By Anne Mcginty; John Edmondson. Orchestra. For violin 1. Queenwood Beginning String Orchestra. Queenwood Orchestra. Elementary. String orchestra method

By Tarik O'Regan. For SSATB (with divisions) and optional organ/string orchestra. This edition: NH7. Mixed Voices. New Horizons No. 7. Secular Choral Leaflet. Vocal score. 24 pages. Duration 5'

Composed by Lin-Manuel Miranda (1980-). Arranged by Larry Moore. Pop Specials for Strings. Disney, Movies. Softcover. Duration 180 seconds. Published by Hal Leonard

("My Bonny Lass"). Composed by Thomas Morley (1557-1602). Arranged by Deborah Baker Monday. For string orchestra. Concert Work. Grade 2. Score and set of parts. Duration 1:53. Published by Wingert- Jones Publications

By Anne McGinty (1945-). Edited by Shirley Mullins. For String Orchestra. Queenwood Beginning String Orchestra. Score and parts

Orchestra - Grade 3

SKU: AP.41238

Composed by John Farmer and Thomas Morley. Arranged by Bud Caputo. MakeMusic Cloud; Masterworks; Performance Music Ensemble; Single Titles; String Orchestra. Highland/Etling String Orchestra. Form: Suite; Transcription. Masterwork Arrangement; Renaissance. Score and Part(s). 148 pages. Highland/Etling #00-41238. Published by Highland/Etling (AP.41238).

UPC: 038081483689. English.

In keeping with the efforts of developing a curriculum that fosters Comprehensive Musicianship, this string orchestra arrangement of three of the most popular Renaissance madrigals, will provide your students with a peak into this period of music history that is frequently overlooked. Now Is the Month of Maying, Sing We and Chant It, both by Thomas Morley, and Fair Phyllis, by John Farmer, are basic choral repertoire found in most high school and college full SATB and madrigal ensembles. The string ensemble may perform the arrangement alone with the added Renaissance style percussion. Or, better yet, why not enhance the performance by adding an SATB chorus thereby sharing the stage with your school's most advanced choral ensemble? (5:00) This title is available in MakeMusic Cloud.

Guitar solo - Advanced

SKU: DZ.DZ-4287

Composed by Francisco Braga. Arranged by Luciano Lima. Score. Les Productions d'OZ #DZ 4287. Published by Les Productions d'OZ (DZ.DZ-4287).

ISBN 9782898522048.

Antà ´nio Francisco Braga (1868-1945) belongs to the generation of Brazilian composers of the first republican period, aesthetically tied to romanticism, alongside Henrique Oswald (1852-1931), Leopoldo Miguez (1850-1902), Glauco Velásquez (1884-1914), and Barrozo Neto (1881-1941). Born in Rio de Janeiro, on April 15th, 1868, he began his musical studies at the Asilo dos Meninos Desvalidos, in 1876. In 1883, he enrolled at the Imperial Conservatório de Música where he studied harmony and counterpoint with Carlos de Mesquita – a former student of César Franck, Durand, and Massenet – and clarinet with Antônio Luís de Moura. Braga's first compositions date from this period: Sonho de Dante (1885), Dolce far niente (1886), the first Valse Romantique for piano (1886), among others.
In 1887, he premiered his first symphonic work, Fantasia-Abertura. In 1890, being one of the finalists in a competition to choose the new Brazilian national anthem, Braga was awarded a scholarship to study in Europe, where he took classes with Jules Massenet at the Paris Conservatory. During this period, he wrote some of his most important symphonic works, Paysage, Cauchemar, Episódio Sinfônico, and Marabá (which was performed by Richard Strauss and the Vienna Philharmonic in 1920, in Brazil). His opera Jupyra is considered one of the greatest Brazilian compositions of that genre.
Back in Brazil, he was appointed professor of counterpoint, fugue, and composition at the Instituto Nacional de Música, in 1902. There, some of the finest Brazilian composers studied with him, like Glauco Velásquez and Lorenzo Fernândez.
Braga wrote operas, symphonic works, songs, sacred music, two Masses, music for piano, different chamber formations, band, and choir. He is the author of many patriotic hymns, the most popular of which is Hino à Bandeira (with lyrics by Olavo Bilac). He explored Brazilian nationalist elements in some of his works, as in Variações sobre um Tema Brasileiro and in the Trio for violin, cello and piano, whose third movement is based on a lundu (a musical genre and dance of Afro-Brazilian origin).
In addition to being a composer, Braga was one of the most active conductors of his time, having been ahead of three orchestras in Rio de Janeiro: Instituto Nacional de Música, Sociedade de Concertos Sinfônicos, and Theatro Municipal. Braga conducted the Brazilian premiere of major symphonic works such as La Mer (Debussy), Pacific 231 (Honegger) besides other numerous Brazilian compositions.
In 1938, he retired from Instituto Nacional de Música. He passed away on March 14th, 1945, in Rio de Janeiro.
Unfortunately , Francisco Braga never wrote for the guitar. However, over a century ago his music had already been incorporated to its repertoire. According to information found in newspapers of the time, Spanish guitarist Josefina Robledo included transcriptions of pieces by Braga in her programs when she performed in Brazil: Gavota e Minuete (from the melodrama Contratador de Diamantes), in 1919, in São Paulo, and the waltz-caprice Corrupio, in 1921, in Rio de Janeiro.
The piano score of Madrigal Pavane was dedicated to Alexina Leitão and published by Casa Vieira Machado, in 1901. According to the composer’s catalogue, there are two other versions of this piece: strings orchestra (1901) and quartet (which is still in manuscript). Dedicated to Braga’s childhood friend José de Souza Rocha, Timburibá (the name of a Brazilian tree) is a tango for piano from 1886, published by Narciso & Arthur Napoleão.

Antôni o Francisco Braga (1868-1945) appartient à la génération des compositeurs brésiliens de la première période républicaine, esthétiquement liés au romantisme, aux côtés de Henrique Oswald (1852-1931), Leopoldo Miguez (1850-1902), Glauco Velásquez (1884-1914) , et Barrozo Neto (1881-1941). Né à Rio de Janeiro, le 15 avril 1868, il commence ses études musicales à l'Asilo dos Meninos Desvalidos, en 1876. En 1883, il s'inscrit au Imperial Conservatório de Música où il étudie l'harmonie et le contrepoint avec Carlos de Mesquita – ancien élève de César Franck, Durand et Massenet – et clarinette avec Antônio Luís de Moura. De cette période datent les premières compositions de Braga : « Sonho de Dante » (1885), « Dolce far niente » (1886), la première « Valse Romantique » pour piano (1886), entre autres.
En 1887, il crée sa première œuvre symphonique, « Fantasia-Abertura ». En 1890, étant l'un des finalistes d'un concours pour choisir le nouvel hymne national brésilien, Braga obtient une bourse pour étudier en Europe, où il suit les cours de Jules Massenet au Conservatoire de Paris. Durant cette période, il écrit certaines de ses œuvres symphoniques les plus importantes, « Paysage », « Cauchemar », « Episódio Sinfônico » et « Marabá » (interprétée par Richard Strauss et la Philharmonie de Vienne en 1920, au Brésil). Son opéra « Jupyra » est considéré comme l'une des plus grandes compositions brésiliennes de ce genre.
De retour au Brésil, il fut nommé professeur de contrepoint, de fugue et de composition à l'Instituto Nacional de Música, en 1902. Là, certains des meilleurs compositeurs brésiliens étudièrent avec lui, comme Glauco Velásquez et Lorenzo Fernândez.
Braga a écrit des opéras, des œuvres symphoniques, des chansons, de la musique sacrée, deux messes, de la musique pour piano, différentes formations de chambre, un orchestre et une chorale. Il est l'auteur de nombreux hymnes patriotiques, dont le plus populaire est « Hino à Bandeira » (avec des paroles d'Olavo Bilac). Il a exploré des éléments nationalistes brésiliens dans certaines de ses œuvres, comme dans « Variações sobre um Tema Brasileiro » et dans le Trio pour violon, violoncelle et piano, dont le troisième mouvement est basé sur un « lundu » (un genre musical et une danse afro-américaine). Origine brésilienne).
En plus d'être compositeur, Braga a été l'un des chefs d'orchestre les plus actifs de son époque, ayant dirigé trois orchestres à Rio de Janeiro : « Instituto Nacional de Música », « Sociedade de Concertos Sinfônicos » et « Theatro Municipal ». Braga a dirigé la première brésilienne d'œuvres symphoniques majeures telles que « La Mer » (Debussy), « Pacific 231 » (Honegger) ainsi que de nombreuses autres compositions brésiliennes.
En 1938, il prend sa retraite de l'Instituto Nacional de Música. Il est décédé le 14 mars 1945 à Rio de Janeiro.
Malheureuseme nt, Francisco Braga n’a jamais écrit pour la guitare. Cependant, il y a plus d'un siècle, sa musique était déjà incorporée à son répertoire. Selon des informations trouvées dans les journaux de l'époque, la guitariste espagnole Josefina Robledo incluait des transcriptions de pièces de Braga dans ses programmes lorsqu'elle se produisait au Brésil : « Gavota e Minuete » (du mélodrame « Contratador de Diamantes »), en 1919, à São Paulo, et la valse-caprice « Corrupio », en 1921, à Rio de Janeiro.
La partition pour piano de « Madrigal Pavane » a été dédiée à Alexina Leitão et publiée par « Casa Vieira Machado », en 1901. Selon le catalogue du compositeur, il existe deux autres versions de cette pièce : orchestre à cordes (1901) et quatuor (qui est encore manuscrit). Dédié à José de Souza Rocha, ami d'enfance de Braga, « Timburibá » (nom d'un arbre brésilien) est un tango pour piano de 1886, publié par « Narciso & Arthur Napoleão ».
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Orchestra - Grade 3.5

SKU: AP.35971S

Composed by Karl Bohm. Arranged by Robert Sieving. Performance Music Ensemble; Single Titles; String Orchestra. Highland/Etling String Orchestra. Form: Transcription. Masterwork Arrangement; Romantic. Score. 12 pages. Highland/Etling #00-35971S. Published by Highland/Etling (AP.35971S).

UPC: 038081411781. English.

This lovely German song offers the opportunity to teach compound meter, isolating excerpts collaterally with rhythmic exercises, and working on smooth string crossings. Extended positions are featured in the cello part with accidentals sprinkled throughout the other parts as well. A beautiful soli section will be popular with cellists against a moving bass line.

Performance Score Guitar; Orchestra (Picc. * 1 * 1 * 1 * 1 - 1 * 1 * 0 * 0 - Str.) - difficult

SKU: HL.49010940

For Two Guitars and Orchestra. Composed by Joaquí and n Rodrigo. Arranged by Dale Kavanagh and Thomas Kirchhoff. This edition: Paperback/Soft Cover. Sheet music. Gitarren-Archiv (Guitar Archive). Classical. Playing score. Composed 1966. 48 pages. Duration 30'. Schott Music #EJR190238. Published by Schott Music (HL.49010940).

ISBN 9790001097758. UPC: 884088082239. 9.0x12.0x0.191 inches.

Performance Score.

By Antony Holborne, William Brade, Claude Gervaise, Thomas Ravenscroft, And John Dowland. Arranged by Andrew Dabczynski. Music by Antony Holborne, William Brade, Claude Gervaise, Thomas Ravenscroft, and John Dowland / arr. Andrew Dabczynski. For String Orchestra. String Orchestra. String Explorer. Level: 2 (grade 2). Conductor Score and Parts. Published by Alfred Publishing.

For 2 Guitars and Orchestra. By Joaquin Rodrigo. (Study Score). Schott. Size 5.25x7.5 inches. 146 pages. Published by Eulenburg Germany (Schott).

Mixed choir, orchestra (SATB Choir, Vc, clarinet, clarinet-B, Hn, Trp-c, trombone)

SKU: BA.BA07464

Das Madrigal kann auch in Verbindung mit Fünf Gesänge für Chor und Bläser (BA 7076) oder einzelnen Teilen davon aufgeführt werden. Composed by Rudolf Kelterborn. Stapled. Schwarz ist das All. Score. Composed 1995. Baerenreiter Verlag #BA07464_00. Published by Baerenreiter Verlag (BA.BA07464).

ISBN 9790006499601. 37 x 27 cm inches. Text: Erika Burkart.

World Premiere 22/10/1996, Detmold.

By Xavier Montsalvatge. For Soprano, Cello and String Orchestra. 20th century. Vocal, Orchestral. Full Score. 12 pages. Duration 5 minutes. Published by Trito Ediciones (Spanish import). (TR 00025)

Mixed choir, orchestra (SATB Choir, clarinet, Hn, Trp, trombone)

SKU: BA.BA07076

Intervalle - Wenn ich über den Schnee - Im Andenken - In deinem Haar schimmert wieder - Mond. Composed by Rudolf Kelterborn. Stapled. Score. Composed 1980/1981. Duration 11 minutes. Baerenreiter Verlag #BA07076_00. Published by Baerenreiter Verlag (BA.BA07076).

ISBN 9790006485062. 30.5 x 23 cm inches. Text: Herbert Meier.

World Premiere 05/02/1982, Basel.

Score and Parts. Composed by Lin-Manuel Miranda (1980-). Arranged by Larry Moore. Pop Specials for Strings. Disney, Movies. Softcover. Duration 160 seconds. Published by Hal Leonard

Full Score. Composed by Lin- Manuel Miranda. Arranged by Larry Moore. Pop Specials for Strings. Disney, Movies. Softcover. Duration 160 seconds. Published by Hal Leonard

A Double Concerto for Violin, Violoncello, and Orchestra (Full Score). By Henri Lazarof. Orchestra. Full Score - Study. 68 pages. Duration 22:00. Published by Theodore Presser Company.

String Orchestra and B.C.

SKU: HL.50031060

Score. Composed by Antonio Vivaldi. Edited by Angelo Ephrikian. Orchestra. Score Only. Composed 1984. Ricordi #PR294. Published by Ricordi (HL.50031060).

UPC: 073999198676. 8.0x10.75x0.076 inches.

By Zach Wallmark. For string orchestra. String Tracks. Grade 3. Score and parts. Published by Neil A. Kjos Music Company

Orchestra (picc.2.2.cor ang.2.B-clar.2.dble bsn - 4.3.3.1. - timp.perc(3) - hp - cel - str)

SKU: BR.PB-5105-07

Study score. Composed by Jurg Baur. Softbound. Partitur-Bibliothek (Score Library).

World premiere: Bremen, February 1, 1982

Symphony; Music post-1945. Study Score. Composed 1981. 68 pages. Duration 17'. Breitkopf and Haertel #PB 5105-07. Published by Breitkopf and Haertel (BR.PB-5105-07).

ISBN 9790004208557. 9 x 12 inches.

Gesualdo, Don Carlo, Furst von Venosa (1560-1613) gehort zu den eigenwilligsten italienischen Madrigal-Komponisten der Spatrenaissance. Seine ungewohnlich kuhne, selbst fur heutige Ohren modern klingende Harmonik, seine chromatischen Stimmfortschreitungen, seine ubersteigerte expressive Tonsprache regten mich schon vor Jahren zu einer grosseren Orgelkomposition an und inspirierten mich 1981 zu den >>Sinfonischen Metamorphosen<<. Dieses Werk ist eine vielgestaltige weitausgesponnene Fantasie. Sieben choralartige typische Klangbeispiele aus Gesualdos spaten funfstimmigen Madrigalen (4., 5. u. 6. Band) werden teils streng, teils frei zitiert und von Holz- oder Blechblasern intoniert. Diese Zitate gliedern, als formale und inhaltliche Schwer- und Ruhepunkte, den Verlauf des gesamten Werks. Jedes Zitat steht zu Beginn eines neuen Satzabschnitts; die darauffolgenden >>Metamorphosen<< entwickeln sich als rhapsodische kontrastreiche Charakterstucke. Im >>Preludio<< werden aus den vertonbaren Buchstaben vom Namen >>Gesualdo<< (G - E - Es - A - D) schwebende Klangflachen, rezitativische Gedanken und ein pragnantes rhythmisches Paukenthema gebildet. Diese ,,Grundelemente (Grundstrukturen) tauchen im Verlauf des Stucks immer wieder leitmotivisch auf. Im zweiten Abschnitt stehen sich lineare Streicher-Episoden und dichte Blaser-Klangballungen kontrastierend gegenuber. Der dritte Teil lauft als Passacaglia (Thema ist der Bass eines Gesualdo-Zitats) in mehreren Variationen ab. Im vierten Abschnitt dominiert lebhafte Streicherbewegung, kontrapunktiert von tiefen Blaser-Signalen. Der funfte Teil steigert sich- nach kantablem Beginn- zum ekstatischen Trauermarsch. Abschnitt sechs stellt sich als >>Rondello<< dar, mit um sich selbst kreisenden Klangfiguren (in verschiedenen Tongruppen (zwei, drei, funf). Im siebten und letzten Teil wird die verhalten-resignierende Stimmung des Anfangs beschworen, ehe eine knappe Stretta in den hymnischen Schluss mundet. In den Textender ausgewahlten Zitatstellen geht es meist um Todessehnsucht, Liebesqual und Verzweiflung. z. B. 1. und 2. Zitat: Moro lasso, al mio duolo (Ich sterbe, matt, an meiner Qual) (6. Buch) 3. Zitat: Gia piansi nel dolore; o dolorosa Sorte (Schon weinte ich in Schmerzen, oh schmerzliches Geschick) (6. Buch) 4. Zitat: Ahi gia mi discolero (Ach schon entfarbte ich mich) (Wehe, der Tod kommt) (4. Buch) 5. Zitat: Dolcissima mia vita (Mein allerliebstes Leben) (Dich zu lieben oder zu sterben) (5. Buch) 6. Zitat: lo moro (Ich sterbe) (5. Buch) Dem Werk liegen zwar eine Reihe von dodekaphonischen Strukturen zugrunde (die teilweise von Gesualdos Klangzitaten abgeleitet wurden), doch sind die einzelnen Abschnitte auf,,tonale Pfeiler (G - E - A - D) gegrundet; das Stuck beginnt in G und endet aufD, ist also ubergeordnet tonal konzipiert, - der Versuch einer Synthese moderner Ausdrucksmittel von Vergangenheit und Gegenwart. Die >>Metamorphosen<< sind ein Stuck Bekenntnismusik - Bekenntnis zum Leben und Schaffen Gesualdos, eines Mannes, der vom Schicksal gezeichnet war, denn der Chronik Neapels bekannt war durch die Ermordung seiner ersten Frau und ihres Liebhabers. Dieser eminente Musiker war zugleich ein Mensch von ubertriebener Sensibilitat und wilder ekstatischer Heftigkeit: ,,Er wurde von einer Horde von Damonen heimgesucht, die ihm keine Ruhe gaben, heisst es in einem zeitgenossischen Bericht. Seine Kunst und sein Leben stand unter dem Gesetz der inneren Zerrissenheit, zwischen Auflehnung und Resignation (Verzweiflung und Hoffnung), zwischen Zartheit und Leidenschaft. Davon will meine Musik etwas aussagen. (Jurg Baur)CD:Sinfonieorchester des Westdeutschen Rundfunks, cond. Rudolf BarschaiCD Thorofon CTH 2270Bibliography:Abels, Robert: Studien zur Gesualdo-Rezeption durch Komponisten des 20. Jahrhunderts (= Studien zur Musik 20), Leiden u. a.: Wilhelm Fink 2017, pp. 277-345, 485-489.Wallerang, Lars: Die Orchesterwerke Jurg Baurs als Dialog zwischen Tradition und Moderne, Koln: Dohr 2003.

Orchestra string - Grade 3.5

SKU: AP.35971

Composed by Karl Bohm. Arranged by Robert Sieving. Performance Music Ensemble; Single Titles; String Orchestra. Highland/Etling String Orchestra. Form: Transcription. Masterwork Arrangement; Romantic. Score and Part(s). 114 pages. Highland/Etling #00-35971. Published by Highland/Etling (AP.35971).

UPC: 038081411774. English.

This lovely German song offers the opportunity to teach compound meter, isolating excerpts collaterally with rhythmic exercises, and working on smooth string crossings. Extended positions are featured in the cello part with accidentals sprinkled throughout the other parts as well. A beautiful soli section will be popular with cellists against a moving bass line.

Piano; Violin (Violin)

SKU: HL.50483441

Violin and Piano. Composed by Alfred Schnittke. String Orchestra. Classical, Contemporary, Madrigal, Rondo. 32 pages. Sikorski #SIK1914. Published by Sikorski (HL.50483441).

8.25x11.75x0.108 inches.

Congratulat ory Rondo is for violin and piano. Madrigal in Memorium Oleg Kagan is written for unaccompanied violin.

Chamber orchestra (without wind instruments) (Klav. * Cemb. * Marimba * Hfe. * Git. - Str. (10 * 10 * 10 * 10 * 3) (mind.: 8 * 7 * 4 * 4 * 1))

SKU: HL.49006830

Composed by Wolfgang Fortner. Sheet music. Edition Schott. Classical. Conductor's/study score. Composed 1979. 86 pages. Duration 21'. Schott Music #ED 6949. Published by Schott Music (HL.49006830).

ISBN 9790001073394.

Composed by Gabriel Faure (1845-1924). Edited by Hugh MacDonald. This edition: complete edition, urtext edition. LN. Gabriel Faure. OEuvres completes II/1. Complete edition, Score, anthology. Opus 12, 35, 50, 29. Baerenreiter Verlag #BA09473-01. Published by Baerenreiter Verlag

Solo (S or T), men's choir (TTBB), string orchestra and 3 trumpets ad libitum (ST KPL) - advanced

SKU: HL.49031856

Kantate. Composed by Philipp Mohler. Sheet music. Edition Schott. Performance Material. Op. 41. 66 pages. Duration 25'. Schott Music #ED 5260-10. Published by Schott Music (HL.49031856).

ISBN 9790001059862.