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1
Warriors' Last Stand (for Orchestra)
Orchestra
Full Orchestra - Level 4 - Digital Download SKU: A0.984566 Composed by Tito Abeleda…
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Full Orchestra - Level 4 - Digital Download SKU: A0.984566 Composed by Tito Abeleda. Contemporary. Score and parts. 79 pages. Visionary Quest Records #6697403. Published by Visionary Quest Records (A0.984566). The enemies have attacked on two fronts. The fight to overcome the adversity appear futile. The warriors' consolidate their energy and position to defend their honor and their families. The odds do not look favorable. But they will not give up for it is the Warriors' Last Stand.Warriors' Last Standwas composed by Tito Abeleda (1964 - ) for orchestra and is available for immediate digital download. Warriors' Last Stand is an exciting cinematic orchestral piece with a duration of 3 minutes 11 seconds. Digital download includes score plus parts (79 pages).Instrumentation: Flute, Oboe, Clarinet, Bassoon, Horn, Trumpet, Trombone, Timpani, Snare Drum, Tenor Drum, Bass Drum, Cymbals, Violin I, Violin II, Viola, Violoncello, Contrabass© 2022 Tito AbeledaOriginal sheet music cover photo by Alessandro GuerreiroSheet Music Artwork by Tito AbeledaContact Tito Abeleda at tito@visionaryquestrecords.comVisionary Quest Recordshttps://www.visionaryquestrecords.comhttps://bit.ly/3bIKHHv
$25.00
22.96 €
#
Orchestra
#
Tito Abeleda
#
Warriors' Last Stand
#
Visionary Quest Records
#
SheetMusicPlus
Missa Solemnis, op. 27 (parts)
Orchestra
Full Orchestra - Level 5 - Digital Download SKU: A0.1277141 Composed by Adrian Gagi…
(+)
Full Orchestra - Level 5 - Digital Download SKU: A0.1277141 Composed by Adrian Gagiu. 21st Century,Christian,Classical,Latin. Score and Parts. 282 pages. Adrian Gagiu #868829. Published by Adrian Gagiu (A0.1277141). Missa Solemnis in B major, op. 27 (orchestral parts). Based on its Neo-classical style, this setting of the Roman Catholic mass text could possibly work as a festive mass (missa solemnis) with trumpets and timpani, and its duration would fit such a solemn service. However, its intense and sometimes dramatic treatment and universal addressability due to its well-known and rather concentrated text, yet also due to eliminating the „Filioque†(which would still fit the rhythm of the repeated „qui ex Patreâ€, should any Catholics ever wish to perform this as a mass) make it rather a „liturgical oratorio for all nationsâ€, more appropriate in the concert hall. The work has had a long gestation: imagined in 1984 after the composer’s first contact with Beethoven’s masterpiece, then sketched first in 1987-1989, and many of its themes date back from those years. Its working out is quite polyphonic, discretely modal and cyclical, and also full of centuries-old musical symbols traditionally associated with the setting of the mass text: e.g. unisons for the more dogmatical parts, Baroque dotted rhythms at the Nativity (the first coming of the  King of Kings), „rex caelestis†and also at his Passion (whose setting is discretely inspired by folkloric Romanian laments), the „anabasis†gesture at „Gloria in excelsis Deoâ€, „et ascendit in caelisâ€, „in remissionem peccatorum†and the resurrection, a flute trill standing for the Holy Spirit who has come ’like a dove’ at „et incarnatus estâ€, a cross-shaped texture at „crucifixusâ€, and some word-painting (hushed sonorities at „et invisibiliumâ€, anticipations between orchestra and chorus at „et exspecto†etc.). Moreover, certain symbolic roles are assigned to the instrumental groups when alone (the organ represents God the Father and transcendence, the winds and/or solo voices represent God the Son and humanity, and the strings represent the Holy Spirit). „Kyrie†is restrained and soft, besides the powerful chords opening the respective sections of its tripartite, simple structure, and it leans towards Palestrina’s serene modality and counterpoint. „Gloria†begins with a colorful orchestral introduction depicting discretely the shepherds who kept watch over their flocks right before the Nativity, and then gradually the bright revelation. „Credo†has an orchestral introduction as well, but powerful, recurring and based on the beginning of the plainchant hymn „Pange linguaâ€, made famous by Mozart’s last symphony and by other Classical composers. Both „Gloria†and „Credo†end with extended, powerful and elaborate fugues („in gloria Dei Patris†and „et vitam venturi saeculiâ€, respectively) with dramatic modulations and sometimes with enthusiastic syncopations at odds with the words’ accents, a la Stravinsky. The same sections plus „Agnus Dei†end with soft quartal harmonies suggesting transcendent appeasement (similar harmonies appear powerfully at the beginning of „Sanctusâ€). „Judicare†quotes the beginning of the well-known „Dies irae†plainchant tune, and the Consecration between the „Sanctus†and „Benedictus†sections is represented by a contemplative prelude for solo organ, quoting Lutheran chorales, too. Another long orchestral introduction, suggesting the Last Judgment and based on traditional Byzantine hymns, opens „Agnus Deiâ€, which includes another quotation (the famous ’Dresden Amen’ at „qui tollis peccata mundi†and „dona nobis pacemâ€). In the final section, with its refined simplicity, the choral voices enter in descending order, and the „Kyrie eleison†theme is briefly remembered, then it ends softly and peacefully. Total duration: 50 min. Performing Rights Organization: SOCAN. The mp3 audio clip is Kyrie.
$160.00
146.92 €
#
Orchestra
#
Adrian Gagiu
#
Missa Solemnis, op. 27
#
Adrian Gagiu
#
SheetMusicPlus
Missa Solemnis, op. 27 - Score Only
Orchestra
Full Orchestra - Level 5 - Digital Download SKU: A0.1277133 Composed by Adrian Gagi…
(+)
Full Orchestra - Level 5 - Digital Download SKU: A0.1277133 Composed by Adrian Gagiu. 21st Century,Christian,Classical,Latin. 128 pages. Adrian Gagiu #868819. Published by Adrian Gagiu (A0.1277133). Missa Solemnis in B major, op. 27 (conductor's score). Based on its Neo-classical style, this setting of the Roman Catholic mass text could possibly work as a festive mass (missa solemnis) with trumpets and timpani, and its duration would fit such a solemn service. However, its intense and sometimes dramatic treatment and universal addressability due to its well-known and rather concentrated text, yet also due to eliminating the „Filioque†(which would still fit the rhythm of the repeated „qui ex Patreâ€, should any Catholics ever wish to perform this as a mass) make it rather a „liturgical oratorio for all nationsâ€, more appropriate in the concert hall. The work has had a long gestation: imagined in 1984 after the composer’s first contact with Beethoven’s masterpiece, then sketched first in 1987-1989, and many of its themes date back from those years. Its working out is quite polyphonic, discretely modal and cyclical, and also full of centuries-old musical symbols traditionally associated with the setting of the mass text: e.g. unisons for the more dogmatical parts, Baroque dotted rhythms at the Nativity (the first coming of the  King of Kings), „rex caelestis†and also at his Passion (whose setting is discretely inspired by folkloric Romanian laments), the „anabasis†gesture at „Gloria in excelsis Deoâ€, „et ascendit in caelisâ€, „in remissionem peccatorum†and the resurrection, a flute trill standing for the Holy Spirit who has come ’like a dove’ at „et incarnatus estâ€, a cross-shaped texture at „crucifixusâ€, and some word-painting (hushed sonorities at „et invisibiliumâ€, anticipations between orchestra and chorus at „et exspecto†etc.). Moreover, certain symbolic roles are assigned to the instrumental groups when alone (the organ represents God the Father and transcendence, the winds and/or solo voices represent God the Son and humanity, and the strings represent the Holy Spirit). „Kyrie†is restrained and soft, besides the powerful chords opening the respective sections of its tripartite, simple structure, and it leans towards Palestrina’s serene modality and counterpoint. „Gloria†begins with a colorful orchestral introduction depicting discretely the shepherds who kept watch over their flocks right before the Nativity, and then gradually the bright revelation. „Credo†has an orchestral introduction as well, but powerful, recurring and based on the beginning of the plainchant hymn „Pange linguaâ€, made famous by Mozart’s last symphony and by other Classical composers. Both „Gloria†and „Credo†end with extended, powerful and elaborate fugues („in gloria Dei Patris†and „et vitam venturi saeculiâ€, respectively) with dramatic modulations and sometimes with enthusiastic syncopations at odds with the words’ accents, a la Stravinsky. The same sections plus „Agnus Dei†end with soft quartal harmonies suggesting transcendent appeasement (similar harmonies appear powerfully at the beginning of „Sanctusâ€). „Judicare†quotes the beginning of the well-known „Dies irae†plainchant tune, and the Consecration between the „Sanctus†and „Benedictus†sections is represented by a contemplative prelude for solo organ, quoting Lutheran chorales, too. Another long orchestral introduction, suggesting the Last Judgment and based on traditional Byzantine hymns, opens „Agnus Deiâ€, which includes another quotation (the famous ’Dresden Amen’ at „qui tollis peccata mundi†and „dona nobis pacemâ€). In the final section, with its refined simplicity, the choral voices enter in descending order, and the „Kyrie eleison†theme is briefly remembered, then it ends softly and peacefully. Total duration: 50 min. Performing Rights Organization: SOCAN. The mp3 audio clip is Kyrie.
$85.99
78.96 €
#
Orchestra
#
Adrian Gagiu
#
Missa Solemnis, op. 27 - Score Only
#
Adrian Gagiu
#
SheetMusicPlus
Ancient Days - In Times Past Orchestra Score and Parts PDF
Orchestra
Full Orchestra - Level 3 - Digital Download SKU: A0.750944 Composed by Brendan Elli…
(+)
Full Orchestra - Level 3 - Digital Download SKU: A0.750944 Composed by Brendan Elliget MAGA 537. Contemporary. Score and parts. 60 pages. BJE Music #5042095. Published by BJE Music (A0.750944). This original minor-keyed theme was written in 1982 as a short round. It has now been expanded to a full orchestral arrangement. It begins with the original theme for the woodwinds and strings with more instruments including brass and strings being added as the round develops. The composition continues to expand harmonically using the elements of the original round throughout. With a final climax in the last few bars, it then dies away on the last major chord. [Updated and expanded 17-01-2020]There are parts for Harp and optional Piano (Not on the score). The only percussion parts are for Timpani and Glockenspiel…The MP3 was recorded with NotePerformer 3. Grade = 3 Duration = 5:05 mins.
$20.00
18.37 €
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Orchestra
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Brendan Elliget MAGA 537
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Ancient Days - In Times Past Orchestra Score and Parts PDF
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BJE Music
#
SheetMusicPlus
Illyria
Orchestra
Full Orchestra - Level 4 - Digital Download SKU: A0.1022851 Composed by M Calvert. …
(+)
Full Orchestra - Level 4 - Digital Download SKU: A0.1022851 Composed by M Calvert. 20th Century,Contemporary,Film/TV. Score and parts. 42 pages. Martin Calvert #3453116. Published by Martin Calvert (A0.1022851). The term Illyria has been used in several different historical and mythological events. The inspiration for this piece dates to 165BC. The Romans defeated Gentius, the last king of Illyria, at Scodra (in present-day Albania) in 168 BC and captured him, bringing him to Rome in 165 BC. Four client-republics were set up, which were in fact ruled by Rome. Later, the region was directly governed by Rome and organised as a province, with Scodra as its capital. The music reflects the conflict and dissonant nature of the time.
$34.00
31.22 €
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Orchestra
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M Calvert
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Illyria
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Martin Calvert
#
SheetMusicPlus
Bach Harpsichord Concerto no. 2 in E major, BWV 1053
Orchestra
Full Orchestra - Level 5 - Digital Download SKU: A0.1101547 By Johann Sebastian Bac…
(+)
Full Orchestra - Level 5 - Digital Download SKU: A0.1101547 By Johann Sebastian Bach. By Johann Sebastian Bach (1685-1750)j. Arranged by Johann Sebastian Bach. Baroque,Classical,Instructional,Multicultural,World. Score and parts. 15 pages. Gabriel Vinicius #704925. Published by Gabriel Vinicius (A0.1101547). Johann Sebastian Bach wrote his Harpsichord Concerto no. 2 in E, BWV 1053 in 1738, and it was published in 1854 in Leipzig by C.F. Peters. This concerto is thought to be based on a concerto for a wind instrument, probably oboe or oboe d'amore, and from stylistic considerations, it may have dated from Bach's time in Leipzig. It exists, like BWV 1052, in a later transcription in his cantatas Gott soll allein mein Herze haben, BWV 169, and Ich geh und Suche mit Verlangen, BWV 49, from which further inferences can be made about the original concerto. Bach changed his method of arrangement with this work, significantly altering the ripieno parts from the original concerto for the first time, limiting much more to the tutti sections. The lower string parts were much reduced in scope, allowing the harpsichord bass to be more prominent, and the upper strings were likewise modified to allow the harpsichord to be at the forefront of the texture. A standard rendition of the piece lasts 19 minutes. The work calls for two violins, a viola, and a continuo section, besides the solo harpsichord.
$5.00
4.59 €
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Orchestra
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Johann Sebastian Bach
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Bach Harpsichord Concerto no. 2 in E major, BWV 1053
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Gabriel Vinicius
#
SheetMusicPlus
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