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18 sheet music found
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1
Where Eagles Dare (Theme) - Score Only
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Orchestra
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INTERMEDIATE
#
Film/TV
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Ron Goodwin
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Chris Siddall
#
Where Eagles Dare
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Chris Siddall Music Publishing
#
SheetMusicPlus
Full Orchestra - Level 3 - Digital Download SKU: A0.1402356 Composed by Ron Goodwin. Arranged by Chris Siddall. Film/TV. 33 pages. Chris Siddall Music Pu...
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Full Orchestra - Level 3 - Digital Download SKU: A0.1402356 Composed by Ron Goodwin. Arranged by Chris Siddall. Film/TV. 33 pages. Chris Siddall Music Publishing #985569. Published by Chris Siddall Music Publishing (A0.1402356). While his scores for both 633 Squadron (1963) and Operation Crossbow (1965) had boasted patriotic, major-key themes celebrating the heroics of the protagonists, composer Ron Goodwin took a different approach for Where Eagles Dare, generating his main theme for the picture out of the initial notes of an ascending minor scale. Rather than celebrate the heroics of the screen characters, the title music embodies the single-minded ambition of the protagonists to infiltrate the mountain fortress of Schloss Adler and complete their mission, no matter what the costs. The composer recalled in a 1994 interview that some of this approach came from the filmâ??s director, Brian Hutton. For instance, he wanted music at the beginning of the film but he also wanted to hear the airplane engines approaching from the distance, which is actually why he started off with just the side drums playing quietly and then building up and getting louder, so that you could actually hear the sound of the airplane before the orchestra comes in. After the snare drum and the â??Aâ? section of the main title comes a melodically related fugal section that, the composer told Randall D. Larson in 1984, was an idea that arose from the â??concept of people following each other around and dodging away from each other...[which] gave me the idea of writing a sort of fugue-style theme...and then I used that in various ways for all the sort of creeping and following and chasing that was going on throughout the film.â?Created from the original manuscript, this release offers a rare opportunity to study film music in its authentic, original orchestration and arrangement. An opportunity not to be missed!
$14.99
Rosary Sonatas: The Presentation
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Orchestra
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INTERMEDIATE/ADVANCED
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Heinrich Ignaz Franz von Biber
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Joshua Choe
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Rosary Sonatas: The Presentati
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JMJ Arrangements
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SheetMusicPlus
Full Orchestra - Level 4 - Digital Download SKU: A0.1081594 Composed by Heinrich Ignaz Franz von Biber. Arranged by Joshua Choe. Baroque,Classical,Sacred...
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Full Orchestra - Level 4 - Digital Download SKU: A0.1081594 Composed by Heinrich Ignaz Franz von Biber. Arranged by Joshua Choe. Baroque,Classical,Sacred. Score and parts. 79 pages. JMJ Arrangements #685710. Published by JMJ Arrangements (A0.1081594). [W]hen the time came for their purification according to the law of Moses, they brought him up to Jerusalem to present him to the Lord (as it is written in the law of the Lord, 'Every male that opens the womb shall be called holy to the Lord') and to offer a sacrifice according to what is said in the law of the Lord, 'a pair of turtledoves, or two young pigeons.' Now there was a man in Jerusalem, whose name was Simeon, and this man was righteous and devout, looking for the consolation of Israel, and the Holy Spirit was upon him. And it had been revealed to him by the Holy Spirit that he should not see death before he had seen the Lord’s Christ. And inspired by the Spirit he came into the temple; and when the parents brought in the child Jesus, to do for him according to the custom of the law, he took him up in his arms and blessed God and said, 'Lord, now lettest thou thy servant depart in peace, according to thy word; for mine eyes have seen thy salvation which thou hast prepared in the presence of all peoples, a light for revelation to the Gentiles, and for glory to thy people Israel.' And his father and his mother marveled at what was said about him; and Simeon blessed them and said to Mary his mother, 'Behold, this child is set for the fall and rising of many in Israel, and for a sign that is spoken against (and a sword will pierce through your own soul also), that thoughts out of many hearts may be revealed.' ... And when they had performed everything according to the law of the Lord, they returned into Galilee, to their own city, Nazareth. And the child grew and became strong, filled with wisdom; and the favor of God was upon him. (Luke 2:22-35, 39-40 RSV-CE).
$19.99
Kommos (Lamentation) / "When the World Moved On" - Extracted Parts
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Orchestra
#
INTERMEDIATE/ADVANCED
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Contemporary
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Benjamin Harry Sajo
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Kommos
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Benjamin Sajo
#
SheetMusicPlus
Full Orchestra - Level 4 - Digital Download SKU: A0.1018959 Composed by Benjamin Harry Sajo. 20th Century,Contemporary. Score and parts. 34 pages. Benjam...
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Full Orchestra - Level 4 - Digital Download SKU: A0.1018959 Composed by Benjamin Harry Sajo. 20th Century,Contemporary. Score and parts. 34 pages. Benjamin Sajo #6078723. Published by Benjamin Sajo (A0.1018959). Programme Notes: This composition was written to be considered for pairing alongside Ludwig van Beethoven’s Symphony #3, the Eroica, but can stand on its own virtues as an intense and slow meditation on heroism. The music is like a boiling pot on the stove that’s just began to overflow its bubbles.  The first part of the title, kommos, is a Classical Greek term from Attic dramaturgy, literally meaning striking but specifically referring to beating oneself up during lamentation--ripping at the hair, gouging out the eyes--like Oedipus--slapping the forehead, and other acts amid moments of extreme emotional turmoil. For example, from Aeschylus's play Agamemnon, a character bewails: Apollo, Apollo! God of the Ways, my destroyer! For you have destroyed me-and utterly [...]What is this fresh woe [...]what monstrous, monstrous horror, beyond love's enduring, beyond all remedy? And help stands far away! We can easily imagine physical accompaniment to the script; rather than bottling up the pain, the hero lets it all explosively come out.  The second part of the title, When the world moved on, is an epigraph taken from American author Stephen King’s The Dark Tower epic. The primary setting of the novel, a world similar in many ways to our own, is experiencing a dark age where the glorious past is all but a distant memory and all good things are referred to wistfully as occurring, When the world moved on. Yet, the main protagonist, Roland, the last gunslinger, emphasizes that it is not just a figure of speech, but the literal distances between destinations have increased, the positions of the stars have changed, as well as the occurrence of other unnatural phenomena. The world has become a gulf of isolation from all corners.  Taken together, this piece is a lamentation for when the world moved on. Truly completed on Yom Kippur during the Covid-19 Pandemic, being unable to fast or go to synagogue, this is my atonement.About the Composer:  Benjamin Sajo (b. 1988) is a Canadian composer of contemporary classical music, as well as an educator. Since developing a fiercely independent creative voice upon the completion of his studies at Western (2010) and McGill Universities (2013), he continues to find inspiration from the intersection of mythology, art, and nature upon the contemporary human experience. In 2019, he released his premiere album of original music, The Great War Sextet: Canadian War Poetry with Trombone & Strings, with support from the Ontario Arts Council. He is a member of SOCAN and the League of Canadian Composers.
$31.50
Kommos (Lamentation) / "When the World Moved On" - Conductor's Score
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Orchestra
#
INTERMEDIATE/ADVANCED
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Contemporary
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Benjamin Harry Sajo
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Kommos
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Benjamin Sajo
#
SheetMusicPlus
Full Orchestra - Level 4 - Digital Download SKU: A0.1018940 Composed by Benjamin Harry Sajo. 20th Century,Contemporary. Score and parts. 13 pages. Benjam...
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Full Orchestra - Level 4 - Digital Download SKU: A0.1018940 Composed by Benjamin Harry Sajo. 20th Century,Contemporary. Score and parts. 13 pages. Benjamin Sajo #6078661. Published by Benjamin Sajo (A0.1018940). Programme Notes: This composition was written to be considered for pairing alongside Ludwig van Beethoven’s Symphony #3, the Eroica, but can stand on its own virtues as an intense and slow meditation on heroism. The music is like a boiling pot on the stove that’s just began to overflow its bubbles. The first part of the title, kommos, is a Classical Greek term from Attic dramaturgy, literally meaning striking but specifically referring to beating oneself up during lamentation--ripping at the hair, gouging out the eyes--like Oedipus--slapping the forehead, and other acts amid moments of extreme emotional turmoil. For example, from Aeschylus's play Agamemnon, a character bewails: Apollo, Apollo! God of the Ways, my destroyer! For you have destroyed me-and utterly [...]What is this fresh woe [...]what monstrous, monstrous horror, beyond love's enduring, beyond all remedy? And help stands far away! We can easily imagine physical accompaniment to the script; rather than bottling up the pain, the hero lets it all explosively come out.  The second part of the title, When the world moved on, is an epigraph taken from American author Stephen King’s The Dark Tower epic. The primary setting of the novel, a world similar in many ways to our own, is experiencing a dark age where the glorious past is all but a distant memory and all good things are referred to wistfully as occurring, When the world moved on. Yet, the main protagonist, Roland, the last gunslinger, emphasizes that it is not just a figure of speech, but the literal distances between destinations have increased, the positions of the stars have changed, as well as the occurrence of other unnatural phenomena. The world has become a gulf of isolation from all corners. Taken together, this piece is a lamentation for when the world moved on. Truly completed on Yom Kippur during the Covid-19 Pandemic, being unable to fast or go to synagogue, this is my atonement.About the Composer: Benjamin Sajo (b. 1988) is a Canadian composer of contemporary classical music, as well as an educator. Since developing a fiercely independent creative voice upon the completion of his studies at Western (2010) and McGill Universities (2013), he continues to find inspiration from the intersection of mythology, art, and nature upon the contemporary human experience. In 2019, he released his premiere album of original music, The Great War Sextet: Canadian War Poetry with Trombone & Strings, with support from the Ontario Arts Council. He is a member of SOCAN and the League of Canadian Composers.
$20.00
Alice In Wonderland
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Orchestra
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Walt Disney
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Jud Conlon Chorus
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Amphibia Cultural Legacy
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Alice In Wonderland
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Amphibia Cultural Legacy
#
SheetMusicPlus
Full Orchestra - Digital Download SKU: A0.1209483 By Jud Conlon Chorus. By Amphibia Cultural Legacy. Arranged by Amphibia Cultural Legacy. 19th Century,2...
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Full Orchestra - Digital Download SKU: A0.1209483 By Jud Conlon Chorus. By Amphibia Cultural Legacy. Arranged by Amphibia Cultural Legacy. 19th Century,20th Century,Broadway,Classical,Film/TV,Musical/Show. Score and Parts. 5 pages. Amphibia Cultural Legacy #807612. Published by Amphibia Cultural Legacy (A0.1209483). Amphibia Cultural Legacy, a musical group known for their instrumental covers of classic Disney songs, has released a new remix of Alice In Wonderland from the 1951 movie of the same name. The original song was sung by the Jud Conlon Chorus, and Amphibia Cultural Legacy has added additional instruments to create a unique spin on this beloved tune. This new version is sure to delight both fans of the original film and music enthusiasts alike.The addition of extra instruments adds depth to an already catchy melody, making it perfect for dancing or just enjoying as background music. The group's attention to detail shines through in every note played, perfectly capturing the whimsical feel of Walt Disney's Alice in Wonderland. Those who are familiar with Amphibia Cultural Legacy's previous works will not be disappointed with this latest release, which is sure to become a fan favorite among their extensive discography.Amphibia Cultural Legacy is proud to present its orchestral cover of Alice In Wonderland, the central theme in the 1951 animated movie. Initially written by the Jud Conlon Chorus for Walt Disney's Alice In Wonderland, this piece has stood the test of time and remains a beloved classic. Amphibia Cultural Legacy has taken this iconic tune and given it new life with its unique arrangement.The Jud Conlon Chorus version of Alice In Wonderland intends initially as a fun and whimsical introduction to the fantastical world that awaited viewers in the film. The song features playful lyrics and an upbeat melody that perfectly captures the adventure spirit permeating Alice's journey. Amphibia Cultural Legacy's version pays homage to these themes while adding their flair through orchestral instruments.Amphibia Cultural Legacy has done it again with their latest release, an orchestral cover of Alice In Wonderland. Initially written by the Jud Conlon Chorus in Walt Disney's Alice In Wonderland, this classic song has been given a fresh new sound thanks to the fantastic talent and creativity of Amphibia Cultural Legacy.Listening to this cover is like going down the rabbit hole into a magical world filled with wonder and imagination. Various instruments help create a whimsical atmosphere that perfectly captures the essence of Lewis Carroll's timeless tale. The music builds up gradually, taking listeners through different emotions and moods before finally reaching its climax at the end.The attention to detail in this cover is truly remarkable, with every instrument perfectly timed and synchronized throughout the entire piece.
$70.00
Battle Beyond The Stars - Main Theme - Score Only
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Orchestra
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ADVANCED
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Film/TV
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James Horner
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Chris Siddall
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Battle Beyond The Stars - Main
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Chris Siddall Music Publishing
#
SheetMusicPlus
Full Orchestra - Level 5 - Digital Download SKU: A0.1318829 Composed by James Horner. Arranged by Chris Siddall. Film/TV. 12 pages. Chris Siddall Music P...
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Full Orchestra - Level 5 - Digital Download SKU: A0.1318829 Composed by James Horner. Arranged by Chris Siddall. Film/TV. 12 pages. Chris Siddall Music Publishing #907464. Published by Chris Siddall Music Publishing (A0.1318829). 1980’s Battle Beyond the Stars saw James Horner explode onto the Hollywood scoring scene. Whilst it wasn’t the first movie he scored, it was certainly the one that made everyone sit up and pay attention, and the exuberant writing most likely led to his appointment as composer on Star Trek II: The Wrath of Khan.  In fact, Battle Beyond the Stars is also where Horner made the acquaintance of then art director James Cameron, with the pair later collaborating on Aliens, Titanic and Avatar. Several moments within the Battle Beyond the Stars score will sound very familiar to fans of Horner’s Star Trek and Aliens scores!Created from the original manuscript, this release offers a rare opportunity to study film music in its authentic, original orchestration and arrangement. An opportunity not to be missed!
$9.99
Fugue: "Wear Pearls and Smile" (A Pairing with Beethoven's Symphony #2) - Extracted Parts
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Orchestra
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ADVANCED
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Contemporary
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Benjamin Harry Sajo
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Fugue: "Wear Pearls and Smile"
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Benjamin Sajo
#
SheetMusicPlus
Full Orchestra - Level 5 - Digital Download SKU: A0.1018924 Composed by Benjamin Harry Sajo. 20th Century,Contemporary. Score and parts. 76 pages. Benjam...
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Full Orchestra - Level 5 - Digital Download SKU: A0.1018924 Composed by Benjamin Harry Sajo. 20th Century,Contemporary. Score and parts. 76 pages. Benjamin Sajo #6072951. Published by Benjamin Sajo (A0.1018924). Fugue: Wear Pearls and Smile is, on the outset, a fast, rambunctious adventure for many voices playing at the same time. It was conceived as a pairing for the equally vivacious second symphony of Ludwig van Beethoven–his 250th birthday is this year–but can stand on its own as one of my hardest, most challenging works to cook up.This piece is dedicated to those forced to appear positive when internally they’re falling apart. The title is inspired by a quote that’s been with me for a while, Why is it that men can be bastards and women must wear pearls and smile? by Lynn Hecht Schafren, the celebrated American jurist famous for campaigning for gender equity in courts. I’m taking the quote out of its initial context, but the power of that quote, for me, exemplifies how hard it is to maintain a sense of emotional decorum and dignity when you’re authentically a hot mess. And what’s more of a musical hot mess than a fugue?There are two realities to this piece. I’ll quote Dmitri Shostakovich, from his autobiography: The rejoicing is forced, created under threat, […] It’s as if someone were beating you with a stick and saying, ‘Your business is rejoicing, your business is rejoicing,’ and you rise, shaky, and go marching off, muttering ‘Our business is rejoicing, our business is rejoicing.’ On the one hand, it is insincere happiness, cloying perhaps. But the other truth, I’ll quote Oscar Hammerstein II, from The King and I: While shivering in my shoes / I strike a careless pose / And whistle a happy tune / And no one ever knows, / I'm afraid. I forced myself, against all impulses of my current being, to forge happiness. This piece, with its origin being a mental puzzle (fugues are puzzles), it became a construct where I could lift myself up and regain a sense of purpose. Therefore, it is invented–out of a literal need to survive–pure, genuine happiness.Future Performances: If you are interested in performing this work, please e-mail me.ABOUT THE COMPOSER: Benjamin Sajo (b. 1988) is a Canadian composer of contemporary classical music, as well as an educator. Since developing a fiercely independent creative voice upon the completion of his studies at Western (2010) and McGill Universities (2013), he continues to find inspiration from the intersection of mythology, art, and nature upon the contemporary human experience. In 2019, he released his premiere album of original music, The Great War Sextet: Canadian War Poetry with Trombone & Strings , with support from the Ontario Arts Council. He is a member of SOCAN and the League of Canadian Composers.
$31.50
Fugue: "Wear Pearls and Smile" (A Pairing with Beethoven's Symphony #2) - Conductor's Score
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Orchestra
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ADVANCED
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Contemporary
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Benjamin Harry Sajo
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Fugue: "Wear Pearls and Smile"
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Benjamin Sajo
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SheetMusicPlus
Full Orchestra - Level 5 - Digital Download SKU: A0.1018921 Composed by Benjamin Harry Sajo. 20th Century,Contemporary. Score and parts. 35 pages. Benjam...
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Full Orchestra - Level 5 - Digital Download SKU: A0.1018921 Composed by Benjamin Harry Sajo. 20th Century,Contemporary. Score and parts. 35 pages. Benjamin Sajo #6072943. Published by Benjamin Sajo (A0.1018921). Fugue: Wear Pearls and Smile is, on the outset, a fast, rambunctious adventure for many voices playing at the same time. It was conceived as a pairing for the equally vivacious second symphony of Ludwig van Beethoven–his 250th birthday is this year–but can stand on its own as one of my hardest, most challenging works to cook up.This piece is dedicated to those forced to appear positive when internally they’re falling apart. The title is inspired by a quote that’s been with me for a while, Why is it that men can be bastards and women must wear pearls and smile? by Lynn Hecht Schafren, the celebrated American jurist famous for campaigning for gender equity in courts. I’m taking the quote out of its initial context, but the power of that quote, for me, exemplifies how hard it is to maintain a sense of emotional decorum and dignity when you’re authentically a hot mess. And what’s more of a musical hot mess than a fugue?There are two realities to this piece. I’ll quote Dmitri Shostakovich, from his autobiography: The rejoicing is forced, created under threat, […] It’s as if someone were beating you with a stick and saying, ‘Your business is rejoicing, your business is rejoicing,’ and you rise, shaky, and go marching off, muttering ‘Our business is rejoicing, our business is rejoicing.’ On the one hand, it is insincere happiness, cloying perhaps. But the other truth, I’ll quote Oscar Hammerstein II, from The King and I: While shivering in my shoes / I strike a careless pose / And whistle a happy tune / And no one ever knows, / I'm afraid. I forced myself, against all impulses of my current being, to forge happiness. This piece, with its origin being a mental puzzle (fugues are puzzles), it became a construct where I could lift myself up and regain a sense of purpose. Therefore, it is invented–out of a literal need to survive–pure, genuine happiness.Future Performances: If you are interested in performing this work, please e-mail me.ABOUT THE COMPOSER: Benjamin Sajo (b. 1988) is a Canadian composer of contemporary classical music, as well as an educator. Since developing a fiercely independent creative voice upon the completion of his studies at Western (2010) and McGill Universities (2013), he continues to find inspiration from the intersection of mythology, art, and nature upon the contemporary human experience. In 2019, he released his premiere album of original music, The Great War Sextet: Canadian War Poetry with Trombone & Strings , with support from the Ontario Arts Council. He is a member of SOCAN and the League of Canadian Composers.
$20.00
RAGING FURIES - Goettinnen der Rache
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Orchestra
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INTERMEDIATE/ADVANCED
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Rainer Fabich Orchestra
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Rainer Fabich
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RAGING FURIES - Goettinnen der
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Fajora Music
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SheetMusicPlus
Full Orchestra - Level 4 - Digital Download SKU: A0.1225840 By Rainer Fabich Orchestra. By Rainer Fabich. Arranged by Rainer Fabich. 21st Century,Classic...
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Full Orchestra - Level 4 - Digital Download SKU: A0.1225840 By Rainer Fabich Orchestra. By Rainer Fabich. Arranged by Rainer Fabich. 21st Century,Classical,Contemporary,Film/TV. Score and Parts. 212 pages. Fajora Music #821876. Published by Fajora Music (A0.1225840). RAGING FURIES - Rasende FurienGoddesses of revenge - Göttinnenn der RageConcert Piece for big orchestra - Score and PartsThe image of the raging furies as a topos has permeated the world of thoughts and images of mankind for thousands of years and has inspired and fascinated countless artists.This idea is also based on an emotional background, a violent, uncontrolled emotional outburst, a rage (Latin: furor, in the sense of frenzy, passion and madness, French: rage). The resulting affect action is described as rage or fury, combined with a state of mind of uncontrolled excitement in the sense of being beside oneself or out of one's senses.The personification of these affects was in Greek and Roman mythology with the trio of vengeance goddesses, the Erinyens (Latin furia) called: Alekto (the incessant, the never resting), Megaira (German: Megäre, the envious anger) and Tisiphone (the Vengeance avenging the murder, represented with a dog's head and bat's wings), and another, that of Nemesis (the reconciling justice). Already in antiquity they were depicted in sculptures, embossed on coins or immortalized as images on amphorae.They appear in all eras of fine arts, sometimes in female, male or androgynous form, e.g. as avenging angels, or as hybrid beings between humans and animals. Pictures by Albrecht Dürer, Hieronymus Bosch, Tizian, Peter Paul Rubens, William Hamilton, Johann Heinrich Fuessli, Franz von Stuck, Alfred Kubin, Salvador Dali, Francis Bacon, Yongbo Zhao and many others are proof of this.They found their way into the literature of Virgil (Aeneis), Dante (Divine Comedy) or John Milton (Paradise Lost). Goethe lets them appear in Faust II, Schiller (Die Kraniche des Ibykus) and many others refer to them directly or in a modified form, such as Kurt Tucholsky (Gripsholm Palace), Alfred Döblin (Berlin Alexanderplatz), Max Frisch (Homo Faber) or Jean-Paul Sartre (The Flies).In opera, they become an important element in highly dramatic scenes, especially on themes with a mythological or historical background, often also related to the underworld, as in Monteverdi (Il Ritorno d`Ulisse in Patria), Lully (Armide), Gluck (Orpheus and Euridice) or Purcell (Dido and Aeneas). Haendel dedicates an aria to them in Rinaldo, the Furie Terribili. Mozart also uses it in The Magic Flute, in his aria Der Hölle Rache by the Queen of the Night.Furies appear up to the present in various forms, in comics, fantasy novels, computer games, or kung fu films of the 70s (Furies on the yellow river). They are even popular as plastic children's toys, mostly in particularly frightening and creepy presentations (Matchbox/Fighting Furies or Warhammer/Erinnye). This remarkable history and reception inspired Rainer Fabich to create this new orchestral work from his MYThS series. PEGASUS - Ride on Wings, ULYSSES - Prélude to an Odyssey and THE AMONZS - Myth and Projection have already been released. As the title suggests, this is frantically wild music (Allegro molto vivace) that seems to run away, like an action film with fast motives and runs of strings and woodwinds, combined with strong accents of brass and massive percussion Set. Alternations of straight and asymmetrical beats illustrate erratic sequences of movement, as are typical of scenes with the highest intensity, especially in films (e.g. a chase). In the jazzy middle section, the furies calm down a little, before they pick up speed again in a bombastic third section and increase to the point of ecstasy.
$49.95
Homage to O'Keeffe for Orchestra
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Orchestra
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ADVANCED
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Sy Brandon
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Homage to O'Keeffe for Orchest
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Sy Brandon
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SheetMusicPlus
Full Orchestra - Level 5 - Digital Download SKU: A0.755297 Composed by Sy Brandon. 20th Century,Contemporary,Folk. Score and parts. 157 pages. Sy Brandon...
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Full Orchestra - Level 5 - Digital Download SKU: A0.755297 Composed by Sy Brandon. 20th Century,Contemporary,Folk. Score and parts. 157 pages. Sy Brandon #6067165. Published by Sy Brandon (A0.755297). This four-movement composition contains musical interpretations of four of Georgia O’Keeffe’s New Mexico paintings. The score prints on legal size paper and the parts on letter. I. From the Faraway Nearby The highly charged contrast of closely viewed foreground details and hugely distant horizons, which typified the New Mexican Views of O'Keeffe, was not a mere optical illusion. The large scale, bright light, and clear air of the region permitted one to see for the proverbial forever, and the juxtaposition of faraway and nearby was an integral aspect of desert vision. Soft dynamics and orchestration represent the faraway while the loud dynamics and orchestration represent the nearby. Near the end, the faraway and nearby begin to merge. II. Jimson Weed, White Flower No. 1 This painting depicts one of O'Keeffe's favorite subjects: a magnified flower. To her, the delicate blooms stood as some of the most overlooked pieces of naturally occurring beauty, objects that the bustling contemporary world ignored. So she made it her mission to highlight their complex structures, explaining: When you take a flower in your hand and really look at it, it's your world for the moment. I want to give that world to someone else. Most people in the city rush around so, they have no time to look at a flower. I want them to see it whether they want to or not. This movement is slow and lyrical reflecting the beauty of the close-up image. III. Red Hills and Bone O'Keeffe 's most effective composition of bones in the landscape appeared in 1941, with Red Hills and Bone; the large canvas is also among her most ambitions evocations of the arid country of which she was by then an owner, having purchase the house at Ghost Ranch the preceding year. In 1939, O'Keeffe had written of the bones as strangely more living than the animals walking around, and in the 1941 painting her response is given visual from. The minimalistic noodling represents the red hills and the bold triplets represent the mystique of the bone. IV. Ladder to the Moon This painting shows a handmade wooden ladder suspended in the turquoise sky. In the background are the pitch-black Pedernal Mountains and a pearl colored half moon. This painting was very similar to a picture taken of O'Keeffe and her surroundings at Ghost Ranch. In the picture, a large wooden ladder is leaned against an outer wall of a patio from where it rises up into the sky with the Pedernal Mountains in the background. In Pueblo culture the ladder is used to symbolize the link between the Pueblos and cosmic forces. The fact that the ladder is pointed up in the sky may represent the link between nature and the cosmos. While there are motifs that depict specifics of the painting, such as the scale-wise ascending and descending figure for the crescent mood and rising arpeggios for the ladder, the focus of this movement is the spiritual element. The music rises and grows in intensity from a ground bass-like theme to a soaring ending.
$39.99
Symphony No. 7 ... Roman Holidays (2008, rev. 2013)
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Orchestra
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INTERMEDIATE/ADVANCED
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Thomas Oboe Lee
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Symphony No. 7 ... Roman Holid
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Thomas Oboe Lee
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SheetMusicPlus
Full Orchestra - Level 4 - Digital Download SKU: A0.869183 Composed by Thomas Oboe Lee. 20th Century,Baroque,Classical,Contemporary,Romantic Period. Scor...
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Full Orchestra - Level 4 - Digital Download SKU: A0.869183 Composed by Thomas Oboe Lee. 20th Century,Baroque,Classical,Contemporary,Romantic Period. Score and parts. With 2 Flutes, piccolo 2 Oboes 2 Clarinets in Bb 2 Bassoons. 153 pages. Thomas Oboe Lee #3895. Published by Thomas Oboe Lee (A0.869183). Instrumentation: 2 Flutes, piccolo 2 Oboes 2 Clarinets in Bb 2 Bassoons 2 French Horns in F 2 Trumpets in Bb 3 Trombones Tuba TimpaniPercussion 1: triangle, claves, tom-toms, cow-bells Percussion 2: snare drum, bass drum 1st Violin 2nd Violin Viola Cello Double bass This is a transposed score. Program note: My love affair with the city of Rome dates back to the year 1986-87 when I spent just under eleven months at the American Academy in Rome on a Rome Prize Fellowship. During that Fellowship year I was very much inspired by the beauty and culture of the Eternal City, which resulted in a number of works that continue to resonate with me: Twenty-nine Fireflies Book II for solo piano; Concertino for trumpet, timpani and strings; Apples … six dreams by Richard Kenney; String Quartet No 5 … Four Birthdays; and Chôrinhos … opus 38. Since 1997 my wife, Kristin Beckwith, and I have returned to the American Academy in Rome almost every year. I would compose in the morning and then my wife and I would go to our usual haunt at Bar G. for cappuccini and cornetti. And then we’d go to the local bakery and street markets and buy stuff for lunch. In the afternoon we would wander into the city to go shopping and sight-seeing. In the evenings we would dine at one of our favorite local trattorias. Life could not be better in Rome. Musically speaking, several important works in my portfolio had their beginnings during these sojourns at the Academy , among them Yo Picasso, Flauta Carioca, Mass for the Holy Year 2000, Symphony No. 5 … Utopia Parkway, Twenty-nine Fireflies Books IV & V, and Piano Concerto … Mozartiana. Just before the 2008 recession, clarinetist extraordinaire Jonathan Cohler asked me to write a symphony for the inaugural concert of a new orchestra he was planning to create. I came up with Symphony No. 7 … Roman Holidays, my give back to the city of Rome – a compendium of favorite places that continue to live in my thoughts and musings. Although the work is heard in four movements, it is actually divided into seven sections, as in the seven hills of Rome. 1. Prelude: Fontana Paola and the panoramic view of the city of Rome from that vantage point. 2. First interlude: La Befana festivities at Piazza Navona. The Protestant Cemetery in Testaccio at night under a full moon. 3. Second interlude: Fontana delle Tartughe in the Jewish Ghetto. Bernini’s Apollo and Daphne at the Galleria Borghese. 4. Third interlude: Bernini’s Beata Ludovica Albertoni in Trastevere. The Spanish Steps and the view of Rome from the French Academy at Villa Medici. NB: Unfortunately, thanks to the recession, Roman Holidays never saw the light of day. This year (2013) I decided to revisit the work, which lay dormant for 5 five years, and saw that it could use a little tweaking. The new version is essentially the same, musically speaking. I reduced the orchestration a bit (two horns instead of four, and two trumpets instead of three) and added more heft to the lower brass. I completely rewrote the tune for the floating foreign ghosts at the Protestant Cemetery. I also shortened the work by about three minutes by cutting some repeats. Enjoy!!!Audio link: https://thomasoboelee.bandcamp.com/album/symphony-no-7-roman-holidays-2008-rev-2013Video link: https://youtu.be/1DlzEOUmH54
$9.99
Live And Let Die
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Orchestra
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INTERMEDIATE/ADVANCED
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Wings
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Kevin Riley
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Live And Let Die
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Kevin Riley
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SheetMusicPlus
Full Orchestra - Level 4 - Digital Download SKU: A0.1284109 By Wings. By Linda McCartney and Paul McCartney. Arranged by Kevin Riley. 20th Century,Film/T...
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Full Orchestra - Level 4 - Digital Download SKU: A0.1284109 By Wings. By Linda McCartney and Paul McCartney. Arranged by Kevin Riley. 20th Century,Film/TV,Pop. Score and Parts. 60 pages. Kevin Riley #875342. Published by Kevin Riley (A0.1284109). Live and Let Die is the theme song of the 1973 James Bond film of the same name, performed by the British–American rock band Wings. Written by English musician Paul McCartney and his wife Linda McCartney, it reunited McCartney with former Beatlesproducer George Martin, who produced the song and arranged the orchestra. McCartney was contacted to write the song by the film's producers Harry Saltzman and Albert R. Broccoli before the screenplay was finished. Wings recorded Live and Let Die during the sessions for Red Rose Speedway in October 1972 at AIR Studios. It was also the first rock song to open a Bond film. Another version by B. J. Arnau also appears in the film.Upon release, Live and Let Die was the most successful Bond theme up to that point, reaching No. 1 on two of the three major US charts (though it only reached No. 2 on the Billboard Hot 100) and No. 9 on the UK Singles Chart. The song also received positive reviews from music critics and continues to be praised as one of McCartney's best songs. It became the first Bond theme song to be nominated for the Academy Award for Best Original Song, but ultimately lost the award to Barbra Streisand's The Way We Were. It won the Best Arrangement Accompanying Vocalist(s) at the 16th Annual Grammy Awardsin 1974.Wings performed Live and Let Die live during their concert tours and McCartney continues to play it on his solo tours, often using pyrotechnics during the instrumental breaks. It has been covered by several bands, including Guns N' Roses, whose version appears on their 1991 album Use Your Illusion I. One of the more popular covers of the song, their version was nominated for the Grammy Award for Best Hard Rock Performanceat the 35th Annual Grammy Awards in 1993. In 2012, McCartney was awarded the Million-Air Award from Broadcast Music, Inc. (BMI), for more than 4 million performances of the song in the US.
$70.00
Helicarrier - Score Only
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Orchestra
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INTERMEDIATE
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Film/TV
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Alan Silvestri
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Chris Siddall
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Helicarrier - Score Only
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Chris Siddall Music Publishing
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SheetMusicPlus
Full Orchestra - Level 3 - Digital Download SKU: A0.1080788 Composed by Alan Silvestri. Arranged by Chris Siddall. Film/TV. Score and parts. 10 pages. Ch...
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Full Orchestra - Level 3 - Digital Download SKU: A0.1080788 Composed by Alan Silvestri. Arranged by Chris Siddall. Film/TV. Score and parts. 10 pages. Chris Siddall Music Publishing #685030. Published by Chris Siddall Music Publishing (A0.1080788). 2012 saw the culmination of Phase One of the Marvel Cinematic Universe. Now a towering presence in modern cinema, the MCU was a hugely ambitious project, with a clear road map of solo character movies leading to a blockbuster team-up event. Each of the solo movies had their own director and composer partnerships, but Marvel’s The Avengers, or Avengers Assemble as it was known internationally would see the return of composer Alan Silvestri, who scored Captain America: The First Avenger which immediately preceded the team-up movie. The Helicarrier cue stands out as a moment of surprise and awe, which the music captures brilliantly as a seemingly ordinary aircraft carrier ship begins to rise out of the water and into the air! Created from the original manuscript, this release offers a rare opportunity to study film music in its authentic, original orchestration and arrangement. An opportunity not to be missed!
$9.99
L'Arlésienne Suite No. 1
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Orchestra
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Georges Bizet
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L'Arlésienne Suite No. 1
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Ernst Eulenburg & Co. GmbH - Digital
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SheetMusicPlus
Orchestra - Digital Download SKU: S9.Q12512 Composed by Georges Bizet. This edition: study score. Ernst Eulenburg - Orchestra - Score. Eulenburg Miniatur...
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Orchestra - Digital Download SKU: S9.Q12512 Composed by Georges Bizet. This edition: study score. Ernst Eulenburg - Orchestra - Score. Eulenburg Miniature Scores. New URTEXT Edition. Downloadable, Study score. Ernst Eulenburg & Co. GmbH - Digital #Q12512. Published by Ernst Eulenburg & Co. GmbH - Digital (S9.Q12512). The première of Daudet's play, L'Arlésienne, with incidental music by Bizet, at the Théâtre du Vaudeville on 30 September 1872, was a devastating event for both playwright and composer and the production was removed from the repertory after 19 performances. The critic Johannès Weber, however, was alert to the quality of Bizet's score and suggested that the composer should excerpt and rescore several pieces for the Concerts populaires where 'the lovely music would be better appreciated than at the Vaudeville'. Bizet must have moved rather quickly to follow Weber's suggestion, for the première of the first Arlésienne suite took place only six weeks later at the Concerts populaires on 10 November 1872 and the work in its new abridged form was soon taken up by many other orchestras. Thus, before his death in June 1875, Bizet had the satisfaction that his suite from L'Arlésienne was played by all the major concert societies in Paris and it has remained firmly in the concert and recorded repertoire ever since.
$13.99
L'Arlésienne Suite No. 2
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Orchestra
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Georges Bizet
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L'Arlésienne Suite No. 2
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Ernst Eulenburg & Co. GmbH - Digital
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SheetMusicPlus
Orchestra - Digital Download SKU: S9.Q21191 Composed by Georges Bizet. This edition: study score. Ernst Eulenburg - Orchester - Partitur. Eulenburg Minia...
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Orchestra - Digital Download SKU: S9.Q21191 Composed by Georges Bizet. This edition: study score. Ernst Eulenburg - Orchester - Partitur. Eulenburg Miniature Scores. Downloadable, study score. Ernst Eulenburg & Co. GmbH - Digital #Q21191. Published by Ernst Eulenburg & Co. GmbH - Digital (S9.Q21191). The première of Daudet's play, L'Arlésienne, with incidental music by Bizet, given at the Théâtre du Vaudeville on 30 September 1872, was a devastating event for both playwright and composer and the production was removed from the repertory after 19 performances. The critic Johannès Weber, however, was alert to the quality of Bizet's score and suggested that the composer should excerpt and rescore several pieces for the Concerts populaires where 'the lovely music would be better appreciated than at the Vaudeville'. Bizet must have moved rather quickly to follow Weber's suggestion, for the première of the first Arlésienne suite took place only six weeks later at the Concerts populaires on 10 November 1872 and the work in its new abridged form was soon taken up by many other orchestras. Bizet, however, did not turn to preparing a second suite from L'Arlésienne. Some four years after Bizet's death, the success of the first suite may have prompted his original publisher to commission the arrangement of more excerpts from the Arlésienne MS from Bizet's good friend Ernest Guiraud who had earlier written recitatives and put together a ballet for Carmen.In 1872 Bizet wrote the incidental music to Daudet’s famous tragedy ‘L’Arlésienne’. He had to tailor his composition to an orchestra of only 26 players, but these limited forces turned out to pose a stimulating challenge rather than an obstacle. Shortly after the premiere, he arranged four of the movements and formed them into the Suite No. 1 for large orchestra. The Suite No. 2 was arranged by Ernest Guiraud four years after Bizet’s death.
$13.99
Kirby Shaw: Up Above My Head (There's Music In The Air) (complete set of parts) - orchestra/band (Rhythm)
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Orchestra
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INTERMEDIATE
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Gospel/Spiritual
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Kirby Shaw
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Virtualsheetmusic
Instantly printable sheet music by Kirby Shaw for orchestra/band (Rhythm) of MEDIUM skill level. / inspirational,concert,festival,sacred,light concert,spiritual...
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Instantly printable sheet music by Kirby Shaw for orchestra/band (Rhythm) of MEDIUM skill level. / inspirational,concert,festival,sacred,light concert,spiritual
$19.99
Miscellaneous: Up Above My Head (There's Music In The Air) (COMPLETE) for orchestra
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Orchestra
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INTERMEDIATE
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Miscellaneous
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Virtualsheetmusic
Instantly downloadable sheet music by Miscellaneous for orchestra of MEDIUM skill level.
Instantly downloadable sheet music by Miscellaneous for orchestra of MEDIUM skill level.
$27.99
Laudatio Amadeus
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Orchestra
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INTERMEDIATE
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Elizabeth Skola Davis
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Laudatio Amadeus
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Elizabeth Ann Davis
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SheetMusicPlus
Full Orchestra - Level 3 - Digital Download SKU: A0.1459569 Composed by Elizabeth Skola Davis. Classical,Historic,Opera,Standards. 99 pages. Elizabeth An...
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Full Orchestra - Level 3 - Digital Download SKU: A0.1459569 Composed by Elizabeth Skola Davis. Classical,Historic,Opera,Standards. 99 pages. Elizabeth Ann Davis #1038524. Published by Elizabeth Ann Davis (A0.1459569). The quadrille (a precursor to American square dancing) was a dance fashionable in late 18th- and 19th-century Europe and its colonies. It was usually performed by four pairs of dancers in a rectangular formation, and frequently danced to a medley of opera melodies. So, it turns out that a quadrille is just the 19th-century version of a mash-up! This Quadrille features excerpts from: Symphony #38 (Prague), the Impressario overture, Viennese Sonatina No. 1, Symphony #41 (Jupiter), Don Giovanni, Marriage of Figaro, March for Orchestra, KV 189, Queen of the Night aria from Magic Flute, Abduction from the Seraglio, Turkish March, and the finale from Symphony #29. The title comes from Laudatio which means commendation or praise, and Amadeus from Wolfgang Mozart's best known middle name.
$14.99
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