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Sing - Marimba 1
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3,252
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1,872
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1,210
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843
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579
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566
Organ
121
Piano Accompaniment
109
Accordion
39
1 Piano, 6 hands
37
Piano Trio: piano, violin, cello
28
2 Pianos, 4 hands
20
Piano Quartet: piano, violin, viola, cello
11
Piano (band part)
9
Piano Quintet: piano, 2 violins, viola, cello
6
Big Note Piano
3
Organ, Trumpet (duet)
3
2 Pianos, 8 hands
3
Harpsichord
3
Accordion ensemble
2
2 Accordions
2
Keyboard
2
Piano Quartet: piano, 2 violins, cello
1
Organ, Voice
1
Accordion, Voice
1
+ 20 instrumentations
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395
Bass guitar
392
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336
Guitar
232
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14
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9
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7
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6
Banjo
5
Lap Steel Guitar
5
Electric Bass (band part)
2
2 Dulcimers (duet)
2
Zither
1
Baritone Ukulele
1
+ 15 instrumentations
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Voice
Choral SATB
1,163
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759
Choral 2-part
715
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522
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512
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308
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249
Choral TTBB
248
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75
Soprano voice, Piano
33
Alto voice, Piano
33
Baritone voice, Piano
26
Vocal duet
21
Tenor voice, Piano
17
High voice
16
Low voice, Piano
15
Medium voice, Piano
10
Voice, Guitar
8
Choral
6
Choral SSATTB
2
Soprano voice
2
Tenor voice
2
Choral SSAATB
1
Choral SSATB
1
Choral SSAATTBB
1
Choral SSAB a cappella
1
+ 21 instrumentations
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423
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351
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291
Clarinet
258
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245
Flute and Piano
232
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199
Clarinet and Piano
192
Alto Saxophone and Piano
179
Oboe (band part)
156
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141
2 Flutes (duet)
132
Saxophone Quartet: 4 saxophones
126
Woodwind Quintet: flute, oboe, bassoon, clarinet, horn
125
Flute, Oboe, Clarinet, Bassoon
124
Tenor Saxophone and Piano
115
2 Saxophones (duet)
112
Saxophone Quintet: 5 Saxophones
109
2 Clarinets (duet)
91
Clarinet (band part)
79
Flute Quartet: 4 flutes
73
Flute (band part)
72
Soprano Saxophone and Piano
69
Oboe
68
Baritone Saxophone, Piano
59
3 Clarinets (trio)
41
2 Oboes (duet)
39
Oboe, Bassoon (duet)
35
Soprano Saxophone
33
Baritone Saxophone
31
Flute and Guitar
31
Flute, Clarinet (duet)
31
Clarinet Ensemble
31
Flute ensemble
30
Flute Trio: 3 flutes
29
Clarinet Quintet: 5 clarinets
26
Descant (Soprano) Recorder
24
Saxophone ensemble
24
Bass Clarinet, Piano
24
Oboe, Cello
24
Treble (Alto) Recorder
23
3 Saxophones (trio)
22
Clarinet, Violin (duet)
21
English horn, Piano
20
Flute, Violoncello
20
Flute, Viola (duet)
19
Recorder
16
English Horn
16
Oboe, Clarinet (duet)
15
Clarinet and Viola
15
Saxophone
15
Saxophone, Clarinet (duet)
15
Flute, Violin
15
Clarinet, Bassoon (duet)
14
2 Recorders (duet)
13
Clarinet, Cello (duet)
11
Flute, Trombone (duet)
10
Oboe and viola (duet)
10
Recorder Quartet
9
Flute, Oboe, Clarinet (trio)
9
Flute Quintet : 5 flutes
8
5 Recorders
7
Tenor Recorder
7
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7
Clarinet, Trumpet (duet)
7
Ocarina
6
Flute, Oboe (duet)
6
2 Flutes, Piano
6
Oboe, Flute
6
2 Clarinets, Piano
5
Wind ensemble
4
Harmonica
4
Piccolo
4
Bass Clarinet
4
Clarinet, Bassoon, Piano (trio)
3
2 Saxophones, Piano
3
Flute, Clarinet and Bassoon.
3
Flute, Trumpet (duet)
3
Flute, Bassoon, and Piano
3
Clarinet, Orchestra
2
Recorder Ensemble
2
Recorder, Piano
2
Saxophone and Organ
2
Flute, Violin, Piano
2
Flute, Oboe, Piano (trio)
2
Clarinet, Organ
2
Flute, Cello, Piano (trio)
2
Flute, Saxophone (duet)
2
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2
Pennywhistle
2
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2
Saxophone and Piano
2
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2
Descent (Soprano) Recorder, Piano
2
Clarinet, Harp (duet)
2
Oboe, Harp
2
Clarinet Quartet: Clarinet, Violin, Viola, Cello
1
English Horn, Guitar (duet)
1
Clarinette, Viola and Piano (trio)
1
2 Recorders, Piano
1
Saxophone and Guitar
1
Piccolo, Piano
1
Oboe, Bassoon and Piano
1
Clarinet, Double bass (duet)
1
3 Oboes
1
3 Recorders (trio)
1
Clarinet, Cello, Piano (trio)
1
Oboe, Clarinet, Bassoon (trio)
1
Flute, Viola and Piano
1
Flute, Orchestra
1
Oboe, Violin, Piano
1
Oboe, Clarinet and Piano (Trio)
1
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1
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1
Clarinet, Tuba
1
Flute and Strings Trio
1
Eb Instruments
1
Flute, Organ (duet)
1
+ 113 instrumentations
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Trumpet
315
Trombone
241
Trumpet (band part)
209
Trumpet, Piano
167
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161
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144
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136
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135
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128
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113
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95
2 Trumpets (duet)
57
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53
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48
2 Trombones (duet)
45
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39
Brass Quartet
37
French horn (band part)
34
Tuba (band part)
31
Trumpet, Trombone (duet)
28
Euphonium, Piano (duet)
27
Brass Quartet: 2 trumpets, horn, trombone
25
Euphonium
24
English horn, Piano
20
2 Tubas (duet)
19
English Horn
16
Brass Trio
16
Brass Quartet: 4 horns
15
Tuba and Organ
10
3 Trombones (trio)
8
Trumpet, Saxophone (duet)
8
Trumpet, Horn (duert)
7
Brass Quartet: 4 trumpets
6
Trumpet ensemble
6
Trumpet, Tuba (duet)
5
Trombone ensemble
5
Trombone, Tuba (duet)
4
3 Trumpets (trio)
4
Bass Trombone
3
4 Tubas
3
2 Euphoniums and 2 Tubas
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3
Bb Instruments
3
Bass Clef Instruments
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2
Trombone, Horn (duet)
2
Instruments en Sol
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Trombone, Organ
2
Horn, Cello (duet)
2
Trumpet, Bassoon (duet)
1
Tuba or Euphonium or Saxhorn
1
English Horn, Guitar (duet)
1
2 Trumpets, Keyboard (piano or organ)
1
Trombone and Orchestra
1
2 Euphoniums (duet)
1
Trumpet, Euphonium (duet)
1
Trumpet, violin (duet)
1
3 Euphoniums
1
+ 53 instrumentations
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566
String Quartet: 2 violins, viola, cello
451
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409
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337
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238
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216
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186
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115
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99
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92
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77
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73
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66
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62
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58
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45
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40
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31
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28
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25
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22
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17
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17
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13
2 Double basses (duet)
11
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10
2 Harps (duet)
10
4 Cellos
8
String quartet: 4 violins
7
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6
Harp, Violin (duet)
5
Violin ensemble
5
Piano Trio: Violin, Viola, Piano
5
String Trio: 2 violins, viola
4
Viola ensemble
4
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4
Harp, Flute (duet)
3
String Trio: 3 violas
3
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2
2 Violins, Piano
2
4 Double Basses
2
String Quartet : 4 violas
2
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1
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1
Viola and Bassoon
1
Viola, Organ
1
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1
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1
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1
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Retract
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2,229
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285
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269
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7
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You've selected:
Sing - Marimba 1
PDF
Chamber Orchestra
Sheetmusic to print
86 sheet music found
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76
Stefano Maria Torchio: En Archè en o Logos - Violin 1 part
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Chamber Orchestra
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ADVANCED
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Christian contemporary
#
Sacred music
#
Stefano Maria Torchio
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Stefano Maria Torchio: En Arch
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Stefano Torchio
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SheetMusicPlus
Chamber Orchestra - Level 5 - Digital Download SKU: A0.1022759 Composed by Stefano Maria Torchio. Contemporary,Sacred. Score and parts. 6 pages. Stefano ...
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Chamber Orchestra - Level 5 - Digital Download SKU: A0.1022759 Composed by Stefano Maria Torchio. Contemporary,Sacred. Score and parts. 6 pages. Stefano Torchio #3142871. Published by Stefano Torchio (A0.1022759). S. M. Torchio: En Archè en o Logos (2007)A deep and powerful reflection on the first lines of John's Gospel and the mistery of the Creation and of the beginning. The fascinating sound of ancient Greek creates a dialectic relationship with the modern international english language. All happens wihin a very interesting proposal for an avantgarde sacred music fitted for liturgical uses too. A considerable number of singers and of strings is required in order to create an adequate sound space and colour. Particular care is required by the intonation and the creation and substain of the right tone (which are perhaps the biggest challenge by the piece) but the entire music created by the phonemata and the training about it could be very funny and very precious and helpful for an interesting growth of a very fine Choir. The piece won the International Composition Competition Anima Mundi organized by the Opera Primaziale di Pisa in 2009.Stefano Maria TorchioItalian Violinist, Composer and Conductor, spent his education between Italy and the University of Music and Performing Art in Vienna, where he studied Orchestral Conducting with U. Lajovic and J. Wildner and Choir Conducting with E. Ortner and T. Lang. Further studies made Torchio in Violin, Composition and Organ at the Music Conservatory of Padua (his home town).He won prizes by international composition competitions like the Anima Mundi of the Opera Primaziale di Pisa, the A. Casella of the Accademia Chigiana of Siena, In memoriam... Johannes XXIII of Comune di Sotto il Monte, the MiniMusicDrama of Ovada and the Composition Prize of the Music Conservatory of Padua. He also participated by seminaries and masterclasses in Composition and Conducting with important Maestri like Z. Metha, F. Luisi, B. de Billy, S. Young, G. Andretta, A. Corghi, I. Fedele, C. Ambrosini, M. Lichtfuß and R. Vaglini by important Academies and Institution like the Accademia Chigiana in Siena, the R. Romanini Foundation in Brescia and the Accademia L. Perosi in Biella. For years he carries out an intense musical activity within several fields, by playing as solo or within chamber ensembles, composing, teaching and conducting also own works.Composer's e-mail: stefanotorchio84@gmail.comYou can find me also on: facebook, instagram and twitter.
$4.00
O Come All Ye Faithful (sing-along for chamber orchestra)
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Chamber Orchestra
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INTERMEDIATE
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Sacred music
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John Reading, 1692
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Douglas Meyer
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O Come All Ye Faithful
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Douglas Meyer
#
SheetMusicPlus
Chamber Orchestra - Level 3 - Digital Download SKU: A0.873770 Composed by John Reading, 1692. Arranged by Douglas Meyer. Christian,Christmas,Praise & Wor...
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Chamber Orchestra - Level 3 - Digital Download SKU: A0.873770 Composed by John Reading, 1692. Arranged by Douglas Meyer. Christian,Christmas,Praise & Worship,Sacred. Score and parts. 25 pages. Douglas Meyer #3038915. Published by Douglas Meyer (A0.873770). A sing-along setting for chamber orchestra (1.1.2.1/2.1.1.0 strings) accompaniment with full score, parts and text for the holiday favorite O COME ALL YE FAITHFUL.
$18.95
IAN BUTTERWORTH Suite: Sing a Song of Sixpence for chamber orchestra
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Chamber Orchestra
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INTERMEDIATE
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Contemporary
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Ian Butterworth
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IAN BUTTERWORTH Suite: Sing a
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Ian Butterworth
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SheetMusicPlus
Chamber Orchestra - Level 3 - Digital Download SKU: A0.963763 Composed by Ian Butterworth. Contemporary. Score and Parts. 73 pages. Ian Butterworth #6195...
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Chamber Orchestra - Level 3 - Digital Download SKU: A0.963763 Composed by Ian Butterworth. Contemporary. Score and Parts. 73 pages. Ian Butterworth #6195357. Published by Ian Butterworth (A0.963763). A suite of four well known tunes lasting 8 mins approx. (Sing a Song of Sixpence, Barbara Allen, The Skye Boat Song and Pop goes the Weasel). The orchestration (Str+1.2.0.2:2.0.0.0) is similar to many 18thC symphonies and the suite is a suitable contrast in a concert programme. A version of the suite for string orchestra is also available. Copying of individual string parts for sole use by the purchaser is permitted.
$15.99
Hark! The Herald Angels Sing - Chamber Orchestra
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Chamber Orchestra
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INTERMEDIATE
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Sacred music
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Charles Wesley, Felix Mendelss
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John Groves
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Hark! The Herald Angels Sing -
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John Groves
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SheetMusicPlus
Chamber Orchestra - Level 3 - Digital Download SKU: A0.783901 Composed by Charles Wesley, Felix Mendelssohn-Bartholdy. Arranged by John Groves. Christmas...
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Chamber Orchestra - Level 3 - Digital Download SKU: A0.783901 Composed by Charles Wesley, Felix Mendelssohn-Bartholdy. Arranged by John Groves. Christmas,Praise & Worship,Sacred. Score and parts. 25 pages. John Groves #6610691. Published by John Groves (A0.783901). Hark! The Herald Angels Sing - arranged for Chamber OrchestraScore and Parts included: FluteOboeBb ClarinetBassoonBb TrumpetHorn in FTromboneTubaViolin 1Violin 2ViolaCelloArranged as wind, brass & string small ensemble (12 Parts) chamber orchestra. Feel free to double up parts especially in the string section for richer robust string orchestra configuration.Great for small ensemble use for schools, church, youth orchestras, community musicians, Christmas holiday programing, etc.
$39.99
Karl Friedrich Abel - Sinfonia Op. 7 n. 1 - Secondo Movimento - Andante
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Chamber Orchestra
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INTERMEDIATE
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Classical
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Karl Friedrich Abel
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Guido Menestrina
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Karl Friedrich Abel - Sinfonia
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Guido Menestrina
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SheetMusicPlus
Chamber Orchestra - Level 3 - Digital Download SKU: A0.828700 Composed by Karl Friedrich Abel. Arranged by Guido Menestrina. Classical. Score and parts. ...
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Chamber Orchestra - Level 3 - Digital Download SKU: A0.828700 Composed by Karl Friedrich Abel. Arranged by Guido Menestrina. Classical. Score and parts. 16 pages. Guido Menestrina #122893. Published by Guido Menestrina (A0.828700). Karl Friedrich Abel - Sinfonia Op. 7 n. 1 - Secondo Movimento - Adagio Edited by Guido Menestrina - Full score and single parts for 2 oboe, 2 F Horns (originally cor de chasse, tacet on 2nd movement), 2 violins, viola and cello (originally basse de violon). Abel was born in Köthen, a small German city, where his father, Christian Ferdinand Abel, had worked for years as the principal viola da gamba and cello player in the court orchestra. In 1723 Abel senior became director of the orchestra, when the previous director, Johann Sebastian Bach moved to Leipzig. The young Abel later boarded at Leipzig's Thomasschule, where he was taught by Bach. On Bach's recommendation in 1743 he was able to join Johann Adolph Hasse's court orchestra at Dresden where he remained for fifteen years.[3][5] In 1759 (or 1758 according to Chambers),[1] he went to England and became chamber-musician to Queen Charlotte, in 1764.[3][5] He gave a concert of his own compositions in London, performing on various instruments, one of which was a five-string cello known as a pentachord, which had been recently invented by John Joseph Merlin.[6] In 1762, Johann Christian Bach, the eleventh son of J.S. Bach, joined him in London, and the friendship between him and Abel led, in 1764 or 1765, to the establishment of the famous Bach-Abel concerts, England's first subscription concerts. In those concerts, many celebrated guest artists appeared, and many works of Haydn received their first English performance. For ten years the concerts were organized by Mrs. Theresa Cornelys, a retired Venetian opera singer who owned a concert hall at Carlisle House in Soho Square, then the height of fashionable events. In 1775 the concerts became independent of her, to be continued by Abel and Bach until Bach's death in 1782. Abel still remained in great demand as a player on various instruments new and old. He traveled to Germany and France between 1782 and 1785, and upon his return to London, became a leading member of the Grand Professional Concerts at the Hanover Square Rooms in Soho. Throughout his life he had enjoyed excessive living, and his drinking probably hastened his death, which occurred in London on 20 June 1787. One of Abel's works became famous due to a misattribution: in the 19th century, a manuscript symphony in the hand of Wolfgang Amadeus Mozart, was catalogued as his Symphony no. 3 in E flat, K. 18, and was published as such in the first complete edition of Mozart's works by Breitkopf & Härtel. Later, it was discovered that this symphony was actually the work of Abel, copied by the boy Mozart-evidently for study purposes-while he was visiting London in 1764. That symphony was originally published as the concluding work in Abel's Six Symphonies, Op. 7. Follow the score on youtube: https://www.youtube.com/watch?v=_urGVpH7Pls.
$7.99
Telemann – Grillen-Symphonie TWV 50:1 (Score and parts PDF)
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Chamber Orchestra
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INTERMEDIATE/ADVANCED
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Classical
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Georg Philipp Telemann
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Sneakwood Editions
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Telemann – Grillen-Symphonie
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Sneakwood Editions
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SheetMusicPlus
Chamber Orchestra - Level 4 - Digital Download SKU: A0.890768 Composed by Georg Philipp Telemann. Arranged by Sneakwood Editions. Baroque,Classical. Scor...
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Chamber Orchestra - Level 4 - Digital Download SKU: A0.890768 Composed by Georg Philipp Telemann. Arranged by Sneakwood Editions. Baroque,Classical. Score and parts. 34 pages. Sneakwood Editions #4781043. Published by Sneakwood Editions (A0.890768). The Concert à 9 Parties, 50:1, features an eccentric instrumentation of flute (ordinary, or that at the octave [i.e. piccolo], or the two combined), alto chalumeau, oboe, two violins almost entirely in unison, viola, two concertante contrabasses, and continuo.The work is in fact a three-movement symphony, as indicated by the original title that Telemann crossed out before he began composing: Grillen-Symphonie in the Italian, French, English, Scottish, and Polish styles. Although this title was rejected, along with the jumble of national idioms, it helps explain the music’s curiously tongue-in-cheek style (Grillen, as used in this sense, are whims) (From Music for a Mixed Taste: Style, Genre, and Meaning in Telemann’s by Steven Zohn)Edition based on manuscript by Telemann: Staatsbibliothek zu Berlin (D-B): Mus. ms. autogr. G. Ph. Telemann 3.Score (18 pp.) and parts (Flute, Oboe, Chalumeau, Double bass 1, Double bass 2, Violins 1 and 2, Viola and Basso Continuo)www.snakewoodeditions.com
$18.00
1757-1813) PLEYEL Symphony No.1 in F Op.14 No.1
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Chamber Orchestra
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INTERMEDIATE/ADVANCED
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Classical
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Ignaz Josef Pleyel
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Ian Butterworth
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1757-1813) PLEYEL Symphony No.
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Ian Butterworth
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SheetMusicPlus
Chamber Orchestra - Level 4 - Digital Download SKU: A0.1495619 Composed by Ignaz Josef Pleyel. Arranged by Ian Butterworth. Classical. 130 pages. Ian But...
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Chamber Orchestra - Level 4 - Digital Download SKU: A0.1495619 Composed by Ignaz Josef Pleyel. Arranged by Ian Butterworth. Classical. 130 pages. Ian Butterworth #1072143. Published by Ian Butterworth (A0.1495619). Pleyel (1757-1831) born in France, wrote 42 symphonies and came to London where his works rivalled those of his teacher, Haydn. Symphony No.1 is in four movements and is scored for 2 oboes, bassoon, two horns and strings. The score (42 pages) has been edited for bowing and phrasing, and the string parts may be copied for the sole use by the purchaser.ianbutterworthmusic.co.uk
$18.00
Piano Concerto No. 1 - Score Only
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Chamber Orchestra
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INTERMEDIATE
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Juan MarÃa Solare
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Piano Concerto No. 1 - Score O
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Juan Maria Solare
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SheetMusicPlus
Chamber Orchestra - Level 3 - Digital Download SKU: A0.1197642 Composed by Juan MarÃa Solare. 20th Century,Classical,Contemporary. Score and parts. 77...
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Chamber Orchestra - Level 3 - Digital Download SKU: A0.1197642 Composed by Juan MarÃa Solare. 20th Century,Classical,Contemporary. Score and parts. 77 pages. Juan Maria Solare #796823. Published by Juan Maria Solare (A0.1197642). Juan MarÃa Solare: Piano Concerto (No. 1)PARTSPiano Concerto No. 1 - FIRST movement [score and parts]https://www.sheetmusicplus.com/title/22466227?aff_id=565049https://www.sheetmusicplus.com/title/piano-concerto-no-1-first-movement-score-and-parts-digital-sheet-music/22466227?aff_id=565049https://www.sheetmusicplus.com/22466227?aff_id=565049Piano Concerto No. 1 - SECOND movement [score and parts]https://www.sheetmusicplus.com/title/22466231?aff_id=565049Piano Concerto No. 1 - THIRD movement [score and parts]https://www.sheetmusicplus.com/title/22466233?aff_id=565049Aesthetic reflections on the piano concertoDuring the eras of classicism and romanticism, a concerto was often conceived as a confrontation between a soloist, symbolising the individual, and the orchestra, representing society. Seen in this way, a concert reflects a value system that pits the individual against the group and poses a struggle of I against you. Surely this vehemence could be explained in a Beethovenian era when the concepts of human rights and individual freedom were fragile ideals.However, it is a different scale of values that my piano concerto tries to reflect: the idea of cooperation, of teamwork and of an orchestra as a living organism whose organs are not superior to one another, more vital than others, but fulfil different functions, qualitatively speaking.Every soloist plays a leading role, but this does not imply either subordination to the rest or denigration or subjugation of the rest. The fact that the soloist is sometimes in the foreground does not imply a victory over the others. The very concept of victory is meaningless here.At times, the soloist will fulfil a leadership role, at others he or she will underpin from passivity what is happening in the orchestra, intentionally from the shadows, as a grey eminence. And at other times - why not - he will question what the majority is doing.It is not a rough relationship of me against you, but there is also a we.The composition and orchestration of this piano concerto was made possible by a grant from the Senator for Culture of the Free Hanseatic City of Bremen. This work was funded by an artist's grant as part of the Bremen-Corona-Hilfen programme.The premiere by the orchestra of the Bremer Orchestergemeinschaft is scheduled for the beginning of 2024. Duration: 17 to 20 minutes.1st movement - https://youtu.be/DNckBKzaWtc2nd movement - https://youtu.be/1Zy0ZbrdPJE3rd movement - https://youtu.be/dnYE9dWUEZg
$25.00
Piano Concerto No. 1 - FIRST movement [score and parts]
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Chamber Orchestra
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INTERMEDIATE
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Juan MarÃa Solare
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Piano Concerto No. 1 - FIRST m
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Juan Maria Solare
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SheetMusicPlus
Chamber Orchestra - Level 3 - Digital Download SKU: A0.1197728 By Juan MarÃa Solare. By Juan MarÃa Solare. 20th Century,Classical,Contemporary. Sco...
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Chamber Orchestra - Level 3 - Digital Download SKU: A0.1197728 By Juan MarÃa Solare. By Juan MarÃa Solare. 20th Century,Classical,Contemporary. Score and parts. 74 pages. Juan Maria Solare #796909. Published by Juan Maria Solare (A0.1197728). Juan MarÃa Solare: Piano Concerto No. 1 - FIRST movement [score and parts]Please find the other two movements - also in this platformThe full score (of the three movements) is also available independently HERE:https://www.sheetmusicplus.com/title/piano-concerto-no-1-score-only-digital-sheet-music/22468631?aff_id=565049Video in YouTube (score follower)Aesthetic reflections on the piano concertoDuring the eras of classicism and romanticism, a concerto was often conceived as a confrontation between a soloist, symbolising the individual, and the orchestra, representing society. Seen in this way, a concert reflects a value system that pits the individual against the group and poses a struggle of I against you. Surely this vehemence could be explained in a Beethovenian era when the concepts of human rights and individual freedom were fragile ideals.However, it is a different scale of values that my piano concerto tries to reflect: the idea of cooperation, of teamwork and of an orchestra as a living organism whose organs are not superior to one another, more vital than others, but fulfil different functions, qualitatively speaking.Every soloist plays a leading role, but this does not imply either subordination to the rest or denigration or subjugation of the rest. The fact that the soloist is sometimes in the foreground does not imply a victory over the others. The very concept of victory is meaningless here.At times, the soloist will fulfil a leadership role, at others he or she will underpin from passivity what is happening in the orchestra, intentionally from the shadows, as a grey eminence. And at other times - why not - he will question what the majority is doing.It is not a rough relationship of me against you, but there is also a we.The composition and orchestration of this piano concerto was made possible by a grant from the Senator for Culture of the Free Hanseatic City of Bremen. This work was funded by an artist's grant as part of the Bremen-Corona-Hilfen programme.The premiere by the orchestra of the Bremer Orchestergemeinschaft is scheduled for the beginning of 2024. Duration: 17 to 20 minutes.
$33.00
Piano Concerto No. 1 - SECOND movement [score and parts]
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Chamber Orchestra
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INTERMEDIATE
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Juan MarÃa Solare
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Juan MarÃa Solare
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Piano Concerto No. 1 - SECOND
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Juan Maria Solare
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SheetMusicPlus
Chamber Orchestra - Level 3 - Digital Download SKU: A0.1197730 By Juan MarÃa Solare. By Juan MarÃa Solare. Arranged by Juan MarÃa Solare. 20th C...
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Chamber Orchestra - Level 3 - Digital Download SKU: A0.1197730 By Juan MarÃa Solare. By Juan MarÃa Solare. Arranged by Juan MarÃa Solare. 20th Century,Classical,Contemporary. Score and parts. 64 pages. Juan Maria Solare #796911. Published by Juan Maria Solare (A0.1197730). Piano Concerto No. 1 - SECOND movement [score and parts]Please find the other two movements - also in this platformThe full score (of the three movements) is also available independently HERE:https://www.sheetmusicplus.com/title/piano-concerto-no-1-score-only-digital-sheet-music/22468631?aff_id=565049Video in YouTube (score follower)Aesthetic reflections on the piano concerto (by Juan MarÃa Solare)During the eras of classicism and romanticism, a concerto was often conceived as a confrontation between a soloist, symbolising the individual, and the orchestra, representing society. Seen in this way, a concert reflects a value system that pits the individual against the group and poses a struggle of I against you. Surely this vehemence could be explained in a Beethovenian era when the concepts of human rights and individual freedom were fragile ideals.However, it is a different scale of values that my piano concerto tries to reflect: the idea of cooperation, of teamwork and of an orchestra as a living organism whose organs are not superior to one another, more vital than others, but fulfil different functions, qualitatively speaking.Every soloist plays a leading role, but this does not imply either subordination to the rest or denigration or subjugation of the rest. The fact that the soloist is sometimes in the foreground does not imply a victory over the others. The very concept of victory is meaningless here.At times, the soloist will fulfil a leadership role, at others he or she will underpin from passivity what is happening in the orchestra, intentionally from the shadows, as a grey eminence. And at other times - why not - he will question what the majority is doing.It is not a rough relationship of me against you, but there is also a we.The composition and orchestration of this piano concerto was made possible by a grant from the Senator for Culture of the Free Hanseatic City of Bremen. This work was funded by an artist's grant as part of the Bremen-Corona-Hilfen programme.The premiere by the orchestra of the Bremer Orchestergemeinschaft is scheduled for the beginning of 2024. Duration: 17 to 20 minutes.
$33.00
Piano Concerto No. 1 - THIRD movement [score and parts]
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Chamber Orchestra
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INTERMEDIATE
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Contemporary
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Juan MarÃa Solare
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Piano Concerto No. 1 - THIRD m
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Juan Maria Solare
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SheetMusicPlus
Chamber Orchestra - Level 3 - Digital Download SKU: A0.1197732 Composed by Juan MarÃa Solare. 20th Century,Classical,Contemporary. Score and parts. 53...
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Chamber Orchestra - Level 3 - Digital Download SKU: A0.1197732 Composed by Juan MarÃa Solare. 20th Century,Classical,Contemporary. Score and parts. 53 pages. Juan Maria Solare #796913. Published by Juan Maria Solare (A0.1197732). Piano Concerto No. 1 - THIRD movement [score and parts]Please find the other two movements - also in this platformThe full score (of the three movements) is also available independently HEREavailable HERE:(https://www.sheetmusicplus.com/title/piano-concerto-no-1-score-only-digital-sheet-music/22468631?aff_id=565049).Video in YouTube (score follower)Aesthetic reflections on the piano concerto (by Juan MarÃa Solare)During the eras of classicism and romanticism, a concerto was often conceived as a confrontation between a soloist, symbolising the individual, and the orchestra, representing society. Seen in this way, a concert reflects a value system that pits the individual against the group and poses a struggle of I against you. Surely this vehemence could be explained in a Beethovenian era when the concepts of human rights and individual freedom were fragile ideals.However, it is a different scale of values that my piano concerto tries to reflect: the idea of cooperation, of teamwork and of an orchestra as a living organism whose organs are not superior to one another, more vital than others, but fulfil different functions, qualitatively speaking.Every soloist plays a leading role, but this does not imply either subordination to the rest or denigration or subjugation of the rest. The fact that the soloist is sometimes in the foreground does not imply a victory over the others. The very concept of victory is meaningless here.At times, the soloist will fulfil a leadership role, at others he or she will underpin from passivity what is happening in the orchestra, intentionally from the shadows, as a grey eminence. And at other times - why not - he will question what the majority is doing.It is not a rough relationship of me against you, but there is also a we.The composition and orchestration of this piano concerto was made possible by a grant from the Senator for Culture of the Free Hanseatic City of Bremen. This work was funded by an artist's grant as part of the Bremen-Corona-Hilfen programme.The premiere by the orchestra of the Bremer Orchestergemeinschaft is scheduled for the beginning of 2024. Duration: 17 to 20 minutes.Full score available here
$33.00
The Emergence, Parts 1 & 2
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Chamber Orchestra
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ADVANCED
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Contemporary
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Trey Demmond
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The Emergence, Parts 1 & 2
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TreyD Music & Media, LLC
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SheetMusicPlus
Chamber Orchestra - Level 5 - Digital Download SKU: A0.1009779 Composed by (Gustav Mahler). Arranged by Trey Demmond. 20th Century,Contemporary. Score an...
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Chamber Orchestra - Level 5 - Digital Download SKU: A0.1009779 Composed by (Gustav Mahler). Arranged by Trey Demmond. 20th Century,Contemporary. Score and parts. 20 pages. TreyD Music & Media, LLC #28413. Published by TreyD Music & Media, LLC (A0.1009779). Both Parts 1 & 2 of The Emergence are joined to project the birth, glory, and fading of something truly amazing! For me, it was watching a dragonfly emerge from its pupa casing!
$55.00
[Davidson] The Singing Lesson
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Chamber Orchestra
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Matthew Davidson
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[Davidson] The Singing Lesson
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American Composers Alliance Inc.
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SheetMusicPlus
Chamber Orchestra - Digital Download SKU: A0.953030 Composed by Matthew Davidson. Contemporary,Opera. Score and parts. 175 pages. American Composers Alli...
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Chamber Orchestra - Digital Download SKU: A0.953030 Composed by Matthew Davidson. Contemporary,Opera. Score and parts. 175 pages. American Composers Alliance Inc. #4634691. Published by American Composers Alliance Inc. (A0.953030). An opera of three musical short stories in three acts, adapted from the short stories of Katherine Mansfield. Cast for 2 lyric sopranos, 2 dramatic mezzo-sopranos, 1 contralto, 1 tenor buffo, 1 basso buffo, with chamber orchestra of 0101 - 011(btbn)0 - 2 perc, celesta - 1001.PDF download includes score - contact sales@composers.com for any inquiries into part sales or rental.
$43.95
Mozart orchestrated Connell - Cantate KV619 - Violin 1
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Chamber Orchestra
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INTERMEDIATE/ADVANCED
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Classical
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Wolfgang Amadeus Mozart
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Adrian Connell
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Mozart orchestrated Connell -
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Adrian Connell
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SheetMusicPlus
Chamber Orchestra - Level 4 - Digital Download SKU: A0.823444 Composed by Wolfgang Amadeus Mozart. Arranged by Adrian Connell. Classical. Score and parts...
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Chamber Orchestra - Level 4 - Digital Download SKU: A0.823444 Composed by Wolfgang Amadeus Mozart. Arranged by Adrian Connell. Classical. Score and parts. 5 pages. Adrian Connell #3219219. Published by Adrian Connell (A0.823444). An orchestration for soprano voice, strings and timpani of Mozart's K619 for a performance by the Bromley Oecumenical Singers in 2003.
$1.99
Fantazia No. 1 for Trombone or Low Brass Sextet
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Chamber Orchestra
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INTERMEDIATE
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Classical
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Eric Burger Music
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Fantazia No. 1 for Trombone or
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Eric Burger Music
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SheetMusicPlus
Chamber Orchestra - Level 3 - Digital Download SKU: A0.508202 Arranged by Eric Burger Music. Baroque. Score and parts. 24 pages. Eric Burger Music #35148...
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Chamber Orchestra - Level 3 - Digital Download SKU: A0.508202 Arranged by Eric Burger Music. Baroque. Score and parts. 24 pages. Eric Burger Music #3514821. Published by Eric Burger Music (A0.508202). From Psalmes, Songs, and Sonnets, No. 23, T 389 (1611) This lively work from the great composer William Byrd has great interest and challenges for your group, and will wow your audience. A multi section work with time and modal changes will delight. View the score with playback at:https://youtu.be/DxZR0yjCoJs This quality work is published by Eric Burger Music: www.EricBurgerMusic.com Each of these Trombone and Low Brass Ensemble works is arranged and transcribed with the intent of provide the musician with an opportunity to play works from notable composers otherwise not available to them, using the construct and voicings the compose intended. Please review the video for questions on range and difficulty, or go to my website and download the spreadsheet with ranges, keys, tempos and other important information. If you need parts modified to different clefs or keys, please write me direct at: EricBurgerMusic@gmail.com Custom work also available. If you are unhappy with any of my works, write me directly for a replacement.
$14.00
[Westergaard] Twelfth Night (Act I Full Score)
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Chamber Orchestra
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Peter Westergaard
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[Westergaard] Twelfth Night
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American Composers Alliance Inc.
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SheetMusicPlus
Chamber Orchestra - Digital Download SKU: A0.952812 Composed by Peter Westergaard. Contemporary,Opera. Score and parts. 381 pages. American Composers All...
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Chamber Orchestra - Digital Download SKU: A0.952812 Composed by Peter Westergaard. Contemporary,Opera. Score and parts. 381 pages. American Composers Alliance Inc. #4624283. Published by American Composers Alliance Inc. (A0.952812). Full score to Act I of Westergaard's Shakespearian chamber opera, Twelfth Night. Scored for 12 solo singers (1 soprano, 1 mezzo-soprano, 1 contralto, 1 countertenor, 3 tenors, 4 baritones, 1 bass), 4 supernumeraries, flute (doubling piccolo & alto flute), Ob (doubling English horn), Clarinet, Bassoon, Horn, Trumpet, Harp, 2 Violins, 2 Violas, and 2 cellos. PDF download includes score - contact sales@composers.com for any inquiries into part sales or rental.
$111.95
[Westergaard] Twelfth Night (Act II Full Score)
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Chamber Orchestra
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Peter Westergaard
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[Westergaard] Twelfth Night
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American Composers Alliance Inc.
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SheetMusicPlus
Chamber Orchestra - Digital Download SKU: A0.952814 Composed by Peter Westergaard. Contemporary,Opera. Score and parts. 388 pages. American Composers All...
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Chamber Orchestra - Digital Download SKU: A0.952814 Composed by Peter Westergaard. Contemporary,Opera. Score and parts. 388 pages. American Composers Alliance Inc. #4624289. Published by American Composers Alliance Inc. (A0.952814). Full score to Act II of Westergaard's Shakespearian chamber opera, Twelfth Night. Scored for 12 solo singers (1 soprano, 1 mezzo-soprano, 1 contralto, 1 countertenor, 3 tenors, 4 baritones, 1 bass), 4 supernumeraries, flute (doubling piccolo & alto flute), Ob (doubling English horn), Clarinet, Bassoon, Horn, Trumpet, Harp, 2 Violins, 2 Violas, and 2 cellos. PDF download includes score - contact sales@composers.com for any inquiries into part sales or rental.
$111.95
ALES STENAR, suite for violin and chamber orchestra - Score Only
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Chamber Orchestra
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ADVANCED
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Stefano Olcese
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Stefano Olcese
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ALES STENAR, suite for violin
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Stefano Olcese
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SheetMusicPlus
Chamber Orchestra - Level 5 - Digital Download SKU: A0.1145526 By Stefano Olcese. By Stefano Olcese. Arranged by Stefano Olcese. Chamber,Classical,Contem...
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Chamber Orchestra - Level 5 - Digital Download SKU: A0.1145526 By Stefano Olcese. By Stefano Olcese. Arranged by Stefano Olcese. Chamber,Classical,Contemporary,Film/TV,Romantic Period. 28 pages. Stefano Olcese #745768. Published by Stefano Olcese (A0.1145526). ----> IMPORTANT
$19.99
Carson Cooman: The Acts of the Apostles (2009), an oratorio for baritone, chorus, congregation/audie
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Chamber Orchestra
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ADVANCED
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Carson Cooman
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Carson Cooman: The Acts of the
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Musik Fabrik Music Publishing
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SheetMusicPlus
Chamber Orchestra - Level 5 - Digital Download SKU: A0.533578 Composed by Carson Cooman. Christian,Contemporary,Spiritual. Score and parts. 189 pages. Mu...
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Chamber Orchestra - Level 5 - Digital Download SKU: A0.533578 Composed by Carson Cooman. Christian,Contemporary,Spiritual. Score and parts. 189 pages. Musik Fabrik Music Publishing #3025409. Published by Musik Fabrik Music Publishing (A0.533578). The Acts of the Apostles (2009), an oratorio for baritone, chorus, congregation/audience, and chamber orchestra (piano, organ, strings-suggested minimum of 3.3.3.2.1),was commissioned by The Memorial Church at Harvard University. It is dedicated to Edward Elwyn Jones and theHarvard University Choir.The biblical books of Luke and Acts form a pair of documents from a single author and with a single audience (thelikely-metaphorical “Theophilusâ€), yet they are unusual for being composed in such contrasting genres. Luke’sgospel, using Mark as a primary source throughout, features a comparable literary style to that of the otherevangelists. Acts, by contrast, is a historical monograph that charts the birth of the Church with dramatic storiesabout—and speeches from—the apostles, painting a vivid, if not necessarily chronological, picture of their victoriesand struggles. As such, it is a book that provides excellent source material for a dramatic choral libretto of this scale.Although much of Acts is focused on the ministry of Saul/Paul, this oratorio draws most of its material from thefirst third of the book, prior to and including the conversion of Saul. In the Prologue, Christ’s ascension is narratedand—following an orchestral Sinfonia—the chorus sings words of Jesus from the Sermon on the Plain in Luke’sgospel that foreshadow many of the trials the apostles go on to face. The astounding account of Pentecost follows:here, words from the book of Ruth, customarily read on the feast of Shavuot (Pentecost), are included, telling thestory of a Moabite woman who converted to the Israelite faith—a parallel to the expansion of the Christian messageto all nations by the gift of the Holy Spirit. The Prayer for Boldness, quoting Psalm 2, asks God for protection fromthe threats of persecution that the apostles will now face.Stephen, regarded as the proto-martyr of the Christian Church, offers one of the most developed speeches in Acts,only a small portion of which is presented here. Full of scriptural references, including the quotation from Isaiah“Heaven is my throne…â€, the end of the narrative is remarkable for two reasons: firstly, Stephen’s final wordsmirror those of Christ on the cross in Luke’s gospel—where Jesus forgives his executioners and prays “Father, intoyour hands I commend my spirit†(Luke 23:46); secondly, Saul is specifically mentioned as one who approved ofStephen’s stoning, indicative of the redemptive possibilities of the Christian message.The account of the baptism of the Ethiopian eunuch here in the oratorio ends with the First Song of Isaiah—whilenot quoted in Acts, it seems a fitting conclusion to the scene as Philip and the eunuch were reading Isaiah together,and the canticle has often been associated by Christians with the rite of baptism. Similarly, the story of Saul’sConversion is followed here by a Christological poem found in Paul’s letter to the Philippians, though it is likely aquotation from an earlier source. It is often regarded as the earliest extant Christian hymn.The Acts of the Apostles concludes with Luke’s realistic assessment that in spite of Paul’s energetic evangelism manyremained unconvinced by the Christian message. At the heart of both Luke’s gospel and Acts is the tension betweenthe uniquely important role of the Jewish traditions that Jesus himself practiced and the expansion of the gospel togentiles, of whom Luke himself is one. It is appropriate, therefore, to follow Paul’s message of salvation to thegentiles with the Magnificat: a canticle that emphasizes the promises of God to the people of Israel throughouthistory.Three traditional hymn texts are found in the oratorio, each set congregationally to a pre-existing tune. The first,“Spirit of mercy, truth, and love†is an eighteenth century poem that e.
$25.95
The Wild Beast of the Bungalow (Orchestra Score) - Score Only
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Chamber Orchestra
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INTERMEDIATE/ADVANCED
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Rachel J Peters
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The Wild Beast of the Bungalow
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Rachel J Peters
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SheetMusicPlus
Chamber Orchestra - Level 4 - Digital Download SKU: A0.1368170 By Rachel J Peters. By Rachel J Peters. 21st Century,Broadway,Classical,Comedy,Musical/Sho...
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Chamber Orchestra - Level 4 - Digital Download SKU: A0.1368170 By Rachel J Peters. By Rachel J Peters. 21st Century,Broadway,Classical,Comedy,Musical/Show,Opera. 337 pages. Rachel J Peters #952492. Published by Rachel J Peters (A0.1368170). The Wild Beast of the Bungalow is a triptych of short operas (Mermaid in the Jar, Prairie Dogs, and Fine and Dandy), which takes place entirely within an eleven-year-old Girl’s bedroom as she overhears her parents’ volatile conversations. Over the course of a few days, a mermaid, a family of stuffed prairie dogs, and singing groups of chickenpox and shingles force her to confront what it means to care for others and be cared for herself. Libretto by Royce Vavrek, based on and further inspired by the short story by Sheila Heti.CAST: 1 coloratura soprano plus eight additional principals playing multiple rolesINSTRUMENTATION: 1.0.1 (doubling BCl.).1.bar.sax/0.0.1.0/pft-perc (1)-harp-ukulele (doubling banjo)/1.0.0.1.1 (Parts must be rented separately.)DURATION: 90 minutesPAGES: 337WORLD PREMIERE: Oberlin Conservatory, Winter 2020.NOTE: All performances of this work require separate permission and licensing. Any performance without a license is a violation of copyright. To obtain performance rights and more information, please write to the composer at rachel@racheljpeters.com.
$70.00
One Second to the Future - Guitar Orchestra
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Chamber Orchestra
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INTERMEDIATE/ADVANCED
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Brent C Robitaille
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One Second to the Future - Gui
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Brent C Robitaille
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SheetMusicPlus
Chamber Orchestra - Level 4 - Digital Download SKU: A0.1412646 By Brent C Robitaille. By Brent C Robitaille. 21st Century,Classical. 83 pages. Brent C Ro...
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Chamber Orchestra - Level 4 - Digital Download SKU: A0.1412646 By Brent C Robitaille. By Brent C Robitaille. 21st Century,Classical. 83 pages. Brent C Robitaille #994677. Published by Brent C Robitaille (A0.1412646). One Second to the Future (Guitar Orchestra) Composer: Brent Robitaille  • “One Second to the Future†is a two-movement piece for either a single or optional double guitar orchestra with four separate parts for electric guitar and classical guitar. Two optional steel string guitar and electric bass parts are available but may be substituted if these instruments are unavailable. The total score will be around 500 measures with a running time of approximately 12-15 minutes. The piece is quite approachable for intermediate-level guitarists, with the more challenging sections arranged for the 1st and 2nd parts of the electric and classical guitar. Three overhead mics from the stage will be used to spatialize the sound into a stereo or surround sound system.  • The first movement starts with a fixed audio shortwave recording from the Canadian time signal shortwave station CHU, gently fading in for approximately 20 seconds before the guitar orchestra begins with natural and artificial harmonics.  • The second fixed audio track gently enters around the 1:00-minute mark. This track was recorded using eight amplified and non-amplified guitars in altered tunings with eight separate microphones to integrate into stereo or surround sound. The guitar's open strings were left to vibrate sympathetically as the volume increased and struck on the headstock with various rubber and metal sticks, violin bows or paint brushes to get the strings vibrating. The resulting wave files were then imported into a sampling program and filtered into the overtone series with “C†as the fundamental, emphasising the first 14 partials. This recording will be used intermittently throughout the first movement, acting primarily as a background pad.   • At approximately 3:00 minutes into the first movement, the players are asked to use a glass or metal slide to tap out rhythms based on the international Morse code. Several other standard slide guitar techniques are also integrated into this section. See instructions in the score. The first movement ends with both fixed audio tracks fading away.  • The second movement integrates a more traditional guitar playing and composition approach. Its bulk is at a robust tempo of 160 bpm and uses several rhythmic and timbral techniques, including sul tasto, sul ponticello, harmonics, golpe, string snaps, and the further use of guitar slides.  • Midway through the second movement, a rallentando proceeds to a section indicated by the tempo mark “slow motion.†At this point, a third fixed audio recording of a single vibrating guitar string slowed down by 3000% will fade in. The orchestra is instructed to play with this recording in slow motion or approximately 30 bpm. See score for details. The orchestra eventually returns to the original tempo to finish the 2nd movement.  Technical Requirements • Three mono or stereo mics from the orchestra will be required and blended with the stereo or surround sound. • A standard guitar delay and distortion pedal for electric guitar parts one and two is required. • Glass and metal guitar slides are required.   To download the fixed audio tracks, go here: https://soundcloud.com/kalymi/sets/one-second-to-the-future-guitar-orchestra-fixed-audio-tracks For fixed audio track information and information, contact me at:info@brentrobitaille.com.
$75.00
Mermaid in the Jar Full Score - Score Only
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Chamber Orchestra
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INTERMEDIATE/ADVANCED
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Rachel J Peters
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Mermaid in the Jar Full Score
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Rachel J Peters
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SheetMusicPlus
Chamber Orchestra - Level 4 - Digital Download SKU: A0.1325451 By Rachel J Peters. By Rachel J. Peters. 21st Century,Classical,Opera. 86 pages. Rachel J ...
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Chamber Orchestra - Level 4 - Digital Download SKU: A0.1325451 By Rachel J Peters. By Rachel J. Peters. 21st Century,Classical,Opera. 86 pages. Rachel J Peters #913678. Published by Rachel J Peters (A0.1325451). A short chamber operaLibretto by Royce Vavrek, based on the short story by Sheila Heti.Mermaid in the Jar is the first short chamber opera in the Wild Beast of the Bungalow triptych (Mermaid in the Jar, Prairie Dogs, and Fine and Dandy), which takes place entirely within an eleven-year-old Girl’s bedroom as she overhears her parents’ volatile conversations. Over the course of a few days, a mermaid, a family of stuffed prairie dogs, and singing groups of chickenpox and shingles force her to confront what it means to care for others and be cared for herself.CAST: coloratura soprano, mezzo-soprano, bass-baritone, and three additional treble voices. (If the Prologue is omitted, no bass-baritone is required.)INSTRUMENTATION: 1.0.1 (doubling BCl.).1.bar.sax/0.0.1.0/pft-perc (1)-harp-1.0.0.1.1 (Parts need to be rented separately.)DURATION: 20 minutesPAGES: 86WORLD PREMIERE: Oberlin Conservatory, Winter 2020.NOTE: All performances of this work require separate permission and licensing. Any performance without a license is a violation of copyright.. For all performance inquiries, please write to rachel@racheljpeters.com.
$28.00
Requiem
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Chamber Orchestra
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Harald Weiss
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Requiem
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Schott Music - Digital
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SheetMusicPlus
Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra - Digital Download SKU: S9.Q7038 Teil I: Schwarz vor Augen... · Teil I...
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Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra - Digital Download SKU: S9.Q7038 Teil I: Schwarz vor Augen... · Teil II: ...und es ward Licht!. Composed by Harald Weiss. This edition: study score. Music Of Our Time. Downloadable, Study score. Duration 100' 0. Schott Music - Digital #Q7038. Published by Schott Music - Digital (S9.Q7038). Latin • German.On letting go(Concerning the selection of the texts) In the selection of the texts, I have allowed myself to be motivated and inspired by the concept of “letting goâ€. This appears to me to be one of the essential aspects of dying, but also of life itself. We humans cling far too strongly to successful achievements, whether they have to do with material or ideal values, or relationships of all kinds. We cannot and do not want to let go, almost as if our life depended on it. As we will have to practise the art of letting go at the latest during our hour of death, perhaps we could already make a start on this while we are still alive. Tagore describes this farewell with very simple but strikingly vivid imagery: “I will return the key of my doorâ€. I have set this text for tenor solo. Here I imagine, and have correspondingly noted in a certain passage of the score, that the protagonist finds himself as though “in an ocean†of voices in which he is however not drowning, but immersing himself in complete relaxation. The phenomenon of letting go is described even more simply and tersely in Psalm 90, verse 12: “So teach us to number our days, that we may apply our hearts unto wisdomâ€. This cannot be expressed more plainly.I have begun the requiem with a solo boy’s voice singing the beginning of this psalm on a single note, the note A. This in effect says it all. The work comes full circle at the culmination with a repeat of the psalm which subsequently leads into a resplendent “lux aeternaâ€. The intermediate texts of the Requiem which highlight the phenomenon of letting go in the widest spectrum of colours originate on the one hand from the Latin liturgy of the Messa da Requiem (In Paradisum, Libera me, Requiem aeternam, Mors stupebit) and on the other hand from poems by Joseph von Eichendorff, Hermann Hesse, Rabindranath Tagore and Rainer Maria Rilke.All texts have a distinctive positive element in common and view death as being an organic process within the great system of the universe, for example when Hermann Hesse writes: “Entreiß dich, Seele, nun der Zeit, entreiß dich deinen Sorgen und mache dich zum Flug bereit in den ersehnten Morgen†[“Tear yourself way , o soul, from time, tear yourself away from your sorrows and prepare yourself to fly away into the long-awaited morningâ€] and later: “Und die Seele unbewacht will in freien Flügen schweben, um im Zauberkreis der Nacht tief und tausendfach zu leben†[“And the unfettered soul strives to soar in free flight to live in the magic sphere of the night, deep and thousandfoldâ€]. Or Joseph von Eichendorff whose text evokes a distant song in his lines: “Und meine Seele spannte weit ihre Flügel aus. Flog durch die stillen Lande, als flöge sie nach Haus†[“And my soul spread its wings wide. Flew through the still country as if homeward bound.â€]Here a strong romantically tinged occidental resonance can be detected which is however also accompanied by a universal spirit going far beyond all cultures and religions. In the beginning was the sound Long before any sort of word or meaningful phrase was uttered by vocal chords, sounds, vibrations and tones already existed. This brings us back to the music. Both during my years of study and at subsequent periods, I had been an active participant in the world of contemporary music, both as percussionist and also as conductor and composer. My early scores had a somewhat adventurous appearance, filled with an abundance of small black dots: no rhythm could be too complicated, no register too extreme and no harmony too dissonant. I devoted myself intensely to the handling of different parameters which in serial music coexist in total equality: I also studied aleatory principles and so-called minimal music.I subsequently emigrated and took up residence in Spain from where I embarked on numerous travels over the years to India, Africa and South America. I spent repeated periods during this time as a resident in non-European countries. This meant that the currents of contemporary music swept past me vaguely and at a great distance. What I instead absorbed during this period were other completely new cultures in which I attempted to immerse myself as intensively as possible.I learned foreign languages and came into contact with musicians of all classes and styles who had a different cultural heritage than my own: I was intoxicated with the diversity of artistic potential.Nevertheless, the further I distanced myself from my own Western musical heritage, the more this returned insistently in my consciousness.The scene can be imagined of sitting somewhere in the middle of the Brazilian jungle surrounded by the wailing of Indians and out of the blue being provided with the opportunity to hear Beethoven’s late string quartets: this can be a heart-wrenching experience, akin to an identity crisis. This type of experience can also be described as cathartic. Whatever the circumstances, my “renewed†occupation with the “old†country would not permit me to return to the point at which I as an audacious young student had maltreated the musical parameters of so-called contemporary music. A completely different approach would be necessary: an extremely careful approach, inching my way gradually back into the Western world: an approach which would welcome tradition back into the fold, attempt to unfurl the petals and gently infuse this tradition with a breath of contemporary life.Although I am aware that I will not unleash a revolution or scandal with this approach, I am nevertheless confident as, with the musical vocabulary of this Requiem, I am travelling in an orbit in which no ballast or complex structures will be transported or intimated: on the contrary, I have attempted to form the message of the texts in music with the naivety of a “homecomerâ€. Harald WeissColonia de San PedroMarch 20091 (auch Altfl.) · 2 (2. auch Engl. Hr.) · 1 (auch Bassklar.) · 0 - 2 · Flhr. · 0 · 0 - P. S. (Glsp. · Röhrengl. · Gongs · Trgl. · Beck. · Tamt. · 2 Holzschlitztr. (oder Woodbl.) · Woodbl. · gr. Tr.) (3 Spieler) - Org. (Positiv) - Str. (4 · 4 · 4 · 4 · 2).
$55.99
Last Door of Light
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Chamber Orchestra
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Sir Peter Maxwell Davies
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Last Door of Light
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Schott Music - Digital
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SheetMusicPlus
1.2.0.2-2.2.0.0-timp-str(7.6.5.4.3) chamber orchestra - Digital Download SKU: S9.Q19150 For chamber orchestra. Composed by Sir Peter Maxwell Davie...
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1.2.0.2-2.2.0.0-timp-str(7.6.5.4.3) chamber orchestra - Digital Download SKU: S9.Q19150 For chamber orchestra. Composed by Sir Peter Maxwell Davies. This edition: study score. Music Of Our Time. Downloadable, Study score. Op. 293. Duration 20 minutes. Schott Music - Digital #Q19150. Published by Schott Music - Digital (S9.Q19150). Peter Maxwell Davies was thinking of individual and communal vulnerability when composing this piece, especially in relation to the problem of climate change and his home in the Orkney Islands, which is under threat from rising sea levels. However, this theme is not a completely negative one: Davies claims we must all enter the last door of light but the journey is full of light and joy. The melody at the start of the work, which Davies composed in the ‘70’s and never used, could be an Island folk melody and is subject to constant transformation throughout the piece before reaching apotheosis at the end.
$21.99
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