered to my delight that a prominent scholar had long before endorsed such an effort. Eric Blom (1888n1959), author of Mozart (1935), had taken note of the four-hand piano works as ia kind of keyboard chamber music.i Regarding Sonata, K. 497, Mr. Blom had observed that Mozart is often dealing with, not the expected four voices (one to a hand), but five. Blom states: iThe F major Sonata (K. 497) removes us to another worldothe world of the great chamber music, especially of the string quintets. Indeed an arrangement of some sort for a combination of instruments would make a magnificent concert work of this almost uncomfortably great piece of domestic music.i That Mozart was in 1786 writing for piano duo from a quintet perspective makes sense, as we find him returning to the quintet form with keen interest in his last years, writing four String Quintets, the Clarinet Quintet, rearranging a wind serenade for String Quintet, and leaving several other quintets incomplete. My arrangement presented here is made for flute and strings but is also intended for string quintet. Quintet in F Major for Flute and Strings, K. 497, was completed in 1999 and performed with the Martin Quartet in the Czech Republic prior to recording it in 2004. Mozart had finished the original Sonata in F Major for Piano, Four-Hands, K. 497, on August 1, 1786. It shows the unmistakable influence of Figaro, completed and premiered exactly three months prior. As signaled by the imposing introductory Adagio, the conception is on a grand symphonic scale, all three movements being richly developed with contrapuntal episodes and an abundance of marvelously contrasting textures and themes throughout. Called ithe crowning work of its kindi by Alfred Einstein, the Sonata is laden with examples of Mozartis mercurial originality. Here we have a perfect synthesis of concertante brilliance, operatic intensity and intimate dialogue. The work opens in unison with a probing, minor-tinged Adagio, whose question comes to a pause on the dominant, before being answered with jaunty certainty by the opening theme of the Allegro di moltooan F-major tune as sunny and confident as an aria from Figaro itself. This movementis declamatory iopera chorusi persistently intones its rhythmic motto over a swirling scale figure. The amorous second theme (initially presented in the first viola) also seems to be plucked from Figaro. The Andante opens with a heavenly melody, which takes as its springboard the Romanza theme from the Horn Concerto in E Major, K. 495, written only five weeks before. The ilove dueti between flute and first viola seems to anticipate the impassioned iduettingi between violin and viola in the Andante of the String Quintet in C Major, K. 515, written about nine months later. The ingenious stretto canon of the Andanteis middle section requires the precision of a Swiss clock (which its chiming thirds recall). Affecting bucolic codettas close each of the main sections of the movement. In the final Allegro, a rondo in 6/8+time, the puckish, yet aristocratic character of the opening theme contrasts with the bumptious, popular tune used for the second theme (heard first in the violin and then the flute, over pizzicato cello). Lilting hymn-like episodes in three, four- and finally five-part counterpoint are repeatedly interrupted by startling scale figures that rise up in furioso episodes throughout the movement. As in the iSwiss clocki section of the Andante, Mozart uses a stretto imitation treatment with this tempest theme, thereby heightening both intensity and sense of instability. I am most grateful to the adventuresome Martin Quartet for their warm support and collaboration over the years with several of my arrangements, and to my friend Edwin Swanborn for the original typesetting of this score. Gratitude is also due Weekend Edition, Performance Today and innumerable classical stations across the United States for their enthusiastic and repeated airings of my inewi Mozart Quintet endeavorsoand most of all, to violist Katherine Murdock for that dare in 1990. oCompiled from the writings of Robert Stallman by Hannah Woods Stallman, February 2, 2020. Preface In 1990, during an intense rehearsal of a Mozart Quartet transcription for flute and strings by Franz Anton Hoffmeister, at the Marblehead Summer Music Festival, a disgruntled violist friend complained about Hoffmeister's awkward string writing, suddenly daring me to create my own arrangement. I balked. But the following winter--despite scruples about treading on hallowed ground--I grew curious and began to experiment. Soon I was hooked on the challenge of learning to speak Mozart's language with conviction. This fascination, encouraged by pianist Richard Goode and other Mozarteans, would eventually generate a total of thirty-nine recreations of Mozart piano sonatas as works for flute and strings. With zero tolerance for alteration of melodic or harmonic material--Mozart's friend Hoffmeister had regrettably attempted such improvements--I always tried to envision what Mozart himself would have desired. Many of the sonatas can be heard as if they were Mozart's blueprints of imagined chamber works. Hence my task was to flesh out the keyboard versions as Mozart might have done, had a commission or performance opportunity arisen. I spent hours pondering how Mozart might have set these sonatas in four- or five-part form, providing the needed textural or contrapuntal enhancements. With immersion in the composer's dialect, various apt solutions presented themselves. The search for the right one then became a most absorbing study. On the eve of releasing my Bogner's Cafe recording of Mozart-Stallman New Quintets (2006), I discovered to my delight that a prominent scholar had long before endorsed such an effort. Eric Blom (1888-1959), author of Mozart (1935), had taken note of the four-hand piano works as a kind of keyboard chamber music. Regarding Sonata, K. 497, Mr. Blom had observed that Mozart is often dealing with, not the expected four voices (one to a hand), but five. Blom states: The F major Sonata (K. 497) removes us to another world--the world of the great chamber music, especially of the string quintets. Indeed an arrangement of some sort for a combination of instruments would make a magnificent concert work of this almost uncomfortably great piece of domestic music. That Mozart was in 1786 writing for piano duo from a quintet perspective makes sense, as we find him returning to the quintet form with keen interest in his last years, writing four String Quintets, the Clarinet Quintet, rearranging a wind serenade for String Quintet, and leaving several other quintets incomplete. My arrangement presented here is made for flute and strings but is also intended for string quintet. Quintet in F Major for Flute and Strings, K. 497, was completed in 1999 and performed with the Martinu Quartet in the Czech Republic prior to recording it in 2004. Mozart had finished the original Sonata in F Major for Piano, Four-Hands, K. 497, on August 1, 1786. It shows the unmistakable influence of Figaro, completed and premiered exactly three months prior. As signaled by the imposing introductory Adagio, the conception is on a grand symphonic scale, all three movements being richly developed with contrapuntal episodes and an abundance of marvelously contrasting textures and themes throughout. Called the crowning work of its kind by Alfred Einstein, the Sonata is laden with examples of Mozart's mercurial originality. Here we have a perfect synthesis of concertante brilliance, operatic intensity and intimate dialogue. The work opens in unison with a probing, minor-tinged Adagio, whose question comes to a pause on the dominant, before being answered with jaunty certainty by the opening theme of the Allegro di molto--an F-major tune as sunny and confident as an aria from Figaro itself. This movement's declamatory opera chorus persistently intones its rhythmic motto over a swirling scale figure. The amorous second theme (initially presented in the first viola) also seems to be plucked from Figaro. The Andante opens with a heavenly melody, which takes as its springboard the Romanza theme from the Horn Concerto in E<= Major, K. 495, written only five weeks before. The love duet between flute and first viola seems to anticipate the impassioned duetting between violin and viola in the Andante of the String Quintet in C Major, K. 515, written about nine months later. The ingenious stretto canon of the Andante's middle section requires the precision of a Swiss clock (which its chiming thirds recall). Affecting bucolic codettas close each of the main sections of the movement. In the final Allegro, a rondo in 6/8 time, the puckish, yet aristocratic character of the opening theme contrasts with the bumptious, popular tune used for the second theme (heard first in the violin and then the flute, over pizzicato cello). Lilting hymn-like episodes in three, four- and finally five-part counterpoint are repeatedly interrupted by startling scale figures that rise up in furioso episodes throughout the movement. As in the Swiss clock section of the Andante, Mozart uses a stretto imitation treatment with this tempest theme, thereby heightening both intensity and sense of instability. I am most grateful to the adventuresome Martinu Quartet for their warm support and collaboration over the years with several of my arrangements, and to my friend Edwin Swanborn for the original typesetting of this score. Gratitude is also due Weekend Edition, Performance Today and innumerable classical stations across the United States for their enthusiastic and repeated airings of my new Mozart Quintet endeavors--and most of all, to violist Katherine Murdock for that dare in 1990. --Compiled from the writings of Robert Stallman by Hannah Woods Stallman, February 2, 2020. PrefaceIn 1990, during an intense rehearsal of a Mozart Quartet transcription for flute and strings by Franz Anton Hoffmeister, at the Marblehead Summer Music Festival, a disgruntled violist friend complained about Hoffmeister’s awkward string writing, suddenly daring me to create my own arrangement. I balked. But the following winter—despite scruples about treading on hallowed ground—I grew curious and began to experiment. Soon I was hooked on the challenge of learning to speak Mozart’s language with conviction. This fascination, encouraged by pianist Richard Goode and other Mozarteans, would eventually generate a total of thirty-nine recreations of Mozart piano sonatas as works for flute and strings.With zero tolerance for alteration of melodic or harmonic material—Mozart’s friend Hoffmeister had regrettably attempted such “improvementsâ€â€”I always tried to envision what Mozart himself would have desired. Many of the sonatas can be heard as if they were Mozart’s “blueprints†of imagined chamber works. Hence my task was to “flesh out†the keyboard versions as Mozart might have done, had a commission or performance opportunity arisen. I spent hours pondering how Mozart might have set these sonatas in four- or five-part form, providing the needed textural or contrapuntal enhancements. With immersion in the composer’s dialect, various apt solutions presented themselves. The search for the “right†one then became a most absorbing study.On the eve of releasing my Bogner’s Café recording of Mozart-Stallman New Quintets (2006), I discovered to my delight that a prominent scholar had long before endorsed such an effort. Eric Blom (1888–1959), author of Mozart (1935), had taken note of the four-hand piano works as “a kind of keyboard chamber music.†Regarding Sonata, K. 497, Mr. Blom had observed that Mozart is often dealing with, not the expected four voices (one to a hand), but five. Blom states: “The F major Sonata (K. 497) removes us to another world—the world of the great chamber music, especially of the string quintets. Indeed an arrangement of some sort for a combination of instruments would make a magnificent concert work of this almost uncomfortably great piece of domestic music.†That Mozart was in 1786 writing for piano duo from a quintet perspective makes sense, as we find him returning to the quintet form with keen interest in his last years, writing four String Quintets, the Clarinet Quintet, rearranging a wind serenade for String Quintet, and leaving several other quintets incomplete. My arrangement presented here is made for flute and strings but is also intended for string quintet.Quintet in F Major for Flute and Strings, K. 497, was completed in 1999 and performed with the Martinů Quartet in the Czech Republic prior to recording it in 2004. Mozart had finished the original Sonata in F Major for Piano, Four-Hands, K. 497, on August 1, 1786. It shows the unmistakable influence of Figaro, completed and premiered exactly three months prior. As signaled by the imposing introductory Adagio, the conception is on a grand symphonic scale, all three movements being richly developed with contrapuntal episodes and an abundance of marvelously contrasting textures and themes throughout. Called “the crowning work of its kind†by Alfred Einstein, the Sonata is laden with examples of Mozart’s mercurial originality. Here we have a perfect synthesis of concertante brilliance, operatic intensity and intimate dialogue.The work opens in unison with a probing, minor-tinged Adagio, whose question comes to a pause on the dominant, before being answered with jaunty certainty by the opening theme of the Allegro di molto—an F-major tune as sunny and confident as an aria from Figaro itself. This movement’s declamatory “opera chorus†persistently intones its rhythmic motto over a swirling scale figure. The amorous second theme (initially presented in the first viola) also seems to be plucked from Figaro.The Andante opens with a heavenly melody, which takes as its springboard the Romanza theme from the Horn Concerto in E≤ Major, K. 495, written only five weeks before. The “love duet†between flute and first viola seems to anticipate the impassioned “duetting†between violin and viola in the Andante of the String Quintet in C Major, K. 515, written about nine months later. The ingenious stretto canon of the Andante’s middle section requires the precision of a Swiss clock (which its chiming thirds recall). Affecting bucolic codettas close each of the main sections of the movement.In the final Allegro, a rondo in 6/8 time, the puckish, yet aristocratic character of the opening theme contrasts with the bumptious, popular tune used for the second theme (heard first in the violin and then the flute, over pizzicato cello). Lilting hymn-like episodes in three, four- and finally five-part counterpoint are repeatedly interrupted by startling scale figures that rise up in furioso episodes throughout the movement. As in the “Swiss clock†section of the Andante, Mozart uses a stretto imitation treatment with this tempest theme, thereby heightening both intensity and sense of instability.I am most grateful to the adventuresome Martinů Quartet for their warm support and collaboration over the years with several of my arrangements, and to my friend Edwin Swanborn for the original typesetting of this score. Gratitude is also due Weekend Edition, Performance Today and innumerable classical stations across the United States for their enthusiastic and repeated airings of my “new†Mozart Quintet endeavors—and most of all, to violist Katherine Murdock for that dare in 1990.—Compiled from the writings of Robert Stallmanby Hannah Woods Stallman,February 2, 2020. $42.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Tempest Concert band [Score and Parts] - Beginner Alfred Publishing
By Robert W. Smith. By Robert W. Smith. For Concert Band. Concert Band. Belwin B...(+)
By Robert W. Smith. By Robert W. Smith. For Concert Band. Concert Band. Belwin Beginning Band. Level: Very Easy (grade I). Conductor Score and Parts. 126 pages. Duration 2:16. Published by Alfred Publishing
(16)$57.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| The Tempest Concert band [Score] - Beginner Alfred Publishing
By Robert W. Smith. By Robert W. Smith. For Concert Band. Concert Band. Belwin B...(+)
By Robert W. Smith. By Robert W. Smith. For Concert Band. Concert Band. Belwin Beginning Band. Conductor Score. 24 pages. Published by Alfred Publishing. Level: 1 (Very Easy) (grade 1).
(32)$10.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| The Tempest Suite No. 2 Op. 109 No. 3 Orchestra [Score] Wilhelm Hansen
Orchestra (Score) SKU: HL.14030080 Composed by Jean Sibelius. Music Sales...(+)
Orchestra (Score) SKU: HL.14030080 Composed by Jean Sibelius. Music Sales America. Classical. Score. Composed 2002. 50 pages. Edition Wilhelm Hansen #WH19601. Published by Edition Wilhelm Hansen (HL.14030080). ISBN 9788759857281. 12.0x16.5x0.485 inches. Stormen / The Tempest Suite No.2 Op.109 No.3 for Orchestra. From the music to William Shakespeare's 'The Tempest'. Partitur / Score Parts are available on hire: hire@ewh.dk $25.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Jean Sibelius: The Tempest (Full Score) [Score] Music Sales
Orchestra, SATB, Soprano, Tenor, Mezzo-Soprano, Baritone Voice SKU: HL.140300...(+)
Orchestra, SATB, Soprano, Tenor, Mezzo-Soprano, Baritone Voice SKU: HL.14030002 Full Score. Composed by Jean Sibelius. Music Sales America. Classical. Score. 268 pages. Music Sales #KP01494. Published by Music Sales (HL.14030002). ISBN 9788759868126. 12.0x16.5x0.947 inches. English-Danish. Jean Sibelius' The Tempest Op.109 (1925-26) - Incidental Music to William Shakespeare's 'The Tempest'. For soloists (S,M,T, 2Bar), Chorus and Orchestra. Parts are for hire: hire@ewh.dk. $221.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| The Tempest (Limited Edition) Orchestra [Score] Faber Music Limited
Opera in Three Acts. Composed by Meredith Oakes. Full Orchestra (Full Score); ...(+)
Opera in Three Acts. Composed
by Meredith Oakes. Full
Orchestra (Full Score);
Larger Works; Masterworks;
Performance Music Ensemble.
Faber Edition. Masterwork.
Score. Faber Music #12-
057153872X. Published by
Faber Music
$340.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| The Tempest Orchestra [Score] Faber Music Limited
An Opera in Three Acts (Full Score). Composed by Thomas Ades (1971-). Full Orc...(+)
An Opera in Three Acts (Full
Score). Composed by Thomas
Ades (1971-). Full Orchestra
(Full Score); Larger Works;
Performance Music Ensemble.
Faber Edition. Score. Faber
Music #12-057153838X.
Published by Faber Music
$175.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Triangle of the Tempest - Easy Carl Fischer
Orchestra Cello, Contrabass, Piano, Viola, Violin 1, Violin 2, Violin 3 - Grade ...(+)
Orchestra Cello, Contrabass, Piano, Viola, Violin 1, Violin 2, Violin 3 - Grade 3.5 SKU: CF.CAS107 Composed by Alan Lee Silva. SWS FS. Carl Fischer Concert String Orchestra Series. Set of Score and Parts. With Standard notation. 24+24+6+15+15+15+6+20 pages. Duration 4 minutes, 17 seconds. Carl Fischer Music #CAS107. Published by Carl Fischer Music (CF.CAS107). ISBN 9781491146675. UPC: 680160904174. 9 x 12 inches. Key: E minor. Triangle of the Tempest is a fast-moving composition with interesting rhythmic challenges and dynamic color shifts. Starting with syncopated figures over a repeated eight-measure progression, the piece builds in intensity as more sections and layers are added. The second part changes tone and is led by a heroic violin melody with a soaring cello obligato. The themes intertwine and the material develops into a dramatic conclusion with a final explosive ensemble hit. Action-packed and full of rhythmic drive, this piece is a good choice for contest or festival performance. An up-tempo 3â„4 piece in E minor, Triangle of the Tempest features inviting rhythmic challenges, provocative melodic variations and dynamic color shifts .The A-section is based on a repeating eight-measure harmonic progression with punctuated open voicings and syncopated figures . Each section builds in intensity as new elements are added in subsequent eight-measure increments . Rhythmically, the pattern in the A-section (mm . 1–36) follows a two-measure form: the first of the two measures has a dotted quarter-eighth syncopated figure, and the rhythms in the second measure fall primarily on the beats . After the main eight-measure pattern is established, the A-melody and its variations are introduced on top of it .A two-measure build (mm . 35–36), highlighted by fast moving ensemble triplet figures, propels the piece as it crescendos into the jubilant B-section (mm . 37–52), changing tone and moving to the relative G major . The violins carry the soaring melody atop sonorous major chords in the mid and low strings . Rhythmically, the alternating syncopated measure/non-syncopated measure form continues through this section .Returning to the dramatic E minor A-section phrases in mm . 53–86, the piece shifts to the original eight-measure harmonic progression with melodic variations in the violins over the top . After reprising the B-section (mm . 87–102), intertwining motifs at m . 103 offer a variation on the A-theme where the melodic entrances happen at one-measure intervals .The tempo slows slightly and the tone changes again in the flowing and magical C-section at m . 123 as the piece moves again to the relative G major . Repeating lyrical legato violin lines create the musical background for a majestic viola melody, featured in mm . 126–146 . A brief fanfare statement with motifs spread throughout the orchestra at m . 153, prepares the return to E minor and the A-theme in mm . 160–193 .Measure 194 introduces an E-pedal point and tension builds, ramping up emotionally to the ending . The ensemble thunders at m . 202 as the violins and violas begin a four-measure syncopated question/answer section with the cellos and basses . The phrases crescendo and build for another four measures at m . 206, setting up the driving unison, tutti figures at m . 211 and a final explosive hit on the downbeat of m . 212 . About Carl Fischer Concert String Orchestra Series This series of pieces (Grade 3 and higher) is designed for advancing ensembles. The pieces in this series are characterized by: - Expanded use of rhythms, ranges and keys but technical demands are still carefully considered
- More comprehensive bowing techniques
- Viola T.C. included
- Careful selection of keys and degree of difficulty for advancing musicians
$60.00 - See more - Buy onlinePre-shipment lead time: 24 hours - In Stock | | |
| The Knot Garden Schott
Vocal SKU: HL.49002642 Vocal Score. Composed by Sir Michael Tippet...(+)
Vocal SKU: HL.49002642 Vocal Score. Composed by Sir Michael Tippett. This edition: Paperback/Soft Cover. Sheet music. Edition Schott. Classical. Piano reduction. Composed 1966-1970. 318 pages. Duration 80'. Schott Music #ED11075. Published by Schott Music (HL.49002642). ISBN 9790220107672. UPC: 073999347685. 8.25x11.75x0.832 inches. English. A house, too, can be a battlefield, and a garden a wilderness. The house here belongs to Faber and Thea: middle-class, middle-aged, probably more than middle-income and in a mid-matrimonial rut of mutual laissez-faire. Also in the house is their young ward Flora, to whom Faber has been making sexual advances. And there are visitors. Thea's sister Denise is taking a break from other distant battlefields, where she is engaged in the struggle against oppression. A black writer, Mel, is here as well with his white lover Dov, a musician: the first homosexual couple to be 'out' on the operatic stage.These people's entanglementswith each other but also, and more importantly, within themselveshave to be addressed, as in Tippett's first opera. But this time the Mozart model is Cosi fan tutte, and the lessons of myth are clothed in the language of psychiatry, as practised by Mangus, the Don Alfonso who may not be as much in control as he would hope. In the last act he stages a performance of The Tempest, which comes adrift. Perhaps more has been achieved in the middle act, a swirl of short scenes ending in an exchange of songs between Flora and Dovan exchange, too, of homages to Schubert and the blues, both held in the magic of this lustrous score.(Paul Griffiths)
2 (2pic).1.ca.Ebcl.2 (2: bcl).1.cbn-4.4.2.1-timp.3perc (s.d., t.d., b.d., jazz kit, cym., sus.cym., w.bl., t.bl., tamb., casts., wh., metal bar or heavy triangle, tam-tam, xyl., vib., glock., claves, small rattle)-hp.cel.pno.egtr/ehpd-str
Reduced version: 1 (pic).1 (ca).1 (Ebcl, bcl).1 (cbn)-3.2.2.0-2perc (timp., t.d., jazz kit, cym., t.bl., tamb., casts., metal bar or heavy tri., tam-tam, vib., glock., tub.bells, cl., rattle)-hp.pno (cel).egtr-str: 3 vns (3: va).va.vc.db. $101.00 - See more - Buy online | | |
| Swayne: The Murder Of Gonzago Score Music Sales
Modern Liverpudlian composer Giles Swayne's 'Murder Of Gonzago' score gains insp...(+)
Modern Liverpudlian composer Giles Swayne's 'Murder Of Gonzago' score gains inspiration from Shakespeare's scene in 'The Tempest.'
$30.00 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| The Isle is Full of Noises Choral SATB SATB A Cappella Oxford University Press
By Bob Chilcott. For SATB choir, a cappella. Mixed Voices. Secular, Choral Leafl...(+)
By Bob Chilcott. For SATB choir, a cappella. Mixed Voices. Secular, Choral Leaflet. Vocal score. 12 pages. Duration 2'. Published by Oxford University Press
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| The Orchestra Musician's CD-ROM Library, Volume 4 Harp/Keyboard/Other CD Sheet Music
SKU: SU.00220127 Composed by Various. Harp, Harp with other Instruments, ...(+)
SKU: SU.00220127 Composed by Various. Harp, Harp with other Instruments, Keyboard, Piano/Harpsichord, Keyboard, Organ. CD (PDF Scores). CD Sheet Music #00220127. Published by CD Sheet Music (SU.00220127). The complete Harp, Keyboard (Piano, Organ, etc.) and auxiliary parts [CD-ROM] for the 42 orchestral works included in The Orchestra Musician's CD-ROM Library™, Volume 4: Tchaikovsky and more. If these parts were purchased separately, this collection could cost several hundred dollars. Parts are easily viewable and printable on either PC or Mac using embedded Adobe® Reader technology. Contents: GLINKA Ruslan and Ludmilla, A Life for the Czar Overtures; TCHAIKOVSKY 6 Symphonies, Manfred Symphony, 3 Piano Concertos, Violin Concerto, Rococo Variations, 3 Complete Ballets (Nutcracker, Sleeping Beauty, Swan Lake), 7 Suites (Mozartiana, Nutcracker, Swan Lake). 1812 Overture, Capriccio Italienne, Francesca da Rimini, Hamlet, March Slav, Mazeppa Overture, Romeo and Juliet, Serenade for Strings, The Tempest, Voyevoda, more (37 works); MUSSORGSKY Pictures at an Exhibition, Night on Bald Mountain, Khovantchina Overture Visit for more information Please note, customers using Macintosh computers running macOS Catalina (version 10.5) have reported hardware compatibility issues with this product. If you encounter these issues, we recommend copying the entire contents of the disk to a contained folder on a thumb drive or other storage device for use on your Mac. $20.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| The Orchestra Musician's CD-ROM Library, Volume 4 Oboe CD Sheet Music
SKU: SU.00220116 Composed by Various. Woodwinds, Oboe/English Horn. The O...(+)
SKU: SU.00220116 Composed by Various. Woodwinds, Oboe/English Horn. The Orchestra Musician's CD-ROM Library™. CD (PDF Scores). CD Sheet Music #00220116. Published by CD Sheet Music (SU.00220116). The complete Oboe and English Horn parts [CD-ROM] for the 42 orchestral works included in The Orchestra Musician's CD-ROM Library™, Volume 4: Tchaikovsky and more. If these parts were purchased separately, this collection could cost several hundred dollars. Parts are easily viewable and printable on either PC or Mac using embedded Adobe® Reader technology. Contents: GLINKA Ruslan and Ludmilla, A Life for the Czar Overtures; TCHAIKOVSKY 6 Symphonies, Manfred Symphony, 3 Piano Concertos, Violin Concerto, Rococo Variations, 3 Complete Ballets (Nutcracker, Sleeping Beauty, Swan Lake), 7 Suites (Mozartiana, Nutcracker, Swan Lake). 1812 Overture, Capriccio Italienne, Francesca da Rimini, Hamlet, March Slav, Mazeppa Overture, Romeo and Juliet, Serenade for Strings, The Tempest, Voyevoda, more (37 works); MUSSORGSKY Pictures at an Exhibition, Night on Bald Mountain, Khovantchina Overture Visit for more information Please note, customers using Macintosh computers running macOS Catalina (version 10.5) have reported hardware compatibility issues with this product. If you encounter these issues, we recommend copying the entire contents of the disk to a contained folder on a thumb drive or other storage device for use on your Mac. $20.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| The Orchestra Musician's CD-ROM Library, Volume 4 Flute CD Sheet Music
SKU: SU.00220115 Composed by Various. Woodwinds, Flute/Piccolo. The Orche...(+)
SKU: SU.00220115 Composed by Various. Woodwinds, Flute/Piccolo. The Orchestra Musician's CD-ROM Library™. CD (PDF Scores). CD Sheet Music #00220115. Published by CD Sheet Music (SU.00220115). The complete Flute and Piccolo parts [CD-ROM] for the 42 orchestral works included in The Orchestra Musician's CD-ROM Library™, Volume 4: Tchaikovsky and more. If these parts were purchased separately, this collection could cost several hundred dollars. Parts are easily viewable and printable on either PC or Mac using embedded Adobe® Reader technology. Contents: GLINKA Ruslan and Ludmilla, A Life for the Czar Overtures; TCHAIKOVSKY 6 Symphonies, Manfred Symphony, 3 Piano Concertos, Violin Concerto, Rococo Variations, 3 Complete Ballets (Nutcracker, Sleeping Beauty, Swan Lake), 7 Suites (Mozartiana, Nutcracker, Swan Lake). 1812 Overture, Capriccio Italienne, Francesca da Rimini, Hamlet, March Slav, Mazeppa Overture, Romeo and Juliet, Serenade for Strings, The Tempest, Voyevoda, more (37 works); MUSSORGSKY Pictures at an Exhibition, Night on Bald Mountain, Khovantchina Overture Visit for more information Please note, customers using Macintosh computers running macOS Catalina (version 10.5) have reported hardware compatibility issues with this product. If you encounter these issues, we recommend copying the entire contents of the disk to a contained folder on a thumb drive or other storage device for use on your Mac. $20.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| The Orchestra Musician's CD-ROM Library, Volume 4 Clarinet CD Sheet Music
SKU: SU.00220117 Composed by Various. Woodwinds, Clarinet. The Orchestra ...(+)
SKU: SU.00220117 Composed by Various. Woodwinds, Clarinet. The Orchestra Musician's CD-ROM Library™. CD (PDF Scores). CD Sheet Music #00220117. Published by CD Sheet Music (SU.00220117). The complete Clarinet (including Eb and Bass Clarinet) parts [CD-ROM] for the 42 orchestral works included in The Orchestra Musician's CD-ROM Library™, Volume 4: Tchaikovsky and more. If these parts were purchased separately, this collection could cost several hundred dollars. Parts are easily viewable and printable on either PC or Mac using embedded Adobe® Reader technology. Contents: GLINKA Ruslan and Ludmilla, A Life for the Czar Overtures; TCHAIKOVSKY 6 Symphonies, Manfred Symphony, 3 Piano Concertos, Violin Concerto, Rococo Variations, 3 Complete Ballets (Nutcracker, Sleeping Beauty, Swan Lake), 7 Suites (Mozartiana, Nutcracker, Swan Lake). 1812 Overture, Capriccio Italienne, Francesca da Rimini, Hamlet, March Slav, Mazeppa Overture, Romeo and Juliet, Serenade for Strings, The Tempest, Voyevoda, more (37 works); MUSSORGSKY Pictures at an Exhibition, Night on Bald Mountain, Khovantchina Overture Visit for more information Please note, customers using Macintosh computers running macOS Catalina (version 10.5) have reported hardware compatibility issues with this product. If you encounter these issues, we recommend copying the entire contents of the disk to a contained folder on a thumb drive or other storage device for use on your Mac. $20.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| The Orchestra Musician's CD-ROM Library, Volume 4 Violin CD Sheet Music
SKU: SU.00220123 Composed by Various. Strings, Violin. CD (PDF Scores). C...(+)
SKU: SU.00220123 Composed by Various. Strings, Violin. CD (PDF Scores). CD Sheet Music #00220123. Published by CD Sheet Music (SU.00220123). The complete Violin I & II parts [CD-ROM] for the 42 orchestral works included in The Orchestra Musician's CD-ROM Library™, Volume 4: Tchaikovsky and more. If these parts were purchased separately, this collection could cost several hundred dollars. Parts are easily viewable and printable on either PC or Mac using embedded Adobe® Reader technology. Contents: GLINKA Ruslan and Ludmilla, A Life for the Czar Overtures; TCHAIKOVSKY 6 Symphonies, Manfred Symphony, 3 Piano Concertos, Violin Concerto, Rococo Variations, 3 Complete Ballets (Nutcracker, Sleeping Beauty, Swan Lake), 7 Suites (Mozartiana, Nutcracker, Swan Lake). 1812 Overture, Capriccio Italienne, Francesca da Rimini, Hamlet, March Slav, Mazeppa Overture, Romeo and Juliet, Serenade for Strings, The Tempest, Voyevoda, more (37 works); MUSSORGSKY Pictures at an Exhibition, Night on Bald Mountain, Khovantchina Overture Visit for more information Please note, customers using Macintosh computers running macOS Catalina (version 10.5) have reported hardware compatibility issues with this product. If you encounter these issues, we recommend copying the entire contents of the disk to a contained folder on a thumb drive or other storage device for use on your Mac. $20.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| The Orchestra Musician's CD-ROM Library, Volume 4 Double Bass CD Sheet Music
SKU: SU.00220126 Composed by Various. Strings, Contrabass. CD (PDF Scores...(+)
SKU: SU.00220126 Composed by Various. Strings, Contrabass. CD (PDF Scores). CD Sheet Music #00220126. Published by CD Sheet Music (SU.00220126). The complete Double Bass parts [CD-ROM] for the 42 orchestral works included in The Orchestra Musician's CD-ROM Library™, Volume 4: Tchaikovsky and more. If these parts were purchased separately, this collection could cost several hundred dollars. Parts are easily viewable and printable on either PC or Mac using embedded Adobe® Reader technology. Contents: GLINKA Ruslan and Ludmilla, A Life for the Czar Overtures; TCHAIKOVSKY 6 Symphonies, Manfred Symphony, 3 Piano Concertos, Violin Concerto, Rococo Variations, 3 Complete Ballets (Nutcracker, Sleeping Beauty, Swan Lake), 7 Suites (Mozartiana, Nutcracker, Swan Lake). 1812 Overture, Capriccio Italienne, Francesca da Rimini, Hamlet, March Slav, Mazeppa Overture, Romeo and Juliet, Serenade for Strings, The Tempest, Voyevoda, more (37 works); MUSSORGSKY Pictures at an Exhibition, Night on Bald Mountain, Khovantchina Overture Visit for more information Please note, customers using Macintosh computers running macOS Catalina (version 10.5) have reported hardware compatibility issues with this product. If you encounter these issues, we recommend copying the entire contents of the disk to a contained folder on a thumb drive or other storage device for use on your Mac. $20.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Locke's Theatre Schott
Study Score Orchestra (pic.2.2.3.2.cbsn-4.3.3.1 -timp.4perc(glsp, vib(bow), xly,...(+)
Study Score Orchestra (pic.2.2.3.2.cbsn-4.3.3.1-timp.4perc(glsp, vib(bow), xly, bells, tri, clash cym, 2 sus cym, Chinese cym(bow), Sizz cym, Antique cym, tam-t, clave, 4s.d., b.d., tamb, 4templeblck, 2 anvils, whip)-2hp.cel-str(12.10.8.6.6 min)) SKU: HL.49045520 For Orchestra (2013) Music of Our Time Series. Composed by Ryan Wigglesworth. Arranged by Ryan Wigglesworth. This edition: Saddle stitching. Sheet music. Study Score. Classical. Softcover. Composed 2013. 60 pages. Duration 1020 seconds. Schott Music #ED13930. Published by Schott Music (HL.49045520). ISBN 9790220137198. UPC: 841886028876. 8.25x11.75x0.2 inches. Locke's Theatre, an orchestral work in three short movements, takes as its departure point incidental music written for Shakespeare's The Tempest by the seventeenth-century English composer Matthew Locke. Aspects of Locke's idiosyncratic and daringly advanced harmonic and rhythmic language were to be adopted (some might say perfected) by his younger friend and protege Henry Purcell. But it is the very rawness and directness of Locke's theatre music that I wished to acknowledge and emulate. In each of my work's three movements - entitled respectively 'The First Music', 'Rustic Music', and 'Curtain Music (with Storm)' - the baroque originals, though very often submerged, remain a constant, shadowy presence. Locke's Theatre was commissioned by the Aldeburgh Festival to mark the centenary of Benjamin Britten's birth. -Ryan Wigglesworth. $33.00 - See more - Buy online | | |
| Prelude to the Tempest Op. 109 No. 1 Orchestra [Score] - Intermediate Wilhelm Hansen
Orchestra (Score) - Grade 4 SKU: HL.14030004 Composed by Jean Sibelius. M...(+)
Orchestra (Score) - Grade 4 SKU: HL.14030004 Composed by Jean Sibelius. Music Sales America. Classical. Score. Composed 2002. 38 pages. Edition Wilhelm Hansen #WH30963. Published by Edition Wilhelm Hansen (HL.14030004). ISBN 9788759818053. 11.75x16.5x0.35 inches. Prelude to the Tempest Op.109 No.1 comes from an hour-long score of incidental music for orchestra by Danish composer, Jean Sibelius. In 1925 Sibelius was commissioned by the Danish Royal Theatre to create incidental music for Shakespeare's The Tempest. The resulting 34 miniatures represent Sibelius at his most modernistic and it is both rousing and powerful yet elsewhere light, gentle and airy, fully reflecting the breadth and depth of Shakespeare's characters. $18.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| The Tempest -- Suite (Divertimento) [Score] Peters
Orchestra 2(piccolo), 2-4, 1-timpani-3 percussion-harp-piano/Cel -strings-Tape <...(+)
Orchestra 2(piccolo), 2-4, 1-timpani-3 percussion-harp-piano/Cel-strings-Tape SKU: PE.EP66826A Composed by Paul Chihara. Score. Edition Peters. Score. 144 pages. Duration 00:50:00. Edition Peters #98-EP66826A. Published by Edition Peters (PE.EP66826A). ISBN 9790300730448. The Tempest: Suite (Divertimento) - Suite for Orchestra from the Ballet For the complete Tempest Ballet, please see EP66826R Performance Material for the Tempest Ballet Suite (Divertimento) is availablge, ona rental basis ... please see EP66826AR For more on PaulChihara, please click on his name, above ... - $170.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Triangle of the Tempest Concert band [Score] - Intermediate Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Clarinet 3, Cras...(+)
Band Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Clarinet 3, Crash Cymbals, Euphonium, Euphonium T.C., Flute 1, Flute 2, Glockenspiel, Horn 1, Horn 2, Mallet Percussion 1, Mallet Percussion 2, Mallet Percussion 3, Marimba, Oboe and more. - Grade 3.5 SKU: CF.CPS135F Composed by Alan Lee Silva. SWS. Carl Fischer Concert Performance Series. Full score. With Standard notation. 36 pages. Duration 4 minutes, 18 seconds. Carl Fischer Music #CPS135F. Published by Carl Fischer Music (CF.CPS135F). ISBN 9780825888496. UPC: 798408088491. 9x12 inches. Triangle of the Tempest is a fast-moving composition with interesting rhythmic challenges and dynamic color shifts. Starting with syncopated figures over a repeated eight-measure progression, the piece builds in intensity as more sections and layers are added. The second part changes tone and is led by a heroic trumpet melody with a soaring woodwind obligato. The themes intertwine and the material develops into a dramatic conclusion with a final explosive ensemble hit. Action-packed and full of rhythmic drive, this piece is a good choice for contest or festival performance. $13.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Triangle of the Tempest Concert band - Intermediate Carl Fischer
Band Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Clarinet 3, Cras...(+)
Band Bass Clarinet, Bass Drum, Bassoon, Clarinet 1, Clarinet 2, Clarinet 3, Crash Cymbals, Euphonium, Euphonium T.C., Flute 1, Flute 2, Glockenspiel, Horn 1, Horn 2, Mallet Percussion 1, Mallet Percussion 2, Mallet Percussion 3, Marimba, Oboe and more. - Grade 3.5 SKU: CF.CPS135 Composed by Alan Lee Silva. SWS FS. Carl Fischer Concert Performance Series. Set of Score and Parts. With Standard notation. 12+12+6+12+12+12+6+6+4+4+6+6+12+12+12+6+6+9+9+6+9+12+4+2+6+2+6+2+15+36 pages. Duration 4 minutes, 18 seconds. Carl Fischer Music #CPS135. Published by Carl Fischer Music (CF.CPS135). ISBN 9780825888489. UPC: 798408088484. 9x12 inches. Triangle of the Tempest is a fast-moving composition with interesting rhythmic challenges and dynamic color shifts. Starting with syncopated figures over a repeated eight-measure progression, the piece builds in intensity as more sections and layers are added. The second part changes tone and is led by a heroic trumpet melody with a soaring woodwind obligato. The themes intertwine and the material develops into a dramatic conclusion with a final explosive ensemble hit. Action-packed and full of rhythmic drive, this piece is a good choice for contest or festival performance. $95.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| The Tempest [Score] Wilhelm Hansen
Choral; Piano Accompaniment; Vocal Solo (Vocal Score) SKU: HL.283083 O...(+)
Choral; Piano Accompaniment; Vocal Solo (Vocal Score) SKU: HL.283083 Op. 109 Vocal Score. Composed by Jean Sibelius. Music Sales America. Classical. Softcover. 32 pages. Duration 4200 seconds. Edition Wilhelm Hansen #WH33001. Published by Edition Wilhelm Hansen (HL.283083). ISBN 9788759839874. Finnish/English Vocal score for Jean Sibelius' The Tempest Op.109 (1925-26) - Incidental Music to William Shakespeare's 'The Tempest'. For soloists (S,M,T, 2Bar), Choir SATB and Orchestra. Full Score: KP01494 Parts are avilable on hire: hire@ewh.dk. $14.99 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Mark the Music! Carl Fischer
Choral Piano, Side Drum, SATB chorus SKU: CF.CM9469 Composed by David Ash...(+)
Choral Piano, Side Drum, SATB chorus SKU: CF.CM9469 Composed by David Ashley White. SWS. Performance Score. With Standard notation. 20 pages. Duration 4 minutes, 54 seconds. Carl Fischer Music #CM9469. Published by Carl Fischer Music (CF.CM9469). ISBN 9781491142776. UPC: 680160900275. 6.875 x 10.5 inches. Text: William Shakespeare. William Shakespeare. The writing of David Ashley White demonstrates a varied approach to texture, mood, and voicing. His choral cycle, Mark the Music!, takes its title from Lorenzo's Admonition in The Merchant of Venice. With texts found in Shakespeare's plays The Merchant of Venice, As You Like It, The Tempest and Twelfth Night, his three movements are scored for mixed chorus. Directors are free to program one, two or three of the movements as dictated by the needs of the ensemble. There are also movements for soprano and alto (CM9425 III. Full Fathom Five), and for tenor and bass (CM9439 IV. O Mistress Mine), both with piano accompaniment. $3.00 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Jesus sleeps, is hope now fading Soli, Mixted choir and accompaniment [Vocal Score] Carus Verlag
(Cantata for the 4th Sunday after Epiphany). Composed by Johann Sebastian Bach (...(+)
(Cantata for the 4th Sunday after Epiphany). Composed by Johann Sebastian Bach (1685-1750). Edited by Reinhold Kubik. Arranged by Paul Horn. For ATB vocal soli, SATB choir, 2 recorders f1, 2 oboe d'amore, 2 violins, viola, basso continuo. This edition: Paperbound. E-Moll (E minor). German title: Jesus schlaft, was soll ich hoffen. Cantatas, Epiphany. Level 3. Vocal score. Language: German/English. Composed 1724. BWV 81. 32 pages. Duration 19 minutes. Published by Carus Verlag
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| Judith Weir: Storm (Full Score) [Score] Chester
Chamber Group, Treble, Soprano, Alto, Flute, Cello, Percussion SKU: HL.140356...(+)
Chamber Group, Treble, Soprano, Alto, Flute, Cello, Percussion SKU: HL.14035695 Composed by Judith Weir. Music Sales America. 20th Century. Score. Composed 2002. 92 pages. Chester Music #CH61487. Published by Chester Music (HL.14035695). ISBN 9780711991316. 8.5x11.75x0.333 inches. Scored for Children's Chorus, Women's Chorus and ensemble. (3 Flutes, 3 Cellos, 3 Percussion players). A five movement piece based on the composer's 35 word version of William Shakespeare's 'The Tempest'. First performed on 18th November 1997, Birmingham. Duration 20 minutes. Instrumental and chorus parts are available on hire. $49.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
| Master the Tempest Is Raging (Orchestration) Choral SATB [Score and Parts] Lillenas Publishing Co.
SATB choir with tenor solo SKU: LP.OR-2503 Arranged by Thomas Fettke. Thi...(+)
SATB choir with tenor solo SKU: LP.OR-2503 Arranged by Thomas Fettke. This edition: Loose-Leaf. Anthems. Southern Gospel and Sacred. Score and parts. Published by Lillenas Publishing Company (LP.OR-2503). UPC: 765762115408. Complete parts for accompaniment by live orchestra. Includes full, transposed conductor's score and parts for instruments which you may photocopy (for your church's use only). $74.99 - See more - Buy onlinePre-shipment lead time: 1 to 2 weeks | | |
| Kaija Saariaho: Ferdinand's Comfort (Score) Chester
Soprano, Baritone Voice, Flute SKU: HL.14017457 Composed by Kaija Saariah...(+)
Soprano, Baritone Voice, Flute SKU: HL.14017457 Composed by Kaija Saariaho. Music Sales America. Post-1900. Sheet Music, Vocal Work. With Text language: English. Chester Music #CH69817. Published by Chester Music (HL.14017457). UPC: 884088814007. 8.25x11.75x0.052 inches. Composed in 2004, this concise and compelling work is part of Saariaho's Tempest Songs and is written for Soprano and Baritone soloists with chamber ensemble. Also included in the Tempest Songs cycle are: Ariel's Hall (Soprano) Caliban's Dream (Baritone) Miranda's Lament (Soprano) Prospero's Vision (Baritone)Works may be performed in any order and a full song cycle. $12.00 - See more - Buy online | | |
| Jean Sibelius: The Tempest Suite No.1 Op.109 No.2 (Full Score) Orchestra Wilhelm Hansen
For Orchestra. Music Sales America. 20th Century. 80 pages. Edition Wilhelm Hans...(+)
For Orchestra. Music Sales America. 20th Century. 80 pages. Edition Wilhelm Hansen #WH20264. Published by Edition Wilhelm Hansen . 20th Century.
$63.95 - See more - Buy onlinePre-shipment lead time: 2 to 3 weeks | | |
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