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--INSTRUMENTS--
ACCORDION
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I See Red
Not classified
644
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107
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102
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Piano (band part)
2
Piano Quintet: piano, 2 violins, viola, cello
1
Big Note Piano
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Organ, Piano (duet)
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+ 11 instrumentations
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Retract
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43
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33
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Tenor voice, Piano
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Voice solo
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Retract
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Flute Quartet: 4 flutes
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Flute (band part)
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2 Recorders (duet)
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2
Oboe, Cello
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2 Flutes, Piano
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Saxophone and Guitar
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2 Clarinets, Piano
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Treble (Alto) Recorder, Piano
1
Descent (Soprano) Recorder, Piano
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Descant (Soprano) Recorder
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Clarinet, Guitar (duet)
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Flute, Violin, Piano
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Recorder
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1
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1
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Oboe, Clarinet and Piano (Trio)
1
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1
2 Recorders, Piano
1
Piccolo, Piano
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+ 69 instrumentations
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Retract
Woodbrass
Brass Quintet: 2 trumpets, horn, trombone, tuba
30
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19
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16
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14
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10
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9
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7
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5
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2
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1
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68
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9
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1
4 Cellos
1
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1
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1
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1
2 Violins, Piano
1
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1
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1
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35
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18 sheet music found
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1
I Will Magnify Your Name (Orchestral Parts)
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Chamber Orchestra
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INTERMEDIATE
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Sacred music
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David Silberman
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I Will Magnify Your Name
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Sounds on Film
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SheetMusicPlus
Chamber Orchestra - Level 3 - Digital Download SKU: A0.1017339 Composed by David Silberman. Christian,Praise & Worship,Sacred. Score and parts. 42 pages....
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Chamber Orchestra - Level 3 - Digital Download SKU: A0.1017339 Composed by David Silberman. Christian,Praise & Worship,Sacred. Score and parts. 42 pages. Sounds on Film #6117175. Published by Sounds on Film (A0.1017339). Orchestral parts for I Will Magnify Your Name (See other entry for orchestral score)Contemporary Christian song suitable for a variety of settings, including worship services featuring piano with soprano soloist, piano with soprano soloist and 3 backup vocals (soprano, alto, and tenor), or soprano soloist with choir (soprano, alto, and tenor parts) and chamber orchestra. Running time: 3:41
$14.99
I Will Magnify Your Name (Orchestral Score)
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Chamber Orchestra
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INTERMEDIATE
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Sacred music
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David Silberman
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I Will Magnify Your Name
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Sounds on Film
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SheetMusicPlus
Chamber Orchestra - Level 3 - Digital Download SKU: A0.1017337 Composed by David Silberman. Christian,Praise & Worship,Sacred. Score and parts. 17 pages....
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Chamber Orchestra - Level 3 - Digital Download SKU: A0.1017337 Composed by David Silberman. Christian,Praise & Worship,Sacred. Score and parts. 17 pages. Sounds on Film #6117173. Published by Sounds on Film (A0.1017337). Orchestral score for I Will Magnify Your Name (See other entry for orchestral parts)Contemporary Christian song suitable for a variety of settings, including worship services featuring piano with soprano soloist, piano with soprano soloist and 3 backup vocals (soprano, alto, and tenor), or soprano soloist with choir (soprano, alto, and tenor parts) and chamber orchestra. Running time: 3:41
$12.99
Three Laments of Heloise for Chamber Orchestra
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Chamber Orchestra
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INTERMEDIATE/ADVANCED
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Dosia McKay
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Three Laments of Heloise for C
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Gavia Music
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SheetMusicPlus
Chamber Orchestra - Level 4 - Digital Download SKU: A0.876665 Composed by Dosia McKay. 20th Century,Contemporary,Renaissance. Score and parts. 81 pages. ...
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Chamber Orchestra - Level 4 - Digital Download SKU: A0.876665 Composed by Dosia McKay. 20th Century,Contemporary,Renaissance. Score and parts. 81 pages. Gavia Music #57229. Published by Gavia Music (A0.876665). Three Laments of Heloise were inspired by the Letters of Abelard and Heloise, especially the character of Heloise, her crushing loss, self-denial, sacrifice, and forced conformity to the standards of medieval society. The first movement entitled Queens Envied Me My Joys is Heloise’s recollection of early days with Abelard. Every wife, every young girl desired you in absence and was on fire in your presence, writes Heloise. The pleasures of lovers which we shared have been too sweet… They are always there before my eyes, bringing with them awakened longings… The second movement If Not With You, My Heart Is Nowhere, expresses Heloise’s sense of abandonment by her lover. She writes to him: My heart was not in me but with you, and now, even more, if it is not with you it is nowhere; truly, without you I cannot exist. The third movement, My Most Wretched Soul, gives voice to Heloise’s continued struggle with her loss and the reality of the convent life. She does not see herself as a servant of God, but rather a hypocrite who remains pious on the outside and rages inwardly. Of all wretched women I am the most wretched, and amongst the unhappy I am unhappiest. How can it be called repentance for sins, however great the mortification of the flesh, if the mind still retains the will to sin and is on fire with its old desires? Modal scales and dance sequences give the Laments a Renaissance feel. Music theory students might appreciate the fact that the unifying element of the three movements is the interval of the 7th which appears very frequently in melodic and harmonic gestures and creates a feeling of ambiguity and of a lack of resolution. For chamber orchestra: Flute (or Piccolo), Oboe, Clarinet, Bassoon, Strings (Quintet, or 4,4,3,2,1, or larger), 2 Percussion: Frame Drum, Tambourine. Total duration 8:00. Possible transcriptions for period Renaissance instruments - please contact the composer. Composed in 2009. Copyright 2009 Dosia McKay / Gavia Music (ASCAP).
$100.00
Requiem
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Chamber Orchestra
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Harald Weiss
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Requiem
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Schott Music - Digital
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SheetMusicPlus
Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra - Digital Download SKU: S9.Q7038 Teil I: Schwarz vor Augen... · Teil I...
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Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra - Digital Download SKU: S9.Q7038 Teil I: Schwarz vor Augen... · Teil II: ...und es ward Licht!. Composed by Harald Weiss. This edition: study score. Music Of Our Time. Downloadable, Study score. Duration 100' 0. Schott Music - Digital #Q7038. Published by Schott Music - Digital (S9.Q7038). Latin • German.On letting go(Concerning the selection of the texts) In the selection of the texts, I have allowed myself to be motivated and inspired by the concept of “letting goâ€. This appears to me to be one of the essential aspects of dying, but also of life itself. We humans cling far too strongly to successful achievements, whether they have to do with material or ideal values, or relationships of all kinds. We cannot and do not want to let go, almost as if our life depended on it. As we will have to practise the art of letting go at the latest during our hour of death, perhaps we could already make a start on this while we are still alive. Tagore describes this farewell with very simple but strikingly vivid imagery: “I will return the key of my doorâ€. I have set this text for tenor solo. Here I imagine, and have correspondingly noted in a certain passage of the score, that the protagonist finds himself as though “in an ocean†of voices in which he is however not drowning, but immersing himself in complete relaxation. The phenomenon of letting go is described even more simply and tersely in Psalm 90, verse 12: “So teach us to number our days, that we may apply our hearts unto wisdomâ€. This cannot be expressed more plainly.I have begun the requiem with a solo boy’s voice singing the beginning of this psalm on a single note, the note A. This in effect says it all. The work comes full circle at the culmination with a repeat of the psalm which subsequently leads into a resplendent “lux aeternaâ€. The intermediate texts of the Requiem which highlight the phenomenon of letting go in the widest spectrum of colours originate on the one hand from the Latin liturgy of the Messa da Requiem (In Paradisum, Libera me, Requiem aeternam, Mors stupebit) and on the other hand from poems by Joseph von Eichendorff, Hermann Hesse, Rabindranath Tagore and Rainer Maria Rilke.All texts have a distinctive positive element in common and view death as being an organic process within the great system of the universe, for example when Hermann Hesse writes: “Entreiß dich, Seele, nun der Zeit, entreiß dich deinen Sorgen und mache dich zum Flug bereit in den ersehnten Morgen†[“Tear yourself way , o soul, from time, tear yourself away from your sorrows and prepare yourself to fly away into the long-awaited morningâ€] and later: “Und die Seele unbewacht will in freien Flügen schweben, um im Zauberkreis der Nacht tief und tausendfach zu leben†[“And the unfettered soul strives to soar in free flight to live in the magic sphere of the night, deep and thousandfoldâ€]. Or Joseph von Eichendorff whose text evokes a distant song in his lines: “Und meine Seele spannte weit ihre Flügel aus. Flog durch die stillen Lande, als flöge sie nach Haus†[“And my soul spread its wings wide. Flew through the still country as if homeward bound.â€]Here a strong romantically tinged occidental resonance can be detected which is however also accompanied by a universal spirit going far beyond all cultures and religions. In the beginning was the sound Long before any sort of word or meaningful phrase was uttered by vocal chords, sounds, vibrations and tones already existed. This brings us back to the music. Both during my years of study and at subsequent periods, I had been an active participant in the world of contemporary music, both as percussionist and also as conductor and composer. My early scores had a somewhat adventurous appearance, filled with an abundance of small black dots: no rhythm could be too complicated, no register too extreme and no harmony too dissonant. I devoted myself intensely to the handling of different parameters which in serial music coexist in total equality: I also studied aleatory principles and so-called minimal music.I subsequently emigrated and took up residence in Spain from where I embarked on numerous travels over the years to India, Africa and South America. I spent repeated periods during this time as a resident in non-European countries. This meant that the currents of contemporary music swept past me vaguely and at a great distance. What I instead absorbed during this period were other completely new cultures in which I attempted to immerse myself as intensively as possible.I learned foreign languages and came into contact with musicians of all classes and styles who had a different cultural heritage than my own: I was intoxicated with the diversity of artistic potential.Nevertheless, the further I distanced myself from my own Western musical heritage, the more this returned insistently in my consciousness.The scene can be imagined of sitting somewhere in the middle of the Brazilian jungle surrounded by the wailing of Indians and out of the blue being provided with the opportunity to hear Beethoven’s late string quartets: this can be a heart-wrenching experience, akin to an identity crisis. This type of experience can also be described as cathartic. Whatever the circumstances, my “renewed†occupation with the “old†country would not permit me to return to the point at which I as an audacious young student had maltreated the musical parameters of so-called contemporary music. A completely different approach would be necessary: an extremely careful approach, inching my way gradually back into the Western world: an approach which would welcome tradition back into the fold, attempt to unfurl the petals and gently infuse this tradition with a breath of contemporary life.Although I am aware that I will not unleash a revolution or scandal with this approach, I am nevertheless confident as, with the musical vocabulary of this Requiem, I am travelling in an orbit in which no ballast or complex structures will be transported or intimated: on the contrary, I have attempted to form the message of the texts in music with the naivety of a “homecomerâ€. Harald WeissColonia de San PedroMarch 20091 (auch Altfl.) · 2 (2. auch Engl. Hr.) · 1 (auch Bassklar.) · 0 - 2 · Flhr. · 0 · 0 - P. S. (Glsp. · Röhrengl. · Gongs · Trgl. · Beck. · Tamt. · 2 Holzschlitztr. (oder Woodbl.) · Woodbl. · gr. Tr.) (3 Spieler) - Org. (Positiv) - Str. (4 · 4 · 4 · 4 · 2).
$55.99
The Joyce Cycle, for voice and orchestra
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Chamber Orchestra
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INTERMEDIATE/ADVANCED
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Contemporary
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the turbulent sea, the loved o
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Music and James Joyce, Ofer Be
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The Joyce Cycle, for voice and
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The Composer's Own Press
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SheetMusicPlus
Chamber Orchestra - Level 4 - Digital Download SKU: A0.944034 Composed by Music and James Joyce, Ofer Ben-Amots, and Poetry (our of Chamber Music). Conte...
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Chamber Orchestra - Level 4 - Digital Download SKU: A0.944034 Composed by Music and James Joyce, Ofer Ben-Amots, and Poetry (our of Chamber Music). Contemporary. Score and parts. 127 pages. The Composer's Own Press #4615369. Published by The Composer's Own Press (A0.944034). Ben-Amots: The Joyce Cycle (1986) James Joyce's collection of 36 love poems titled Chamber Music has been a source of inspiration to many composers. From these, Ben-Amots has set nine for medium voice and piano (later orchestrated--see below), in a style he characterizes as neo-romantic to match the deliberate archaicism of Joyce's language. The songs are meant to be sung as a complete cycle, but these complex and beautiful settings may be performed independently. Shortly after composing the cycle, Ben-Amots orchestrated it, and he now considers the orchestral version to have priority. Deftly and lightly scored (winds in pairs, no heavy brass), this version sounds strikingly Mahlerian in places. 1. O Sweetheart... The lover finds solace in love when friends him fail. 2. My love is in a light attire... He admires the sight of his love walking through an orchard. 3. My dove my beautiful one... In language reminiscent of the Song of Songs, he bids her arise. 4. Rain has fallen... They seek shelter on a rainy day. 5. Sleep Now, O Sleep Now... The lover's unquiet heart is calmed with a kiss. 6. It was out by Donnycarney... A cheerful folksong, sealed with another kiss. 7. Winds of May... By the turbulent sea, the loved one has disappeared. 8. I Hear an Army... Giving way to despair the lover dreams of an army ferociously charging up out of the depths. But... 9. From Dewy dreams... It was just a dream, after all. For part and performance materials please contact thecomposerspress@gmail.com * The poems, out of James Joyce’s Chamber Music, are in the public domain.Duration: ~ 25 min.Performance material by rental only! For demo recording, questions, or any additional information please e-mail Ofer Ben-Amots at: thecomposerspress@gmail.com
$54.00
God's Grandeur (2012, rev. 2019) for chorus and chamber orchestra
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Chamber Orchestra
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INTERMEDIATE/ADVANCED
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Thomas Oboe Lee
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God's Grandeur
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Thomas Oboe Lee
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SheetMusicPlus
Chamber Orchestra - Level 4 - Digital Download SKU: A0.869215 Composed by Thomas Oboe Lee. 20th Century,Contemporary,Sacred. Score and parts. 94 pages. T...
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Chamber Orchestra - Level 4 - Digital Download SKU: A0.869215 Composed by Thomas Oboe Lee. 20th Century,Contemporary,Sacred. Score and parts. 94 pages. Thomas Oboe Lee #2016287. Published by Thomas Oboe Lee (A0.869215). During the spring of the Millennial year 2000, music director John Finney and the Boston College University Chorale premiered my Mass for the Holy Year 2000 for chorus and orchestra in Trinity Chapel at Boston College. It was a large work, close to an hour long in duration. It was a momentous occasion and I was extremely pleased with the performance by John and the BC University Chorale. Ten years later in anticipation of the 150th Anniversary of the founding of Boston College, I decided that I wanted to write another choral work for the BC Chorale. This time the subject would be something directly connected to the Jesuit identity of Boston College. I chose for text the poems of Gerard Manley Hopkins, S.J. (1844-1889). This Manley Hopkins project would come in two parts. Part One would be a private uttering of faith in God, and Part Two would be a public declamation of the same topic. The private utterance would be in a chamber setting. I decided on a song cycle setting for soprano and piano. The public declamation would be the choral work with orchestra for the Boston College University Chorale. 1. Part The First … THOU mastering me God! (2010) for soprano and piano The ten poems for this song cycle came from GMH's The Wreck of the Deutschland, Part the First. This 30-minute song cycle was premiered in Bapst Library on March 31, 2011. The performers were Megan Stapleton, soprano, and Diane Braun, piano. 2. God's Grandeur (2012) for SATB chorus and chamber orchestra. For this work I chose five poems by GMH. Pied Beauty God's Grandeur The Habit of Perfection Thou Art Indeed Just, Lord. Inversnaid Why did I choose GMH's work besides the fact that he was a Jesuit? I was very surprised and thrilled that his poems are so fanciful, imaginative and abstract in form and content for someone who lived in the 19th century. These abstract poetic qualities are the very things that a composer in the 20th and 21st centuries would find inspiring when they are seeking texts for musical settings. I did indeed find the sound and silences of GMH's words quite inspirational. Hearing music in those words came directly and quickly as I was working on the piece. I hope the audience will enjoy the work as much as I did when I was creating it.
$9.99
Carson Cooman: Shining Space: Quintet for Horn and Strings (2006)
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Chamber Orchestra
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ADVANCED
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Carson Cooman
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Carson Cooman: Shining Space:
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Musik Fabrik Music Publishing
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SheetMusicPlus
Chamber Orchestra - Level 5 - Digital Download SKU: A0.533698 Composed by Carson Cooman. Contemporary,Standards. Score and parts. 71 pages. Musik Fabrik ...
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Chamber Orchestra - Level 5 - Digital Download SKU: A0.533698 Composed by Carson Cooman. Contemporary,Standards. Score and parts. 71 pages. Musik Fabrik Music Publishing #3038887. Published by Musik Fabrik Music Publishing (A0.533698). Shining Space: Quintet for Horn and Strings (2006) was commissioned by and is dedicatedto Hazel Dean Davis and Stephen Hackbarth on the occasion of their marriage, June 24, 2006.The work was premiered by James Sommerville, horn with Sarah Kapustin and FrancescaAnderegg, violins, Nathan Burke, viola, and Peter Lorenzo Anderegg, cello.The basic musical material for the work is a set of intervals which is gradually “expandedoutward†– moving from close dissonance to luminous consonance. This could be seen torepresent a sense of freedom, growth, and a bright future.The first movement, Bright Morning Sky, begins vibrantly with ecstatic ringing in the higherstrings. The cello presents the work’s basic pitch material in dramatic gestures. The hornthen enters: first abortively and then affirmatively – changing the texture to focus on itself.The horn continues lyrical melodic development while the strings react, dissipating theirinitial energy. Nervous tremolos in the strings start to build back energy again, leading to awild climax. The music then relaxes into the next section marked “Slow, suspended.†Thehorn and strings interact melodically, supported by luminous harmonies. The nervoustremolos return, regaining energy towards the coda. The work ends with the ecstatic ringingof the opening – but,this time, the harmonic material is open and bright.The second movement, I Am the Vine, is serene and expressive – consisting of a series ofcanons which develop, break-off, and start again. The canons are almost always in twovoices – representing two lives intertwining.The third movement, Chasing Windflower, returns to the energy of the opening movement.However, the harmonic language begins this time with the open sonorities. Darker colors(from the first movement) continue to interject, but are always overwhelmed by a sense offree-wheeling excitement. The work presses on to an ecstatic coda – with a sense ofunfettered joy.
$38.95
Homage to Sibelius
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Chamber Orchestra
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INTERMEDIATE/ADVANCED
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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
Chamber Orchestra - Level 4 - Digital Download SKU: A0.1308171 Composed by Stanley M Hoffman. 21st Century,Classical. Score and Parts. 207 pages. 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
ATON part 17-Interlude and Chorus of the Liberals
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Chamber Orchestra
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INTERMEDIATE/ADVANCED
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David Warin Solomons
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ATON part 17-Interlude and Cho
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David Warin Solomons
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SheetMusicPlus
Chamber Orchestra - Level 4 - Digital Download SKU: A0.576199 Composed by David Warin Solomons. Contemporary,Opera. Score and parts. 48 pages. David Wari...
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Chamber Orchestra - Level 4 - Digital Download SKU: A0.576199 Composed by David Warin Solomons. Contemporary,Opera. Score and parts. 48 pages. David Warin Solomons #5617. Published by David Warin Solomons (A0.576199). ATON is a stage play written by Manfred Strolz and Otmar Rützler which represents Egypt in the time of the Pharoahs but seen through the eyes of modern theatre directors and actors. The modern scenes are spoken but the Egyptian scenes require music, so Manfred and Otmar asked me to write the music for these. The music is composed for various forces as the play progresses, from the full orchestra (woodwind, strings, harp, piano, timpani) and choir down to more intimate moments with single voice or duets, flute and classical guitar or with single voice and bassoon. For each section the pdf file contains score and parts and the sound sample is an electronic preview. As I write, 18 sections have been composed, but more are to come - please just search for Aton in due course for the full picture. The first performance is planned to take place in the Landestheater in Innsbruck during 2015.
$5.00
O Come, O Come, Emmanuel: A Christmas Cantata in eight movements
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Chamber Orchestra
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INTERMEDIATE/ADVANCED
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Christmas
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Bennett Rabiega
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Bennett Rabiega
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O Come, O Come, Emmanuel: A Ch
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Bennett A Rabiega
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SheetMusicPlus
Chamber Orchestra - Level 4 - Digital Download SKU: A0.1288209 By Bennett Rabiega. By Bennett Rabiega. Arranged by Bennett Rabiega. Advent,Christian,Chri...
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Chamber Orchestra - Level 4 - Digital Download SKU: A0.1288209 By Bennett Rabiega. By Bennett Rabiega. Arranged by Bennett Rabiega. Advent,Christian,Christmas,Holiday,Religious. Score and Parts. 188 pages. Bennett A Rabiega #863240. Published by Bennett A Rabiega (A0.1288209). This is a Christmas cantata in 8 movements based on the classic hymn O Come, O Come, Emmanuel and prophecy on the coming of the Messiah from the book of Isaiah. The piece is composed for SATB choir, soloists, and a reduced orchestration for a C Instrument, a B-flat instrument, piano, acoustic guitar, bass guitar, and drums. A full orchestration of the piece is also available, as is the vocal score with piano accompaniment. This reduced score contains the vocal score and individual instrumental parts. 1) Prelude (instrumental) / 2) Interlude: A Shoot Will Come Out / 3) He Will Delight / 4) Interlude: Therefore, The Lord Himself / 5) Unto Us A Child Is Born / 6) Interlude: Of The Increase / 7) See, I Lay A Stone In Zion / 8) O Come, O Come, Emmanuel (Finale)
$149.95
O Come, O Come, Emmanuel: A Christmas Cantata in eight movements
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Chamber Orchestra
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INTERMEDIATE/ADVANCED
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Christmas
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Bennett Rabiega
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Bennett Rabiega
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O Come, O Come, Emmanuel: A Ch
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Bennett A Rabiega
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SheetMusicPlus
Chamber Orchestra - Level 4 - Digital Download SKU: A0.1288208 By Bennett Rabiega. By Bennett Rabiega. Arranged by Bennett Rabiega. Advent,Christian,Chri...
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Chamber Orchestra - Level 4 - Digital Download SKU: A0.1288208 By Bennett Rabiega. By Bennett Rabiega. Arranged by Bennett Rabiega. Advent,Christian,Christmas,Holiday,Religious. Score and Parts. 273 pages. Bennett A Rabiega #863238. Published by Bennett A Rabiega (A0.1288208). This is a Christmas cantata in 8 movements based on the classic hymn O Come, O Come, Emmanuel and prophecy on the coming of the Messiah from the book of Isaiah. The piece is composed for SATB choir, soloists, and an orchestra of 1 Flute, 1 Soprano Saxophone, 1 Trumpet, 1 Trombone, Violin I, Violin II, Viola, Cello, Piano, Acoustic Guitar, Bass Guitar, and Drums). A reduced orchestration is available, as is a vocal score with piano accompaniment. This is the full orchestration, including the vocal score and all instrumental parts. 1) Prelude (instrumental) / 2) Interlude: A Shoot Will Come Out / 3) He Will Delight / 4) Interlude: Therefore, The Lord Himself / 5) Unto Us A Child Is Born / 6) Interlude: Of The Increase / 7) See, I Lay A Stone In Zion / 8) O Come, O Come, Emmanuel (Finale)
$249.95
ALES STENAR, suite for violin and chamber orchestra - Score Only
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Chamber Orchestra
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ADVANCED
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Stefano Olcese
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Stefano Olcese
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ALES STENAR, suite for violin
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Stefano Olcese
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SheetMusicPlus
Chamber Orchestra - Level 5 - Digital Download SKU: A0.1145526 By Stefano Olcese. By Stefano Olcese. Arranged by Stefano Olcese. Chamber,Classical,Contem...
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Chamber Orchestra - Level 5 - Digital Download SKU: A0.1145526 By Stefano Olcese. By Stefano Olcese. Arranged by Stefano Olcese. Chamber,Classical,Contemporary,Film/TV,Romantic Period. 28 pages. Stefano Olcese #745768. Published by Stefano Olcese (A0.1145526). ----> IMPORTANT
$19.99
Concerto for Trumpet and Orchestra (set of orchestra parts including solo)
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Chamber Orchestra
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INTERMEDIATE/ADVANCED
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Gary Friedman
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Concerto for Trumpet and Orche
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Gary Friedman
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SheetMusicPlus
Chamber Orchestra - Level 4 - Digital Download SKU: A0.889881 Composed by Gary Friedman. Contemporary,Romantic Period. Score and parts. 71 pages. Gary Fr...
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Chamber Orchestra - Level 4 - Digital Download SKU: A0.889881 Composed by Gary Friedman. Contemporary,Romantic Period. Score and parts. 71 pages. Gary Friedman #12907. Published by Gary Friedman (A0.889881). Please see Concerto for Trumpet and Orchestra (score, piano reduction, and solo trumpet parts) for Description and audio clip. The combined pdf for that plus the all of the parts was too large for SheetMusicPlus to accept, so I am providing the parts here separately.
$20.00
The Egret's Wishes《白鷺鷥的願望》
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Chamber Orchestra
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Ma Shui Long 馬水é¾
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The Egret's Wishes《ç™
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SpringAutumnmusic
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SheetMusicPlus
Chamber Orchestra - Digital Download SKU: A0.961999 Composed by Ma Shui Long 馬水é¾. 20th Century,Contemporary. Score and parts. 55 pages. Sp...
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Chamber Orchestra - Digital Download SKU: A0.961999 Composed by Ma Shui Long 馬水é¾. 20th Century,Contemporary. Score and parts. 55 pages. SpringAutumnmusic #2341885. Published by SpringAutumnmusic (A0.961999). 《白鷺鷥的願望》，鋼ç´èˆ‡å¼¦æ¨‚å››é‡å¥ 2002å¹´ 　本曲應白鷺鷥文教基金會之委託，特別以å°ç£ç«¥è¬ <白鷺鷥>的旋律為創作之主è¦ç´ ；全曲略分為四段，動機之發展亦為單純，但æ¯ä¸€æ®µå‡åœ¨è®ŠåŒ–ä¸ï¼›å¦‚多種的ç†å¿µåœ¨ç•°ä¸æ±‚åŒä¹‹éŽç¨‹ä¸å¾—到純化，象徵白鷺鷥乘著希望之翼翻山越嶺，飛å‘安和幸ç¦çš„家園。 ※本曲首演於2002å¹´8月25æ—¥ï¼Œæ–¼åœ‹å®¶éŸ³æ¨‚å»³èˆ‰è¾¦çš„ã€Œç¬¬äºŒå±†åŠ å°å¤å£éŸ³æ¨‚節ã€ã€‚æ¼”å¥å®¶ç‚ºé‹¼ç´å¥ˆè‰¯å¸Œæ„›ï¼Œç¬¬ä¸€å°æç´Edmond Agopian，第二å°æç´å³åŸå¹³ï¼Œä¸æç´æ¥Šç‘žç‘Ÿ ，大æç´æž—浥雯。 《The Egret's Wishes》for Piano and String Quartet（2002） The Egret’s Wishes was commissioned by the Egret Cultural and Educational Foundation (ECEF). The piece consists four sections, and the composer developed the main motives and elements from the melody of a Taiwanese children's rhyme, The Little Egret, as the base of ​​this composition. Although there are always subtle differences change steadily in every section, the development of the main motives are very simple and clear in this piece, implies as if the diversities will finally purify and unite to one simple concept/idea, even they are developed in different ways. This symbolizes the little egret flies over different mountains and valleys, but always seeking the way to the only place for peace and happiness. The Egret’s Wishes was premiered in the National Cocnert Hall on 25th of August 2002. It was pragrammed in a concert of The 2nd Taiwan-Canada Summer Music Festival. The world premiere musicians were Kiai Nara (Piano), Edmond Agopian (Violin I), Meng-Ping Wu (Violin II), Jui-Se Yang (Viola) and I-Wen Lin (Cello).
$20.99
Carson Cooman: The Acts of the Apostles (2009), an oratorio for baritone, chorus, congregation/audie
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Chamber Orchestra
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ADVANCED
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Carson Cooman
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Carson Cooman: The Acts of the
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Musik Fabrik Music Publishing
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SheetMusicPlus
Chamber Orchestra - Level 5 - Digital Download SKU: A0.533578 Composed by Carson Cooman. Christian,Contemporary,Spiritual. Score and parts. 189 pages. Mu...
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Chamber Orchestra - Level 5 - Digital Download SKU: A0.533578 Composed by Carson Cooman. Christian,Contemporary,Spiritual. Score and parts. 189 pages. Musik Fabrik Music Publishing #3025409. Published by Musik Fabrik Music Publishing (A0.533578). The Acts of the Apostles (2009), an oratorio for baritone, chorus, congregation/audience, and chamber orchestra (piano, organ, strings-suggested minimum of 3.3.3.2.1),was commissioned by The Memorial Church at Harvard University. It is dedicated to Edward Elwyn Jones and theHarvard University Choir.The biblical books of Luke and Acts form a pair of documents from a single author and with a single audience (thelikely-metaphorical “Theophilusâ€), yet they are unusual for being composed in such contrasting genres. Luke’sgospel, using Mark as a primary source throughout, features a comparable literary style to that of the otherevangelists. Acts, by contrast, is a historical monograph that charts the birth of the Church with dramatic storiesabout—and speeches from—the apostles, painting a vivid, if not necessarily chronological, picture of their victoriesand struggles. As such, it is a book that provides excellent source material for a dramatic choral libretto of this scale.Although much of Acts is focused on the ministry of Saul/Paul, this oratorio draws most of its material from thefirst third of the book, prior to and including the conversion of Saul. In the Prologue, Christ’s ascension is narratedand—following an orchestral Sinfonia—the chorus sings words of Jesus from the Sermon on the Plain in Luke’sgospel that foreshadow many of the trials the apostles go on to face. The astounding account of Pentecost follows:here, words from the book of Ruth, customarily read on the feast of Shavuot (Pentecost), are included, telling thestory of a Moabite woman who converted to the Israelite faith—a parallel to the expansion of the Christian messageto all nations by the gift of the Holy Spirit. The Prayer for Boldness, quoting Psalm 2, asks God for protection fromthe threats of persecution that the apostles will now face.Stephen, regarded as the proto-martyr of the Christian Church, offers one of the most developed speeches in Acts,only a small portion of which is presented here. Full of scriptural references, including the quotation from Isaiah“Heaven is my throne…â€, the end of the narrative is remarkable for two reasons: firstly, Stephen’s final wordsmirror those of Christ on the cross in Luke’s gospel—where Jesus forgives his executioners and prays “Father, intoyour hands I commend my spirit†(Luke 23:46); secondly, Saul is specifically mentioned as one who approved ofStephen’s stoning, indicative of the redemptive possibilities of the Christian message.The account of the baptism of the Ethiopian eunuch here in the oratorio ends with the First Song of Isaiah—whilenot quoted in Acts, it seems a fitting conclusion to the scene as Philip and the eunuch were reading Isaiah together,and the canticle has often been associated by Christians with the rite of baptism. Similarly, the story of Saul’sConversion is followed here by a Christological poem found in Paul’s letter to the Philippians, though it is likely aquotation from an earlier source. It is often regarded as the earliest extant Christian hymn.The Acts of the Apostles concludes with Luke’s realistic assessment that in spite of Paul’s energetic evangelism manyremained unconvinced by the Christian message. At the heart of both Luke’s gospel and Acts is the tension betweenthe uniquely important role of the Jewish traditions that Jesus himself practiced and the expansion of the gospel togentiles, of whom Luke himself is one. It is appropriate, therefore, to follow Paul’s message of salvation to thegentiles with the Magnificat: a canticle that emphasizes the promises of God to the people of Israel throughouthistory.Three traditional hymn texts are found in the oratorio, each set congregationally to a pre-existing tune. The first,“Spirit of mercy, truth, and love†is an eighteenth century poem that e.
$25.95
A Child Was Born - Christmas - Strings and piano with parts
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Chamber Orchestra
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EASY
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Connie Boss
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A Child Was Born - Christmas -
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Connie Boss
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SheetMusicPlus
Chamber Orchestra - Level 2 - Digital Download SKU: A0.801516 Composed by Connie Boss. Christian,Christmas,Sacred. Score and parts. 17 pages. Connie Boss...
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Chamber Orchestra - Level 2 - Digital Download SKU: A0.801516 Composed by Connie Boss. Christian,Christmas,Sacred. Score and parts. 17 pages. Connie Boss #6070295. Published by Connie Boss (A0.801516). This original song is for strings - violin, viola and cello. I have used some lyrics from public domain songs. See lyrics below:
$5.50
Pathos Chorodia
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Chamber Orchestra
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INTERMEDIATE/ADVANCED
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Hans Leo Hassler
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Robert Myers
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Pathos Chorodia
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WheatMyer Music
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SheetMusicPlus
Chamber Orchestra - Level 4 - Digital Download SKU: A0.976709 Composed by Hans Leo Hassler (1601). Arranged by Robert Myers. 20th Century,Contemporary,Ea...
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Chamber Orchestra - Level 4 - Digital Download SKU: A0.976709 Composed by Hans Leo Hassler (1601). Arranged by Robert Myers. 20th Century,Contemporary,Easter,Sacred. Score and parts. 25 pages. WheatMyer Music #4766879. Published by WheatMyer Music (A0.976709). PASSION CHORALE is the name given to a 1656 German tune which accompanies the words of the ancient hymn, O Sacred Head Now Wounded. This tune is clearly heard throughout this instrumental arrangement called Pathos Chorodia, which is a transliteration of the Greek for 'passion chorale.' I chose the Greek due to it being the common language of the First Century Near East with which the early Church was fluent. Although the familiar melody is heard clearly throughout, the setting will sound very foreign to most ears. In acknowledgment of the atonal origins of the pierrot ensemble, this arrangement embraces dissonance and chromaticism, and avoids clear statements of conventional harmony without, however, being altogether atonal. Thus, it is a most unusual setting of the tune, but one that poignantly paints the deep anguish expressed in the hymn text, the anguish of the crucifixion's witnesses. The music is simultaneously shocking and familiar, which seems a fitting way to present this familiar story in all its shocking horror.The music may be successfully performed with advanced high school or later musicians. It is not excessively technically demanding but will require artistic taste and expressiveness. It is good selection for chamber ensemble concerts and suited for either secular or sacred venues.
$19.99
I Have Seen the Lord - Full Score
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Chamber Orchestra
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Sacred music
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Jan McGuire and John Purifoy
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Easter
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I Have Seen the Lord - Full Sc
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Hal Leonard - Digital Sheet Music
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SheetMusicPlus
By Jan McGuire and John Purifoy. Chamber ensemble. Concert; Easter; Sacred. Full score. 12 pages. Duration 2:55. Published by Hal Leonard - Digital Sheet Music...
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By Jan McGuire and John Purifoy. Chamber ensemble. Concert; Easter; Sacred. Full score. 12 pages. Duration 2:55. Published by Hal Leonard - Digital Sheet Music
$7.00
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