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Germaine Tailleferre: Concerto for two guitars and orchestra, score only
Chamber Orchestra
Chamber Orchestra - Level 5 - Digital Download SKU: A0.534697 Composed by Germaine …
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Chamber Orchestra - Level 5 - Digital Download SKU: A0.534697 Composed by Germaine Tailleferre. 20th Century. Score and parts. 63 pages. Musik Fabrik Music Publishing #6245161. Published by Musik Fabrik Music Publishing (A0.534697). This Concerto, composed in the 60s for the French Radio, was never performed and it was rumoured that Tailleferre, always trusting with her performers, had given the score to a visiting Guitarist from South America in the hopes that it would be performed there. Tailleferre personally considered this work to be on of her strongest and regretted that it was never performed during her lifetime. Her description of the work motivated several musicologists and guitarists to spend many hours searching for the work in music archives and libraries. The missing score was finally located during the Fall of 2003. A musician visiting the French Radio was intrigued however by a new addition to the catalogue and it was quickly confirmed that this was indeed the missing manuscript that so manmusicologists and guitarists had been looking for all of these years. The work is in four movements and is scored for 2011/1000 tymp/harp/celesta/strings and lasts aproximately 17 minutes. The work is more in the style of a concerto grosso than that of a virtuosic concerto, with the guitars frequently used in a solo group with the harp and celesta, which adds a very interesting orchestral colour. The writing is varied, ranging from a medieval cantilène style in the slow movement to free atonal sections in the second Scherzo movement and in the first movement. The work ends in a movement which sounds influenced by South American Popular music. Inspite of this apparent stylistic disparity, the composition remains extremely coherent and shows a great deal of energy and a kind of poetic strangeness. This item is the full score. The parts are on rental from the publisher. A piano reduction and the solo parts are available for sale.
$46.95
42.71 €
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Chamber Orchestra
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Germaine Tailleferre
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Germaine Tailleferre: Concerto for two guitars and orchestra, score only
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Musik Fabrik Music Publishing
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SheetMusicPlus
The Disqualification of Harry Semantix as Trial Juror for East County - Score Only
Chamber Orchestra
Chamber Orchestra - Level 5 - Digital Download SKU: A0.1126484 Composed by Igor Kor…
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Chamber Orchestra - Level 5 - Digital Download SKU: A0.1126484 Composed by Igor Korneitchouk. 20th Century,Contemporary. Score and parts. 40 pages. Studio at the Post #727154. Published by Studio at the Post (A0.1126484). Score only (see A727154 for Parts) Duration: 11 - 12 minutes, 37 pp. Description: In Korneitchouk's mischievously titled quasi-concerto for saxophone and orchestra, The Disqualification of Harry Semantix as Trial Juror for East County, the concept of Truth and Lie is explored musically, as well as metaphorically implying something deeper. The Truth (the opening theme after an introduction pieces it together) is slowly mutated into its opposite, the Lie -- upside down, backward, twice as long and strident (the closing theme just before the double cadenza at the end of the piece). The double cadenza, is in fact a cadenza for the saxophone played over a wild orchestral stretto -- a kind of orchestral cadenza -- both simultaneously intoning bits and pieces of either theme, and seems to ask: Can Truth coexist with its Lie? or perhaps, Can Truth exist without its Lie? The first incarnation of The Disqualification of Harry... (available on CD from Old King Cole Productions) appears as a duo for saxophone and piano and has only more recently been orchestrated. The composer tells us that the idea for this piece initially germinated from his own frustrations of having to serve jury duty and being disqualified as a potential juror for answering honestly during jury selection. East County is to be understood as Any County..
$15.04
13.68 €
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Chamber Orchestra
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Igor Korneitchouk
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The Disqualification of Harry Semantix as Trial Juror for East County - Score Only
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Studio at the Post
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SheetMusicPlus
The Disqualification of Harry Semantix as Trial Juror for East County (Parts only)
Chamber Orchestra
Chamber Orchestra - Level 5 - Digital Download SKU: A0.1126491 Composed by Igor Kor…
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Chamber Orchestra - Level 5 - Digital Download SKU: A0.1126491 Composed by Igor Korneitchouk. 20th Century,Contemporary. Score and parts. 111 pages. Studio at the Post #727166. Published by Studio at the Post (A0.1126491). Parts only (see A727154 for Score). Duration: 11 - 12 minutes, 23 Parts including soloist, parts averaging 3 -5 pp., soloist part 9 pp. Description: In Korneitchouk's mischievously titled quasi-concerto for saxophone and orchestra, The Disqualification of Harry Semantix as Trial Juror for East County, the concept of Truth and Lie is explored musically, as well as metaphorically implying something deeper. The Truth (the opening theme after an introduction pieces it together) is slowly mutated into its opposite, the Lie -- upside down, backward, twice as long and strident (the closing theme just before the double cadenza at the end of the piece). The double cadenza, is in fact a cadenza for the saxophone played over a wild orchestral stretto -- a kind of orchestral cadenza -- both simultaneously intoning bits and pieces of either theme, and seems to ask: Can Truth coexist with its Lie? or perhaps, Can Truth exist without its Lie? The first incarnation of The Disqualification of Harry... (available on CD from Old King Cole Productions) appears as a duo for saxophone and piano and has only more recently been orchestrated. The composer tells us that the idea for this piece initially germinated from his own frustrations of having to serve jury duty and being disqualified as a potential juror for answering honestly during jury selection. East County is to be understood as Any County..
$5.02
4.57 €
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Chamber Orchestra
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Igor Korneitchouk
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The Disqualification of Harry Semantix as Trial Juror for East County
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Studio at the Post
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SheetMusicPlus
Requiem
Chamber Orchestra
Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra - Digital Dow…
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Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra - Digital Download SKU: S9.Q7038 Teil I: Schwarz vor Augen... · Teil II: ...und es ward Licht!. Composed by Harald Weiss. This edition: study score. Music Of Our Time. Downloadable, Study score. Duration 100' 0. Schott Music - Digital #Q7038. Published by Schott Music - Digital (S9.Q7038). Latin • German.On letting go(Concerning the selection of the texts) In the selection of the texts, I have allowed myself to be motivated and inspired by the concept of “letting goâ€. This appears to me to be one of the essential aspects of dying, but also of life itself. We humans cling far too strongly to successful achievements, whether they have to do with material or ideal values, or relationships of all kinds. We cannot and do not want to let go, almost as if our life depended on it. As we will have to practise the art of letting go at the latest during our hour of death, perhaps we could already make a start on this while we are still alive. Tagore describes this farewell with very simple but strikingly vivid imagery: “I will return the key of my doorâ€. I have set this text for tenor solo. Here I imagine, and have correspondingly noted in a certain passage of the score, that the protagonist finds himself as though “in an ocean†of voices in which he is however not drowning, but immersing himself in complete relaxation. The phenomenon of letting go is described even more simply and tersely in Psalm 90, verse 12: “So teach us to number our days, that we may apply our hearts unto wisdomâ€. This cannot be expressed more plainly.I have begun the requiem with a solo boy’s voice singing the beginning of this psalm on a single note, the note A. This in effect says it all. The work comes full circle at the culmination with a repeat of the psalm which subsequently leads into a resplendent “lux aeternaâ€. The intermediate texts of the Requiem which highlight the phenomenon of letting go in the widest spectrum of colours originate on the one hand from the Latin liturgy of the Messa da Requiem (In Paradisum, Libera me, Requiem aeternam, Mors stupebit) and on the other hand from poems by Joseph von Eichendorff, Hermann Hesse, Rabindranath Tagore and Rainer Maria Rilke.All texts have a distinctive positive element in common and view death as being an organic process within the great system of the universe, for example when Hermann Hesse writes: “Entreiß dich, Seele, nun der Zeit, entreiß dich deinen Sorgen und mache dich zum Flug bereit in den ersehnten Morgen†[“Tear yourself way , o soul, from time, tear yourself away from your sorrows and prepare yourself to fly away into the long-awaited morningâ€] and later: “Und die Seele unbewacht will in freien Flügen schweben, um im Zauberkreis der Nacht tief und tausendfach zu leben†[“And the unfettered soul strives to soar in free flight to live in the magic sphere of the night, deep and thousandfoldâ€]. Or Joseph von Eichendorff whose text evokes a distant song in his lines: “Und meine Seele spannte weit ihre Flügel aus. Flog durch die stillen Lande, als flöge sie nach Haus†[“And my soul spread its wings wide. Flew through the still country as if homeward bound.â€]Here a strong romantically tinged occidental resonance can be detected which is however also accompanied by a universal spirit going far beyond all cultures and religions. In the beginning was the sound Long before any sort of word or meaningful phrase was uttered by vocal chords, sounds, vibrations and tones already existed. This brings us back to the music. Both during my years of study and at subsequent periods, I had been an active participant in the world of contemporary music, both as percussionist and also as conductor and composer. My early scores had a somewhat adventurous appearance, filled with an abundance of small black dots: no rhythm could be too complicated, no register too extreme and no harmony too dissonant. I devoted myself intensely to the handling of different parameters which in serial music coexist in total equality: I also studied aleatory principles and so-called minimal music.I subsequently emigrated and took up residence in Spain from where I embarked on numerous travels over the years to India, Africa and South America. I spent repeated periods during this time as a resident in non-European countries. This meant that the currents of contemporary music swept past me vaguely and at a great distance. What I instead absorbed during this period were other completely new cultures in which I attempted to immerse myself as intensively as possible.I learned foreign languages and came into contact with musicians of all classes and styles who had a different cultural heritage than my own: I was intoxicated with the diversity of artistic potential.Nevertheless, the further I distanced myself from my own Western musical heritage, the more this returned insistently in my consciousness.The scene can be imagined of sitting somewhere in the middle of the Brazilian jungle surrounded by the wailing of Indians and out of the blue being provided with the opportunity to hear Beethoven’s late string quartets: this can be a heart-wrenching experience, akin to an identity crisis. This type of experience can also be described as cathartic. Whatever the circumstances, my “renewed†occupation with the “old†country would not permit me to return to the point at which I as an audacious young student had maltreated the musical parameters of so-called contemporary music. A completely different approach would be necessary: an extremely careful approach, inching my way gradually back into the Western world: an approach which would welcome tradition back into the fold, attempt to unfurl the petals and gently infuse this tradition with a breath of contemporary life.Although I am aware that I will not unleash a revolution or scandal with this approach, I am nevertheless confident as, with the musical vocabulary of this Requiem, I am travelling in an orbit in which no ballast or complex structures will be transported or intimated: on the contrary, I have attempted to form the message of the texts in music with the naivety of a “homecomerâ€. Harald WeissColonia de San PedroMarch 20091 (auch Altfl.) · 2 (2. auch Engl. Hr.) · 1 (auch Bassklar.) · 0 - 2 · Flhr. · 0 · 0 - P. S. (Glsp. · Röhrengl. · Gongs · Trgl. · Beck. · Tamt. · 2 Holzschlitztr. (oder Woodbl.) · Woodbl. · gr. Tr.) (3 Spieler) - Org. (Positiv) - Str. (4 · 4 · 4 · 4 · 2).
$55.99
50.93 €
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Chamber Orchestra
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Harald Weiss
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Requiem
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Schott Music - Digital
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SheetMusicPlus
Dreams - Score Only
Chamber Orchestra
Chamber Orchestra - Level 3 - Digital Download SKU: A0.1317400 Composed by Juan Gue…
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Chamber Orchestra - Level 3 - Digital Download SKU: A0.1317400 Composed by Juan Guerra González. 21st Century,Classical. 96 pages. Juan Carlos Guerra Gonzalez #906062. Published by Juan Carlos Guerra Gonzalez (A0.1317400). DREAMS (for Symphony Orchestra)SCORE ONLY Please visit www.juancarlosguerra.com/dreams to buy or rent the parts. Scored for1 Flute1 Oboe1 Clarinet in Bb1 Basoon2 Percussion Players: 1 TimpaniViolin IViolin IIViolaVioloncelloDouble BassAn easy-to-read to read and fascinating piece for a symphony orchestra with a reduced number of winds and no brass. It can be suited ideally in any setting.Program Note“Dreams†is a suite for symphony orchestra in three movements. The work was kindly commissioned by Dr. Luis VÃquez, conductor of the University of Rhode Island’s Symphony Orchestra and to whom this work is being dedicated alongside with his wife Melissa. The titles of the movements come from either an specific dream, or other topics about dreaming that I discovered in the process of writing the work. I. Cherry trees in the morningNature has always inspired me. Every year during spring my family has the tradition to visit the Brooklyn Botanic Garden to experience the cherry blossoms. I usually do not remember many of my dreams but in this particular dream I was in Japan under an esplanade of cherry trees. I remember how amazed I feel and is for sure one of my most memorable dreams. II. DreamcatcherWhile I was writing the initial ideas of for the work I came across a Journal that explored how the use of a particular chord helped reduce nightmares in patients suffering from nightmare disorders. In the study, patients were exposed to the chord C69 (A C Major with the added 6th and 9th) during therapeutic sessions. This chord is used at the beginning of the movement as it moves to explore different sonorities. In this movement you might be able to hear a representation of the “heartbeat†played by the bass drum and timpani, then a more “stressful†section will come to represent a nightmare followed again by another repetition of the C69 chord. If you feel relaxed during the performance, it is on purpose! III. A Dance in the desertDreams, in my case, are usually a mix of different non-related things. For the final movement, I decided to use that idea. I started this dance with a “oriental†style and them throughout the middle of the movement I moved it to a waltz that was influenced by my grandfather. He used to have a small orchestra and he used to play waltzes during events and private parties.I hope the music takes you through a journey of musical emotions.Juan Guerra González
$159.99
145.52 €
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Chamber Orchestra
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Juan Guerra González
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Dreams - Score Only
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Juan Carlos Guerra Gonzalez
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SheetMusicPlus
Tantric Psalms (1997, rev. 1999) for mezzo-soprano and string quartet
Chamber Orchestra
Chamber Orchestra - Level 4 - Digital Download SKU: A0.869311 Composed by Thomas Ob…
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Chamber Orchestra - Level 4 - Digital Download SKU: A0.869311 Composed by Thomas Oboe Lee. 20th Century,Baroque,Classical,Contemporary,Romantic Period. Score and parts. With Om ah hum hum (Chant sung with mouth closed.). 21 pages. Thomas Oboe Lee #32293. Published by Thomas Oboe Lee (A0.869311). Program notes: Mark Ludwig came to me in the spring of 1997 wondering if I would be interested in writing a piece of music for the Hawthorne String Quartet that would bring to the attention of the world what many Tibetans are experiencing as exiles or political prisoners under the rule of the Peoples Republic of China. I told him I would be. So, he loaned me several books on Tibet, the Dalai Lamas, a video about a Tibetan ethnomusicologist who is currently in prison for spying, and a few recordings of Tibetan folk music. I found the material very intriguing and fascinating. And toward the end of a five-week residency at the American Academy in Rome that summer, I completed the first draft of Tantric Psalms. The work was completed a week later at home in Cambridge, Massachusetts. In 1999, I revisited the score and added a voice so that the beautiful Tibetan chants and prayers can be invoked. Tantric Psalms is in three sections, but organized in two movements: I. Invocation Om ah hum hum (Chant sung with mouth closed.) Prayer: Then bless me to embark ... II. Invocation Simple Song of Fun/Om ma ni pad me hum (Chant sung with mouth closed.) (Om ah hum hum. Om ah kham hum. Om ah om hum. Om ah sva hum. Om ah ah hum. Om ah ha hum. Om ah lam hum. Om ah mam hum. Om ah bam hum. Om ah tam hum. Om ah jah hum. Om ah hum hum. Om ah bam hum. Om ah hoh hum. Om ah maim hum. Om ah thlim hum. Om am om hum. Om ah om hum. Om ah om hum. Om ah hum hum. Om ah om hum. Om ah sam hum. Om ah hum hum. Om ah hum hum. Om ah hum hum. Om ah hum hum. Om ah hum hum. Om ah hum hum. Om ah hum hum. Om ah hum hum. Om ah hum hum. Om ah hum hum.) Then bless me to embark in a boat to cross the ocean of the Tantras, Through the kindness of the Captain Vajra master, Holding vows and pledges, root of all power, more dearly than life itself! Bless me to perceive all things as the deity body, Cleasing the taints of ordinary perception, Through the yoga of the first stages of Unexcelled Tantra, Changing births, deaths, and between into the three Buddha bodies! (Om ma ni pad me hum.).
$9.99
9.09 €
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Chamber Orchestra
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Thomas Oboe Lee
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Tantric Psalms
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Thomas Oboe Lee
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SheetMusicPlus
Tantric Psalms (1997, rev. 1999) for mezzo-soprano and string quartet
Chamber Orchestra
Chamber Orchestra - Level 4 - Digital Download SKU: A0.869299 Composed by Thomas Ob…
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Chamber Orchestra - Level 4 - Digital Download SKU: A0.869299 Composed by Thomas Oboe Lee. 20th Century,Baroque,Classical,Contemporary,Romantic Period. Score and parts. With Om ah hum hum (Chant sung with mouth closed.). 21 pages. Thomas Oboe Lee #32649. Published by Thomas Oboe Lee (A0.869299). Program notes: Mark Ludwig came to me in the spring of 1997 wondering if I would be interested in writing a piece of music for the Hawthorne String Quartet that would bring to the attention of the world what many Tibetans are experiencing as exiles or political prisoners under the rule of the Peoples Republic of China. I told him I would be. So, he loaned me several books on Tibet, the Dalai Lamas, a video about a Tibetan ethnomusicologist who is currently in prison for spying, and a few recordings of Tibetan folk music. I found the material very intriguing and fascinating. And toward the end of a five-week residency at the American Academy in Rome that summer, I completed the first draft of Tantric Psalms. The work was completed a week later at home in Cambridge, Massachusetts. In 1999, I revisited the score and added a voice so that the beautiful Tibetan chants and prayers can be invoked. Tantric Psalms is in three sections, but organized in two movements: I. Invocation Om ah hum hum (Chant sung with mouth closed.) Prayer: Then bless me to embark ... II. Invocation Simple Song of Fun/Om ma ni pad me hum (Chant sung with mouth closed.) (Om ah hum hum. Om ah kham hum. Om ah om hum. Om ah sva hum. Om ah ah hum. Om ah ha hum. Om ah lam hum. Om ah mam hum. Om ah bam hum. Om ah tam hum. Om ah jah hum. Om ah hum hum. Om ah bam hum. Om ah hoh hum. Om ah maim hum. Om ah thlim hum. Om am om hum. Om ah om hum. Om ah om hum. Om ah hum hum. Om ah om hum. Om ah sam hum. Om ah hum hum. Om ah hum hum. Om ah hum hum. Om ah hum hum. Om ah hum hum. Om ah hum hum. Om ah hum hum. Om ah hum hum. Om ah hum hum. Om ah hum hum.) Then bless me to embark in a boat to cross the ocean of the Tantras, Through the kindness of the Captain Vajra master, Holding vows and pledges, root of all power, more dearly than life itself! Bless me to perceive all things as the deity body, Cleasing the taints of ordinary perception, Through the yoga of the first stages of Unexcelled Tantra, Changing births, deaths, and between into the three Buddha bodies! (Om ma ni pad me hum.).
$9.99
9.09 €
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Chamber Orchestra
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Thomas Oboe Lee
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Tantric Psalms
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Thomas Oboe Lee
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SheetMusicPlus
Homage to Sibelius
Chamber Orchestra
Chamber Orchestra - Level 4 - Digital Download SKU: A0.1308171 Composed by Stanley …
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Chamber Orchestra - Level 4 - Digital Download SKU: A0.1308171 Composed by Stanley M Hoffman. 21st Century,Classical. Score and Parts. 207 pages. Stanleymhoffman.com #897424. Published by stanleymhoffman.com (A0.1308171). I have long wanted to compose an homage to Jean Sibelius. However, his music is copyright protected in the EU for another five years or so. Thus, I struggled with how to compose a work without any direct musical quotations, and yet which in some way captures the essence of his symphonic music. I had a breakthrough in recent weeks, and the result is an eleven-minute orchestral composition which manages to invoke his music without directly quoting it. The opening passage on which the piece is based invokes the opening of Symphony No. 6 without quoting it; also, my homage is in the key of A Minor whereas the symphony is in the key of D minor. The piece also invokes the orchestral colors of one of my other favorite pieces of Sibelius, The Swan of Tuonela. My composition is scored very closely to that one, but I ended up using two oboes; I never needed an English Horn, and I added two flutes to that scoring. Thus, the instrumentation is as follows: 2fl-2ob-1cl/bcl-2bn-4hn-3tbn-timp-bd-str; the duration is ca. 11:30. My homage also invokes the more youthful compositions of the great master, and of course features his biggest personal influence, the sounds of nature. Sibelius was a master of musical forms. He managed to create entirely original forms such as the one for Symphony No. 7. While I do not pretend to be in his league in any way, I did manage to compose a work in a four-part form, which is unusual, and not the least of which for me. The piece contains all kinds of indirect references to the music of Sibelius through the use of motifs, melodies, harmonies, ornamentation, and orchestration.While not the most original piece of music I have ever composed (that would be The City In the Sea: Choral Tone Poem), my Homage to Sibelius is among the most subtle of my works in that it contains a good deal of variation technique, and a lot of attention to detail. Like my Homage to Vaughan Williams for string orchestra, the idea was not to break new stylistic ground, but rather to pay homage to the ground broken by the master. More so than anything, my Homage to Sibelius invokes how the symphonic music of Sibelius makes me feel when I am listening to it. I hope you enjoy it.---HOMAGE TO SIBELIUS for Chamber OrchestraMusic by  Stanley M. Hoffman (b. 1959 [BMI]) Inspired by the Music of Jean Sibelius (1865–1957)NotePerformer 4 Audio and Scrolling Score Video Seeking Live PerformancesMusic:© Copyright 2023 by Stanley M. Hoffman. www(dot)stanleymhoffman(dot)comAll rights reserved.  The sheet music is available from the composer and from Sheet Music Plus.
$103.50
94.14 €
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Chamber Orchestra
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Stanley M Hoffman
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Homage to Sibelius
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stanleymhoffman.com
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SheetMusicPlus
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