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51
SUITE
Composed by Oskar Fuchs. Arranged by Becky Dugan. Romantic Period. Score, Set of Parts. 46…
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Composed by Oskar Fuchs. Arranged by Becky Dugan. Romantic Period. Score, Set of Parts. 46 pages. Published by B. L. Dugan (S0.72129). - Score,Set of Parts - Romantic Period - B. L. Dugan
$24.00
21.85 €
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Oskar Fuchs
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SUITE
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B. L. Dugan
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SheetMusicPlus
PROMISED LAND
Composed by Miss M. Durham (Southern Harmony, 1833). Arranged by Becky Dugan. 20th Century…
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Composed by Miss M. Durham (Southern Harmony, 1833). Arranged by Becky Dugan. 20th Century, Sacred, Recital. Score, Set of Parts. 50 pages. Published by B. L. Dugan (S0.72137). - Score,Set of Parts - 20th Century,Sacred,Recital - B. L. Dugan
$18.00
16.39 €
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Miss M
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PROMISED LAND
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B. L. Dugan
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SheetMusicPlus
Bethena: A Concert Waltz
Composed by Scott Joplin (1868-1917). Arranged by Becky Dugan. 20th Century, Ragtime, Amer…
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Composed by Scott Joplin (1868-1917). Arranged by Becky Dugan. 20th Century, Ragtime, Americana. Score, Set of Parts. 68 pages. Published by B. L. Dugan (S0.74953). - Score,Set of Parts - 20th Century,Ragtime,Americana - B. L. Dugan
$18.00
16.39 €
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Scott Joplin
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Bethena: A Concert Waltz
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B. L. Dugan
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SheetMusicPlus
L'oiseau de feu - The Firebird
Digital Download SKU: S9.Q1892 Fairy story ballet in two scenes, composed after …
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Digital Download SKU: S9.Q1892 Fairy story ballet in two scenes, composed after the Russian national fairy story by Michel Fokine. Composed by Igor Stravinsky. This edition: vocal/piano score. Downloadable, Piano reduction. Duration 40 minutes. Schott Music - Digital #Q1892. Published by Schott Music - Digital (S9.Q1892). 2 Picc. * 3 (3. auch Picc.) * 3 * Engl. Hr. * 3 * Bassklar. * 3 (3. auch Kfg.) * Kfg. - 4 * 3 * 3 * 1 - P. S. (Glsp. * Xyl. * Trgl. * 2 Beck. * Tamt. * Tamb. * gr. Tr.) (4 Spieler) - 3 Hfn. * Cel. * Klav. - Str. (16 * 16 * 14 * 8 * 6) Auf der Buhne: 3 Trp. * 3 Tenortb. * 2 Basstb. - 2 Gl.2 Picc. · 3 (3. auch Picc.) · 3 · Engl. Hr. · 3 · Bassklar. · 3 (3. auch Kfg.) · Kfg. - 4 · 3 · 3 · 1 - P. S. (Glsp. · Xyl. · Trgl. · 2 Beck. · Tamt. · Tamb. · gr. Tr.) (4 Spieler) - 3 Hfn. · Cel. · Klav. - Str. (16 · 16 · 14 · 8 · 6) Auf der Bühne: 3 Trp. · 3 Tenortb. · 2 Basstb. - 2 Gl.
$33.99
30.95 €
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Igor Stravinsky
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L'oiseau de feu - The Firebird
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Schott Music - Digital
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SheetMusicPlus
The Firebird (L'Oiseau de feu / Der Feuervogel)
2 Picc. · 3 (3. auch Picc.) · 3 · Engl. Hr. · 3 · Bassklar. · 3 (3. auch…
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2 Picc. · 3 (3. auch Picc.) · 3 · Engl. Hr. · 3 · Bassklar. · 3 (3. auch ì Kfg.) · Kfg. - 4 · 3 · 3 · 1 - P.S. (Trgl. · Beck. · Tamt. · Schellentr. · ì gr. Tr. · Glspl. · Xyl.) (4 Spieler) - 3 Hfn. · Klav. · Cel. - Str. (16 · 16 ì · 14 · 8 · 6) orchestra - Digital Download SKU: S9.Q47203 Suite for orchestra (1919). Composed by Igor Stravinsky. This edition: study score. Eulenburg - Orchestra - Score. Eulenburg Miniature Scores. Downloadable, Study score. Duration 20 minutes. Schott Music - Digital #Q47203. Published by Schott Music - Digital (S9.Q47203). German • English.Igor Stravinsky's musical setting of the Slavic fable The Firebird is one of the most ground-breaking orchestral works of the early 20th century. The reviews of the world premiere of the ballet at the Théâtre National de l’Opéra in Paris lauded Stravinsky's 'dazzling music in all shades of colour'; as a consequence, he composed two orchestral suites of his ballet. The version of 1919 is now published as a new edition with a modern notation and new orchestral material.Writing music to heighten dramatic situations, such as battle and crisis, was a speciality of Igor Stravinsky. In his ballet, The Firebird, premiered in 1910, the 27 year old composer surpassed many of today’s film composers by depicting a breathtaking battle between good and evil. With music written for large orchestra, this is carefully thought out and precisely choreographed battle music that could not be more exciting!
$23.99
21.84 €
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Igor Stravinsky
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The Firebird
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Schott Music - Digital
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SheetMusicPlus
Le temps l'horloge
Picc. · 2 · 2 · Es-Klar. · 2 · Bassklar. · 2 · Kfg. - 3 · 3 · 3…
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Picc. · 2 · 2 · Es-Klar. · 2 · Bassklar. · 2 · Kfg. - 3 · 3 · 3 · 1 - P. S. (Vibr. · Marimba · 2 hg. Beck. · 2 Tamt. · kl. Tr.) (2 Spieler) - Hfe. · Cel. · Cemb. · Akk. - Str. soprano voice and orchestra - difficult - Digital Download SKU: S9.Q11788 Five episodes for soprano and orchestra. Composed by Henri Dutilleux. This edition: vocal/piano score. Downloadable, vocal/piano score. Duration 14 minutes. Schott Music - Digital #Q11788. Published by Schott Music - Digital (S9.Q11788). French.
$29.99
27.31 €
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Henri Dutilleux
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Le temps l'horloge
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Schott Music - Digital
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SheetMusicPlus
L'Arbre des songes
Picc. · 2 · 3 (3. auch Ob. d'am.) · Es-Klar. · 2 · Bassklar. · 2 · Kf…
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Picc. · 2 · 3 (3. auch Ob. d'am.) · Es-Klar. · 2 · Bassklar. · 2 · Kfg. - 3 · 3 · 3 · 1 - P. S. (Glsp. · Crot. · Vibr. · Röhrengl. · 2 hg. Beck. · 2 Tamt. · 3 Bong. · kl. Tr. · 3 Tomt.) (5 Spieler) - Hfe. · Klav. (auch Cel.) · Cimb. - Str. violin and orchestra - difficult - Digital Download SKU: S9.Q2929 Concerto. Composed by Henri Dutilleux. This edition: piano reduction with solo part. Downloadable, Piano reduction with solo part. Duration 25 minutes. Schott Music - Digital #Q2929. Published by Schott Music - Digital (S9.Q2929).
$35.99
32.77 €
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Henri Dutilleux
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L'Arbre des songes
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Schott Music - Digital
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SheetMusicPlus
L'arbre des songes
Picc. · 2 · 3 (3. auch Ob. d'am.) · Es-Klar. · 2 · Bassklar. · 2 · Kf…
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Picc. · 2 · 3 (3. auch Ob. d'am.) · Es-Klar. · 2 · Bassklar. · 2 · Kfg. - 3 · 3 · 3 · 1 - P. S. (Glsp. · Crot. · Vibr. · Röhrengl. · 2 hg. Beck. · 2 Tamt. · 3 Bong. · kl. Tr. · 3 Tomt.) (5 Spieler) - Hfe. · Klav. (auch Cel.) · Cimb. - Str. violin and orchestra - difficult - Digital Download SKU: S9.Q2959 Concerto. Composed by Henri Dutilleux. This edition: study score. Downloadable, Study score. Duration 25 minutes. Schott Music - Digital #Q2959. Published by Schott Music - Digital (S9.Q2959).
$55.99
50.98 €
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Henri Dutilleux
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L'arbre des songes
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Schott Music - Digital
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SheetMusicPlus
L'Arlésienne Suite Nr. 2
Flöte 1+2, Oboe / Sopran-Blockflöte, Klarinette 1+2 in B, Alt-Saxophon 1+2 in Es, Te…
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Flöte 1+2, Oboe / Sopran-Blockflöte, Klarinette 1+2 in B, Alt-Saxophon 1+2 in Es, Tenor-Saxophon in B, Fagott, Horn in F, Trompete 1+2 in B, Posaune, Tuba, Violine 1+2, Viola, Violoncello, Kontrabass, Schlagwerk (kl.u.gr. Trommel, Becken) instrumental-ensemble - intermediate - Digital Download SKU: S9.Q41854 Composed by Georges Bizet. Arranged by Volkhard Stahl. This edition: Sheet music. Downloadable. Op. 2. Schott Music - Digital #Q41854. Published by Schott Music - Digital (S9.Q41854). German.
$5.99
5.45 €
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Georges Bizet
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L'Arlésienne Suite Nr. 2
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Schott Music - Digital
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SheetMusicPlus
Suite No. 1
Guitar - Advanced - Digital Download SKU: ZZ.DZ-4308 Composed by Giorgio Mirto. Sco…
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Guitar - Advanced - Digital Download SKU: ZZ.DZ-4308 Composed by Giorgio Mirto. Score. 24 pages. Les Productions d'OZ - Digital #DZ 4308. Published by Les Productions d'OZ - Digital (ZZ.DZ-4308). Following a recent experience on the jury of a guitar competition, I noted with great pleasure that Giorgio Mirto, with whom I had shared the role of juror, wanted to celebrate the experience of the competition - during from which we discovered that we had had a great affinity of thought - with something which could endure over time and not evaporate as often happens in short and occasional meetings between musicians. He did it as a true composer, which he is, and dedicated to me a very beautifully crafted Suite to which I allowed myself to collaborate at least formally, by suggesting titles for the four movements. This is how Suite n.1 was born, a piece that does not strictly respect the formal rules of the Baroque era, but reinterprets and reuses them in a new key. The work's obvious late Baroque inspiration led me to find titles that invited the performer to delve deeper into the work's aesthetic inspiration. So I suggested to Giorgio that he title the four movements with something that linked their content to four greats of the 18th century. German masters. The prelude has thus become from Eisenach because of its sometimes improvised Bach-like atmosphere, the second movement, vaguely toccata, speaks an organ language in the manner of Buxtehude (who lived in Lübeck), the slow movement has a Handelian quality - and Handel was born in Halle - and the last movement, far from being a true Chaconne, undoubtedly has the latter's taste for variation and ostinato, typical traits of Telemann who lived in Magdeburg. The cities that appear in the titles are therefore indelible to the authors cited. Furthermore, one should not think that the style of the work is in any way German, given that Giorgio Mirto expresses himself in a very joyful language that synthesizes modality with minimalism, all seasoned with a a nod to Pink's progressive rock Floyd. or a Mike Oldfield... The result of this mixture of ideas, inspirations and styles is a work that personally I never tire of reading and rereading, for the freshness that emanates from it and for the climate expressive which rises, nourishing itself with full efficiency. We ultimately cannot ignore that the note B, the one which marks in a minor way some of the most expressive works of the guitar repertoire, from the study of Sor which made generations of students fall in love with the guitar, until to that of Frank Martin's Four Pieces via La Catedral di Barrios, is the modal fulcrum of the entire Suite: it is true that the Prelude begins with a clear chord in E minor and lingers on an open ending in A minor , but it almost seems that the initial E serves as a launching pad for a continuation of the work in which the dominant, that is to say the B, is the true musical North, the pole star which guides us in the other three movements until the end of the Chaconne de Magdebourg. I wish Giorgio and our Suite great longevity and a favorable destiny in the complex and complex world of contemporary guitar composition. And I thank him again, flattered by his very kind dedication.FRANCESCO BIRAGHIAu lendemain d'une récente expérience au sein du jury d'un concours de guitare, j'ai constaté avec grand plaisir que Giorgio Mirto, avec qui j'avais partagé le rôle de juré, souhaitait célébrer l'expérience du concours - au cours de laquelle nous avons découvert que nous avions eu un grand affinité de pensée - avec quelque chose qui pourrait perdurer dans le temps et ne pas s'évaporer comme cela arrive souvent lors de rencontres courtes et occasionnelles entre musiciens. Il l'a fait en véritable compositeur, ce qu'il est, et m'a dédié une Suite d'une très belle facture à laquelle je me suis permis de collaborer au moins formellement, en suggérant des titres pour les quatre mouvements. C'est ainsi qu'est née la Suite n.1, une pièce qui ne respecte pas strictement les règles formelles de l'époque baroque, mais les réinterprète et les réutilise dans une nouvelle tonalité. L'inspiration évidente du baroque tardif de l'œuvre m'a amené à trouver des titres qui invitaient l'interprète à approfondir l'inspiration esthétique de l'œuvre. J'ai donc suggéré à Giorgio de titrer les quatre mouvements avec quelque chose qui reliait leur contenu à quatre grands du XVIIIe siècle. Maîtres allemands. Le prélude est ainsi devenu d'Eisenach en raison de son atmosphère parfois improvisée à la Bach, le deuxième mouvement, vaguement toccata, parle un langage d'orgue à la manière de Buxtehude (qui vivait à Lübeck), le mouvement lent a un Qualité haendélienne - et Haendel est né à Halle - et le dernier mouvement, loin d'être une véritable Chaconne, a sans doute le goût de cette dernière pour la variation et l'ostinato, traits typiques de Telemann qui vivait à Magdebourg. Les villes qui apparaissent dans les titres sont donc indélébiles aux auteurs cités. De plus, il ne faut pas penser que le style de l'œuvre soit en aucune façon allemand, étant donné que Giorgio Mirto s'exprime dans un langage très joyeux qui synthétise la modalité avec le minimalisme, le tout assaisonné d'un clin d'œil au rock progressif Floyd de Pink. ou un Mike Oldfield... Le résultat de ce mélange d'idées, d'inspirations et de styles est un ouvrage que personnellement je ne me lasse pas de lire et de relire, pour la fraîcheur qui s'en dégage et pour le climat expressif qui monte, se nourrissant de plein efficacité. On ne peut finalement pas ignorer que la note B, celle qui marque de manière mineure certaines des œuvres les plus expressives du répertoire de guitare, depuis l'étude de Sor qui a fait tomber amoureux de la guitare des générations d'étudiants, jusqu'à celle de Frank Martin Quatre Pièces via La Catedral di Barrios, est le point d'appui modal de toute la Suite : il est vrai que le Prélude commence par un accord clair en mi mineur et s'attarde sur une fin ouverte en la mineur, mais il semble presque que le mi initial sert de une rampe de lancement pour une suite de l'œuvre dans laquelle la dominante, c'est-à -dire le B, est le véritable Nord musical, l'étoile polaire qui nous guide dans les trois autres mouvements jusqu'à la fin de la Chaconne de Magdebourg. Je souhaite à Giorgio et à « notre » Suite une grande longévité et un destin favorable dans le monde complexe et complexe de la composition contemporaine pour guitare. Et je le remercie encore, flatté de son très aimable dévouement.FRANCESCO BIRAGHI.
$10.95
9.97 €
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Giorgio Mirto
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Suite No. 1
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Les Productions d'OZ - Digital
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SheetMusicPlus
CKZD Fanfare
Small Ensemble Timpani,Trumpet - Level 4 - Digital Download SKU: A0.977349 Composed…
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Small Ensemble Timpani,Trumpet - Level 4 - Digital Download SKU: A0.977349 Composed by Lübeck. Arranged by Des McNutty. Renaissance. Score and parts. 16 pages. Des Press #6431791. Published by Des Press (A0.977349). The CKZD is based on a source from Lübeck, dated 1598; a book of principale Sonatas upon which a group of trumpeters and timpanists would improvise together. This piece was reconstructed following sources such as Bendenelli and the Toccata from Monteverdi's L'Orfeo. CKZD is most probably a dedication to Christian, König zu Dänemark (Christian, King of Denmark). This version was commissioned by Trummet, a historical natural-trumpet group led by Julian Zimmermann. The ideal sound picture is of a pyramid, with the weight at the bottom and a light top, dancing in the resonance of the overtones. The lower parts should be played with a full, vibrant sound and rhythmical, clear attack, giving welcome support to those above. Trumpets 5 and 6 must take care that their drone of a 5th is always pure, like a power-chord on a rock guitar. Further ornamentation in all parts, especially the clarini, is to be encouraged within the written structure.
$12.99
11.83 €
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Lübeck
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CKZD Fanfare
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Des Press
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SheetMusicPlus
Sanctus
Choral SAT choir - Digital Download SKU: H1.SP767DP Composed by Franz Schubert. Arr…
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Choral SAT choir - Digital Download SKU: H1.SP767DP Composed by Franz Schubert. Arranged by David L. Weck. Piano Accompaniment. Classics, General Worship, Children, Masterwork, Sacred. Octavo. 8 pages. Hope Publishing - Digital #SP767DP. Published by Hope Publishing - Digital (H1.SP767DP). By Franz Schubert.German carol by Franz Schubert Choral Setting by David L. Beck.
$2.95
2.69 €
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Franz Schubert
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Franz Schubert
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Sanctus
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Hope Publishing - Digital
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SheetMusicPlus
Luther: Out of the Depths for Bass Flute & Piano
Bass Flute,Instrumental Solo,Piano - Level 1 - Digital Download SKU: A0.548712 Comp…
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Bass Flute,Instrumental Solo,Piano - Level 1 - Digital Download SKU: A0.548712 Composed by Martin Luther. Arranged by James M. Guthrie, ASCAP. Easter,Instructional,Standards. Score and individual part. 4 pages. Jmsgu3 #3411731. Published by jmsgu3 (A0.548712). Out of the Depths I Cry to You by Martin Luther arranged for bass flute & piano. The first verses feature modified counterpoint and harmony proceeding at quarter = 82. The final verse is reharmonized for maximum dramatic effect at a more contemplative tempo such as quarter = 64. Features the entire range of the instrument. Very powerful selection for Lent or Easter. Duration (3 verses) 3:05, 36 ms. Score: 3 pg. Solo part: 1 pg. The piano reads from the score. Out of the Depths Aus tiefer Not schrei ich zu dir (From deep affliction I cry out to you), is, of course, a hymn composed by Martin Luther. Moreover, Luther also wrote the lyrics, essentially a paraphrase of Psalm 130. First published in 1524, it is also one of eight songs in the original Lutheran hymnal. It appears likewise in many hymnals and in different translations. The lyrics furthermore stimulated compositions from the Renaissance to the contemporary. Consequently, composers such as Johann Sebastian Bach built an entire chorale cantata on it. Other composers similarly contributed pieces, such as Felix Mendelssohn and Max Reger. Luther Background Martin Luther, (1483 –1546) was a German professor of theology, composer, priest, and moreover, an influential character in the Protestant Reformation. Luther had a momentous impact on church and society due to his contributions to the musical arts. He wanted to disseminate the gospel among mankind and with this intention thought that the best way to do that was through music. Influence It is important to realize that other musicians, and their descendants, were encouraged by Luther’s songs and wrote their own hymns. Luther, to be sure, had a thorough musical education. For example, he knew secular and sacred songs from an early age. He, in particular, played the lute well and sang in the monastery when he was a monk. That is to say, music was an essential part of his life. He in fact first began writing songs in 1523, sometimes writing the melody as well as the lyrics. Luther was certainly able to evaluate the composers of his time. He thought especially highly of Josquin des and Ludwig Senfl. He was also acquainted, with this in mind, with other composers and their works. Legacy The Lutheran musical ethos soon covered all of Germany and later significantly fashioned Protestant musical culture. Heinrich Schütz and Johann Sebastian Bach are the most compelling evidence of this Protestant musical culture. Additionally, as a point often overlooked, the pedal organ, first refined in northern Germany, became universally prevalent. As a matter of fact, Dieterich Buxtehude established a regular evening organ concert series in Lübeck. Another key point is that this concert series, in turn, spread North German Musical ideas worldwide. Luther was especially convinced that music is a beautiful and exclusive offering of the divine.
$24.95
22.72 €
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Martin Luther
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piano
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Luther: Out of the Depths for Bass Flute & Piano
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jmsgu3
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SheetMusicPlus
Luther: Out of the Depths for Contrabassoon & Piano
Contrabassoon,Instrumental Solo,Piano - Level 1 - Digital Download SKU: A0.548727 C…
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Contrabassoon,Instrumental Solo,Piano - Level 1 - Digital Download SKU: A0.548727 Composed by Martin Luther. Arranged by James M. Guthrie, ASCAP. Easter,Instructional,Standards. Score and individual part. 4 pages. Jmsgu3 #3411773. Published by jmsgu3 (A0.548727). Out of the Depths I Cry to You by Martin Luther. First verses feature modified counterpoint and harmony proceeding at quarter = 82. The final verse is reharmonized for maximum dramatic effect at a more contemplative tempo such as quarter = 64. Features the entire range of the instrument. Very powerful selection for Lent or Easter. Duration (3 verses) 3:05, 36 ms. Score: 3 pg. Solo part: 1 pg. Piano reads from the score. Out of the Depths Aus tiefer Not schrei ich zu dir (From deep affliction I cry out to you), is, of course, a hymn composed by Martin Luther. Moreover, Luther also wrote the lyrics which are essentially a paraphrase of Psalm 130. First published in 1524, it is also one of eight songs in the original Lutheran hymnal. It appears likewise in many hymnals and in different translations. The lyrics furthermore stimulated compositions from the Renaissance to contemporary. Consequently, composers such as Johann Sebastian Bach built an entire chorale cantata on it. Other composers similarly contributed compositions, such as Felix Mendelssohn and Max Reger. Luther Background Martin Luther, (1483 –1546) was a German professor of theology, composer, priest, and moreover, an influential character in the Protestant Reformation. Luther had a momentous impact on church and society due to his contributions to the musical arts. He wanted to disseminate the gospel among mankind and with this intention thought that the best way to do that was through music. Influence It is important to realize that other musicians, and their descendants, were encouraged by Luther’s songs and wrote their own hymns. Luther, to be sure, had a thorough musical education. For example, he knew secular and sacred songs from an early age. He, in particular, played the lute well and sang in the monastery when he was a monk. That is to say, music was an essential part of his life. He in fact first began writing songs in 1523, sometimes writing the melody as well as the lyrics. Luther was certainly able to evaluate the composers of his time. He thought especially highly of Josquin des and Ludwig Senfl. He was also acquainted, with this in mind, with other composers and their works. Legacy The Lutheran musical ethos soon covered all of Germany and later significantly fashioned Protestant musical culture. Heinrich Schütz and Johann Sebastian Bach are the most compelling evidence of this Protestant musical culture. Additionally, as a point often overlooked, the pedal organ, first refined in northern Germany, became universally prevalent. As a matter of fact, Dieterich Buxtehude established a regular evening organ concert series in Lübeck. Another key point is that this concert series, in turn, spread North German Musical ideas worldwide. Luther was especially convinced that music is a beautiful and exclusive offering of the divine.
$24.95
22.72 €
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Martin Luther
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Luther: Out of the Depths for Contrabassoon & Piano
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jmsgu3
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SheetMusicPlus
Luther: Out of the Depths for Baritone Horn & Piano
Baritone Horn TC,Euphonium,Piano - Level 1 - Digital Download SKU: A0.552829 Compos…
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Baritone Horn TC,Euphonium,Piano - Level 1 - Digital Download SKU: A0.552829 Composed by Martin Luther. Arranged by James M. Guthrie, ASCAP. Easter,Instructional,Standards. Score and part. 4 pages. Jmsgu3 #3411723. Published by jmsgu3 (A0.552829). Out of the Depths I Cry to You by Martin Luther arranged for baritone horn & piano. First verses feature modified counterpoint and harmony proceeding at quarter = 82. The final verse is reharmonized for maximum dramatic effect at a more contemplative tempo such as quarter = 64. Features the entire range of the instrument. Very powerful selection for Lent or Easter. Duration (3 verses) 3:05, 36 ms. Score: 3 pg. Solo part: 1 pg. Piano reads from the score. Out of the Depths Aus tiefer Not schrei ich zu dir (From deep affliction I cry out to you), is, of course, a hymn composed by Martin Luther. Moreover, Luther also wrote the lyrics which are essentially a paraphrase of Psalm 130. First published in 1524, it is also one of eight songs in the original Lutheran hymnal. It appears likewise in many hymnals and in different translations. The lyrics furthermore stimulated compositions from the Renaissance to contemporary. Consequently, composers such as Johann Sebastian Bach built an entire chorale cantata on it. Other composers similarly contributed compositions, such as Felix Mendelssohn and Max Reger. Luther Background Martin Luther, (1483 –1546) was a German professor of theology, composer, priest, and moreover, an influential character in the Protestant Reformation. Luther had a momentous impact on church and society due to his contributions to the musical arts. He wanted to disseminate the gospel among mankind and with this intention thought that the best way to do that was through music. Influence It is important to realize that other musicians, and their descendants, were encouraged by Luther’s songs and wrote their own hymns. Luther, to be sure, had a thorough musical education. For example, he knew secular and sacred songs from an early age. He, in particular, played the lute well and sang in the monastery when he was a monk. That is to say, music was an essential part of his life. He in fact first began writing songs in 1523, sometimes writing the melody as well as the lyrics. Luther was certainly able to evaluate the composers of his time. He thought especially highly of Josquin des and Ludwig Senfl. He was also acquainted, with this in mind, with other composers and their works. Legacy The Lutheran musical ethos soon covered all of Germany and later significantly fashioned Protestant musical culture. Heinrich Schütz and Johann Sebastian Bach are the most compelling evidence of this Protestant musical culture. Additionally, as a point often overlooked, the pedal organ, first refined in northern Germany, became universally prevalent. As a matter of fact, Dieterich Buxtehude established a regular evening organ concert series in Lübeck. Another key point is that this concert series, in turn, spread North German Musical ideas worldwide. Luther was especially convinced that music is a beautiful and exclusive offering of the divine.
$24.95
22.72 €
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Martin Luther
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piano
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Luther: Out of the Depths for Baritone Horn & Piano
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jmsgu3
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SheetMusicPlus
Luther: Out of the Depths for Piano Trio
Piano Trio,String Ensemble - Level 1 - Digital Download SKU: A0.548730 Composed by …
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Piano Trio,String Ensemble - Level 1 - Digital Download SKU: A0.548730 Composed by Martin Luther. Arranged by James M. Guthrie, ASCAP. Easter,Instructional,Standards. Score and parts. 8 pages. Jmsgu3 #3412105. Published by jmsgu3 (A0.548730). Out of the Depths I Cry to You by Martin Luther. First verses feature modified counterpoint and harmony proceeding at quarter = 82. The final verse is reharmonized for maximum dramatic effect at a more contemplative tempo such as quarter = 64. Very powerful selection for Lent or Easter. Duration (3 verses) 3:05, 36 ms. Score: 4 pg. piano part 2 pg. violin part: 1 pg. cello part: 1 pg. Out of the Depths Aus tiefer Not schrei ich zu dir (From deep affliction I cry out to you), is, of course, a hymn composed by Martin Luther. Moreover, Luther also wrote the lyrics which are essentially a paraphrase of Psalm 130. First published in 1524, it is also one of eight songs in the original Lutheran hymnal. It appears likewise in many hymnals and in different translations. The lyrics furthermore stimulated compositions from the Renaissance to contemporary. Consequently, composers such as Johann Sebastian Bach built an entire chorale cantata on it. Other composers similarly contributed compositions, such as Felix Mendelssohn and Max Reger. Luther Background Martin Luther, (1483 –1546) was a German professor of theology, composer, priest, and moreover, an influential character in the Protestant Reformation. Luther had a momentous impact on church and society due to his contributions to the musical arts. He wanted to disseminate the gospel among mankind and with this intention thought that the best way to do that was through music. Influence It is important to realize that other musicians, and their descendants, were encouraged by Luther’s songs and wrote their own hymns. Luther, to be sure, had a thorough musical education. For example, he knew secular and sacred songs from an early age. He, in particular, played the lute well and sang in the monastery when he was a monk. That is to say, music was an essential part of his life. He in fact first began writing songs in 1523, sometimes writing the melody as well as the lyrics. Luther was certainly able to evaluate the composers of his time. He thought especially highly of Josquin des and Ludwig Senfl. He was also acquainted, with this in mind, with other composers and their works. Legacy The Lutheran musical ethos soon covered all of Germany and later significantly fashioned Protestant musical culture. Heinrich Schütz and Johann Sebastian Bach are the most compelling evidence of this Protestant musical culture. Additionally, as a point often overlooked, the pedal organ, first refined in northern Germany, became universally prevalent. As a matter of fact, Dieterich Buxtehude established a regular evening organ concert series in Lübeck. Another key point is that this concert series, in turn, spread North German Musical ideas worldwide. Luther was especially convinced that music is a beautiful and exclusive offering of the divine.
$42.95
39.11 €
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Martin Luther
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Luther: Out of the Depths for Piano Trio
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jmsgu3
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SheetMusicPlus
Luther: Out of the Depths for Oboe d'Amore & Piano
Instrumental Solo,Oboe d'Amore,Piano - Level 1 - Digital Download SKU: A0.548718 Co…
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Instrumental Solo,Oboe d'Amore,Piano - Level 1 - Digital Download SKU: A0.548718 Composed by Martin Luther. Arranged by James M. Guthrie, ASCAP. Easter,Instructional,Standards. Score and individual part. 4 pages. Jmsgu3 #3411751. Published by jmsgu3 (A0.548718). Out of the Depths I Cry to You by Martin Luther. The first verses feature modified counterpoint and harmony proceeding at quarter = 82. The final verse is reharmonized for maximum dramatic effect at a more contemplative tempo such as quarter = 64. Features the entire range of the instrument. Very powerful selection for Lent or Easter. Duration (3 verses) 3:05, 36 ms. Score: 3 pg. Solo part: 1 pg. The piano reads from the score. Out of the Depths Aus tiefer Not schrei ich zu dir (From deep affliction I cry out to you), is, of course, a hymn composed by Martin Luther. Moreover, Luther also wrote the lyrics, essentially a paraphrase of Psalm 130. First published in 1524, it is also one of eight songs in the original Lutheran hymnal. It appears likewise in many hymnals and in different translations. The lyrics furthermore stimulated compositions from the Renaissance to the contemporary. Consequently, composers such as Johann Sebastian Bach built an entire chorale cantata on it. Other composers similarly contributed pieces, such as Felix Mendelssohn and Max Reger. Luther Background Martin Luther, (1483 –1546) was a German professor of theology, composer, priest, and moreover, an influential character in the Protestant Reformation. Luther had a momentous impact on church and society due to his contributions to the musical arts. He wanted to disseminate the gospel among mankind and with this intention thought that the best way to do that was through music. Influence It is important to realize that other musicians, and their descendants, were encouraged by Luther’s songs and wrote their own hymns. Luther, to be sure, had a thorough musical education. For example, he knew secular and sacred songs from an early age. He, in particular, played the lute well and sang in the monastery when he was a monk. That is to say, music was an essential part of his life. He in fact first began writing songs in 1523, sometimes writing the melody as well as the lyrics. Luther was certainly able to evaluate the composers of his time. He thought especially highly of Josquin des and Ludwig Senfl. He was also acquainted, with this in mind, with other composers and their works. Legacy The Lutheran musical ethos soon covered all of Germany and later significantly fashioned Protestant musical culture. Heinrich Schütz and Johann Sebastian Bach are the most compelling evidence of this Protestant musical culture. Additionally, as a point often overlooked, the pedal organ, first refined in northern Germany, became universally prevalent. As a matter of fact, Dieterich Buxtehude established a regular evening organ concert series in Lübeck. Another key point is that this concert series, in turn, spread North German Musical ideas worldwide. Luther was especially convinced that music is a beautiful and exclusive offering of the divine.
$24.95
22.72 €
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Martin Luther
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Luther: Out of the Depths for Oboe d'Amore & Piano
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jmsgu3
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SheetMusicPlus
Speaking Drums
Percussion and orchestra - difficult - Digital Download SKU: S9.Q49877 Four poem…
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Percussion and orchestra - difficult - Digital Download SKU: S9.Q49877 Four poems for percussion solo and orchestra. Composed by Peter Eotvos. This edition: solo part. A battere. Downloadable, Solo part. Duration 23 minutes. Schott Music - Digital #Q49877. Published by Schott Music - Digital (S9.Q49877). Artificial language.'Talking whilst playing the drum is not something unique. We can find it in traditional Indian percussion, and in jazz when musicians accompany their play with 'Sprechgesang'. This piece goes the opposite way: It begins with the percussionist speaking nonsensically, the emphasis on the rhythm, which he then passes on to his instrument. Like the pure, childish joy of repeating the same word in a different tune, the soloist teaches his instrument to speak until the drums start to talk themselves. Several poems form the basis; in the first two movements it are three poems by Sándor Weöres, and in the third movement it is a poem by Jayadeva. Each sentence has a more complex form than the one before. Rhythms form words, words form sentences, and sentences create a narrative.' (Ann-yi Bingöl)2 (2. auch Picc.) · 1 (auch Engl. Hr.) · 1 · Bassklar. · 1 - 2 · 1 · 1 · 0 - S. (I: Glsp. · Crot. · Vibr. · 3 Beck. · Nietenbeck. · 5 Kuhgl. · 2 Bong. · Vibraslap · Grelots · 2 Kieselsteine; II: Vibr. [von Spieler 1] · Trgl. · 5 Gong · Tamt. [t.] · Schellen-Tamb. · 2 Bong. · gr. Tr. · Vibraslap · 2 hg. koreanische Steinplatten) (2 Spieler) - Hfe. · Cel. - Str. (6 · 6 · 6 · 4 · 2) - S. solo (Bassp. · Marimba · Röhrengl. · Cowbell · Trgl. · 8 Beck. · kl. Crash-Beck. · gr. chin. Beck. mit Filzgleitern · 3 kl. Flachgongs · 2 Tamt. · kl. Tr. · Feldtr. · 4 Tomt. · 5-6 gr. Holztr. [Mokugyo oder Salatschüssel] · Hi-Hat · 2 Woodbl. · 2 Löwengebrüll · 4 frei wählbare Instrumente: z.B. Tomt. · Tamt. · Operngong · Beckenplatte [Der Solist rezitiert auch Laut-Gedichte von Sándor Weöres und Jayadeva.]).
$23.99
21.84 €
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Peter Eotvos
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Speaking Drums
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Schott Music - Digital
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SheetMusicPlus
Symphonie du Jaguar
Clarinet, trombone, violin, cello, 5 female voices and orchestra - Digital Download SKU…
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Clarinet, trombone, violin, cello, 5 female voices and orchestra - Digital Download SKU: S9.Q42371 For clarinet, trombone, violin, violoncello, 5 female voices and orchestra. Composed by Thierry Pecou. This edition: study score. Music Of Our Time. Downloadable, Study score. Duration 39' 0. Schott Music - Digital #Q42371. Published by Schott Music - Digital (S9.Q42371). French.Thierry Pécou lässt die untergegangenen Kulturen der Maya und Azteken in einer symphonisch-vokalen Musiksprache wieder auferstehen. Der geschmeidige Jaguar repräsentierte in den vorkolumbianischen Welten nicht nur die Macht des Königs, er symbolisierte auch den nächtlichen Lauf der Sonne durch die todgeweihte Unterwelt.3 (3. auch Picc.) · 3 (3. auch Engl. Hr.) · 3 (3. auch Bassklar.) · 3 (3. auch Kfg.) - 4 · 3 (3. auch Piccolotrp. in B) · 3 · 1 - P. S. (I: Crot. · Beck. [crash] · hg. chin. Beck. · Tamt. · Bong. · Tomt. · gr. Tr. · chin. Bl. · Holzbl. · Cencerros; II: Crot. · Plattengl. · hg. Beck. · chin. Beck. · Gongs · thai. Gong · Tamt. · Tamt. [groß] · Bong. · Cong. · Tumba · gr. Tr. · Metal Chimes · Teponatzli [hoch]; III: P. · Crot. · geschlagene Beck. · chin. Beck. · gr. Nietenbeck. · thai. Gong · Tamt. · 2 Rahmentr. · gr. Tr. · Teponatzli [mittel]) (3 Spieler) - Str. (16 · 14 · 10 · 8 · 6).
$39.99
36.41 €
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Thierry Pecou
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II: Crot
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Symphonie du Jaguar
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Schott Music - Digital
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SheetMusicPlus
Quatre Chants de Noël Français (Four French Carols) for Woodwind Quartet
Woodwind Ensemble,Woodwind Quartet Bassoon,Clarinet,English Horn,Flute,Oboe - Digital Down…
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Woodwind Ensemble,Woodwind Quartet Bassoon,Clarinet,English Horn,Flute,Oboe - Digital Download SKU: A0.720584 Composed by Traditional French Carols. Arranged by Ralph Raymond Hays. Baroque,Christian,Christmas,Concert,Praise & Worship. 40 pages. Ralph Raymond Hays #3895705. Published by Ralph Raymond Hays (A0.720584). This exquisitely crafted instrumental setting of familiar and lesser known French Carols will provide a unique addition to the repertoire of an accomplished ensemble. The first movement, Ou S'en Vont Ces Gais Bergers? (Where Are These Gleeful Shepherds Going?) is based upon a tune attributed to Marc-Antoine Charpentier and brilliantly showcases the timbral palette of the clarinet choir. The second movement, Entre le Boeuf et l'Ane Gris (Between the Cow and the Gray Donkey) is somber and deeply moving. The third movement, Il est Né, Le Devin Enfant (He is Born, The Holy Child) is a familiar tune enhanced wth masterful Baroque style counterpoint. The third movement, Un Flambeau, Jeannette Isabelle (Bring a Torch, Jeanette Isabella) is given fresh exuberance with asymmetric meter reminiscent of works by David Brubeck.
$18.50
16.85 €
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Traditional French Carols
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Quatre Chants de Noël Français
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Ralph Raymond Hays
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SheetMusicPlus
Ä°stanbul Senfonisi
Large orchestra and Turkish instruments - Digital Download SKU: S9.Q48141 (Istan…
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Large orchestra and Turkish instruments - Digital Download SKU: S9.Q48141 (Istanbul Symphony). Composed by Fazil Say. This edition: study score. Music Of Our Time. Downloadable, Study score. Op. 28. Duration 45 minutes. Schott Music - Digital #Q48141. Published by Schott Music - Digital (S9.Q48141). Two of the European Cultural Capitals in 2010 - Istanbul and the Ruhr area - were united in the personality of the composer and pianist Fazıl Say. He lives in Istanbul and had a five-year residence as exclusive artist at the Konzerthaus Dortmund, the largest city in the Ruhr area. This cooperation culminated in the highlight of a concert, the world premiere of Say’s Istanbul Symphony in which the composer has created a portrait of the city in seven movements capturing everyday situations and the atmosphere, history and people of this great metropolis.Picc. · 3 · 2 · Engl. Hr. · 3 · 2 · Kfg. - 4 · 3 (3. auch Piccolotrp.) · 1 · Basspos. · 1 - P. S. (Xyl. · Trgl. · Marimba · Beckenpaar · hg. Beck. · Tamt. · Tamb. · Snare Drum · Tomt. · Tenortr. · gr. Tr. · Ocean Waves · Bar Chimes · 3 Woodbl.) (4 Spieler) - Hfe. - Nay* (ggf. verstärkt) · Kanun* (ggf. verstärkt) · Türk. Percussion (1 Spieler): Kudüm* · Bendir* · Darbuka* - Str. (16 · 14 · 12 · 12 · 8) *Die türkischen Instrumente können auch ersetzt werden. / The Turkish instruments may also be replaced: Nay: Altfl. & Engl. Hr. - Kanun: Cimbalom o. Hfe. & Klav. - Kudüm: Tablas o. Bongos o. Tomtoms - Bendir: Tablas o. Congas - Darbuka: Tablas o. Bongos.
$55.99
50.98 €
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Fazil Say
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Ä°stanbul Senfonisi
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Schott Music - Digital
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SheetMusicPlus
Ardeur noire
Large orchestra and choir (ad libitum) - Digital Download SKU: S9.Q25474 D'aprÃ…
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Large orchestra and choir (ad libitum) - Digital Download SKU: S9.Q25474 D'après Les soirs illuminés par l'ardeur du charbon de Claude Debussy (1917). Composed by Heinz Holliger. This edition: study score. Music Of Our Time. Downloadable, Study score. Duration 7 minutes. Schott Music - Digital #Q25474. Published by Schott Music - Digital (S9.Q25474). French.3 (3. auch Picc. und Altfl.) * 2 (2. auch Engl. Hr.) * Engl. Hr. * 3 (3. auch Bassklar.) * Kb.-Klar. * 3 (3. auch Kfg.) - 4 * 3 * 3 * 1 - P. S. (Crot. * Plattengl. * Gong * 2 Beck. * Sizzle-Beck. * 3 Tamt. * gr. Tr. [sehr t.]) (3 Spieler) - 2 Hfn. * Cel. - Str. (14 * 12 * 10 * 8 * 7 [6]) - Chor SATB ad lib.3 (3. auch Picc. und Altfl.) · 2 (2. auch Engl. Hr.) · Engl. Hr. · 3 (3. auch Bassklar.) · Kb.-Klar. · 3 (3. auch Kfg.) - 4 · 3 · 3 · 1 - P. S. (Crot. · Plattengl. · Gong · 2 Beck. · Sizzle-Beck. · 3 Tamt. · gr. Tr. [sehr t.]) (3 Spieler) - 2 Hfn. · Cel. - Str. (14 · 12 · 10 · 8 · 7 [6]) - Chor SATB ad lib.
$15.99
14.56 €
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Heinz Holliger
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Ardeur noire
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Schott Music - Digital
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SheetMusicPlus
Trumpet Concerto
Picc. · 2 · 2 · 2 · 2 - 3 · 1 · 1 · 0 - S. (P. · Glsp. · Xyl. Å
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Picc. · 2 · 2 · 2 · 2 - 3 · 1 · 1 · 0 - S. (P. · Glsp. · Xyl. · Vibr. · Röhrengl. · Trgl. · hg. Beck. · 2 Tamb. · Tomt. · gr. Tr. · Clav.) (3 Spieler) - Str. trumpet and orchestra - Digital Download SKU: S9.Q46257 Piano reduction by the composer. Composed by Fazil Say. This edition: piano reduction with solo part. La Tromba. Downloadable, piano reduction with solo part. Op. 31. Duration 23 minutes. Schott Music - Digital #Q46257. Published by Schott Music - Digital (S9.Q46257). Commissioned by the Festival of Mecklenburg-Western Pomerania, Fazıl Say wrote his Trumpet Concerto for Gábor Boldoczki. Written in the classical three-movement concerto form, the work refers directly to Fazıl Say's Turkish roots, be it in the orientalizing melody and harmony, by characteristic metrical shifts or by the distinctive use of the instruments from the rhythm section of the small orchestra. The piano reduction written by Fazıl Say himself goes far beyond a study aid and is also intended for concert performances.
$42.99
39.15 €
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Fazil Say
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Trumpet Concerto
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Schott Music - Digital
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SheetMusicPlus
Sonata for 6 Players
Fl. (auch Altfl. u. 2 Sistr.) · Klar. (auch Bassklar., Kb.-Klar. ad lib. u. Handgl.) - …
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Fl. (auch Altfl. u. 2 Sistr.) · Klar. (auch Bassklar., Kb.-Klar. ad lib. u. Handgl.) - S. (P. · Crot. · Marimba · chin. Glöckchen · Beck. · Gong · 2 Tamt. · gr. Tr. · Log Drum) - Klav. (auch Cel.) - Vl. (auch Va. u. Handgl.) · Vc. (auch Handgl.) ensemble - difficult - Digital Download SKU: S9.Q2922 Composed by Hans Werner Henze. This edition: score. Downloadable, Score. Duration 12 minutes. Schott Music - Digital #Q2922. Published by Schott Music - Digital (S9.Q2922). Hans Werner Henze used original music by Scarlatti, Handel and Vivaldi to evoke the baroque lifestyle for a TV film of José Montes-Baquer based on the novella Concierto Barocco by the Cuban Alejo Carpentier; the film music of L’amour àmort by the French master director Alain Resnais was turned into a sonata by Henze.Filmmusik zu Alain Resnais‘ Film „L’amour àmort Alain Resnais hatte mich gebeten, das Vor-, Zwischen- und Nachspiel der Filmmusik so zu schreiben, daß diese den drei Hauptabschnitten, Sätzen bzw. Strukturen untergeordnet wären: Das Vor-spiel war sonatenförmig, das Zwischenspiel als Arie angelegt und das Nachspiel schließlich eine Passacaglia. Die Form sowie das Fortschreiten dieser drei Sätze stehen im direkten Zusammenhang mit der Struktur des Films. Die Sonate enthält zwei kontrastierende Hauptelemente. Hiervon be-zieht sich das eine auf Elisabeth und ihre Ekstase der Liebe und Furcht; das andere verkörpert Bedrohung, Angst und tonales Symbol, das mit der ständig wachsenden Zahl von den Tod betref-fenden Bildern sowie der Faszination, die diese auf Simon aus-üben, in Zusammenhang steht. Der Sonatensatz endet mit dem Tod von Simon. Der zweite Satz, die MELODIE voller tragischer Akzente und versteckter Anspielungen auf Symbole und Gestik der Oper des 18. Jahrhunderts, enthält Hinweise auf den thematischen Stoff des ersten Satzes. Resnais bezeichnet dies als „la separation (die Trennung). Hierbei geht es um die Zeit zwischen Simons Tod und Elisabeths Entscheidung, ihm zu folgen. Im Film wird die MELODIE (deren Zeilen eine fast buchstäbliche Umsetzung des gesprochenen Textes sind, wie z.B. „je te promets (ich verspreche Dir), durch die Handlung und die Dialoge in regelmäßigen Abständen durchbrochen, jedoch dann immer wieder aufgenommen. Vom Konzept her soll sie durchgängig gespielt werden. Die MELODIE verklingt ganz allmählich und nähert sich dem Rezitativ, ja Ausruf, so als wolle sie Elisabeth in ihrem Klagen und ihren Schmerzensschreien unterstützen und mit ihr sagen: „Je déteste la vie sans Simon (Ich verabscheue ein Leben ohne Simon). Die Passacaglia am Schluß stellt „le départ (den Abschied) dar. Der Bass, in der Regel von der Pauke gespielt, besteht aus den hohen Noten des Themas, das (von der Bassklarinette) im 1. Satz eingeführt worden war, um Simon im Reich der Toten zu zeigen. Fragmente und Erinnerungen an vorausgegangene Ereignisse werden durch den beharrlichen Bass im Herzschlag Rhythmus eingeworfen, wobei die Musik aus dem Reich der Toten allmählich von den untersten Registern, gleichsam einer Flut, aufsteigt, den gesamten Raum einnimmt und letztlich alles andere überdeckt und auslöscht. -Hans Werner Henze.
$34.99
31.86 €
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Hans Werner Henze
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Sonata for 6 Players
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Schott Music - Digital
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SheetMusicPlus
H · K · H
10 spoken voices (5 S/A - 5 T/B) and percussion (3 players) - Digital Download SKU: S9.…
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10 spoken voices (5 S/A - 5 T/B) and percussion (3 players) - Digital Download SKU: S9.Q589539 Le - sung für 10 Sprechstimmen und Schlagzeug. Composed by Heinz Holliger. Hermann Hesses Erzählung Knulp hat den Dichter Händl Klaus zu einem Zyklus von 11 Gedichten inspiriert, die Heinz Holliger für einen kleinen Sprechchor mit drei Schlagzeugern vertont hat: der Welt abhanden gekommen endet Knulp im Schnee. Downloadable, Vocal and performing score. Duration 13 minutes. Schott Music - Digital #Q589539. Published by Schott Music - Digital (S9.Q589539). German.Hermann Hesses Erzählung Knulp hat den Dichter Händl Klaus zu einem Zyklus von 11 Gedichten inspiriert, die Heinz Holliger für einen kleinen Sprechchor mit drei Schlagzeugern vertont hat: der Welt abhanden gekommen endet Knulp im Schnee.Schlagzeug: Tempelbl. · 3 Bong. · 3 Tomt. · kl. Tr. / Holztr. · gr. Tr. (t.) · Guiro (hell) · Gerte / Reibstock auf Holzkante · Fouet · Schwirrholz · Raintree · Geophon · Tambour à corde (Löwengebrüll) · 3 Beck. · Hi-Hat · 3 Gongs · chin. Operagong · 2 Tamt. (m./t.) · 3 Plattengl. · Flex. · Glass Chimes · 2 Sandbl. · Klavier (ohne Deckel) · Superball · Watergong.
$10.99
10.01 €
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Heinz Holliger
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H · K · H
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Schott Music - Digital
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SheetMusicPlus
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