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No, Not One!
Chamber Orchestra
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26
Story No. 2, for narrator and chamber orchestra
Chamber Orchestra
Chamber Orchestra - Digital Download SKU: A0.944028 Composed by Music by Ofer Ben-A…
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Chamber Orchestra - Digital Download SKU: A0.944028 Composed by Music by Ofer Ben-Amots, Story by Eugene Ionesco. Contemporary. Score and parts. 92 pages. The Composer's Own Press #4605319. Published by The Composer's Own Press (A0.944028). COMPOSER’S NOTE: Story Nr. 2 for chamber ensemble and a narrator, was written as a commission for the 1983 Children's Music Festival in St. Omer, France. Since its inception, the work has been widely performed in French, German and English. The narrative of Story Nr. 2 is a little known children's story by the great French author and playwright Eugene Ionesco (1912 – 1994). The story is about play on words. Little Josette has a conversation with her father who teaches her the new meaning of words: A Telephone is called Cheese, a Cheese is a Music Box, the Music Box is called a Rug and so on. The meanings become funnier and stranger ad absurdum. Then Josette and her father combine the words into sentences and practice the new mismatched names and objects. The characters participating in the story beside of Josette and her father are Josette's pretty mother and the maid Jacqueline. Each of the characters has its own musical theme and color represented by distinguished instrumentation: Jossette's theme is played by the flute, the father is represented by the trumpet and trombone, the pretty mother by the oboe and Jacqueline by the xylophone and piano. The new orchestral version which includes the string section was written in 1990. Performance material by rental only! For demo recording, questions, or any additional information please e-mail Ofer Ben-Amots at: thecomposerspress@gmail.com
$36.00
33.06 €
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Chamber Orchestra
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Music by Ofer Ben-Amots, Story by Eugene Ionesco
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Story No. 2, for narrator and chamber orchestra
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The Composer's Own Press
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SheetMusicPlus
Suite in D Major No. 1 Prelude (Score & Parts)
Chamber Orchestra
Chamber Orchestra - Level 3 - Digital Download SKU: A0.931997 Composed by Camille S…
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Chamber Orchestra - Level 3 - Digital Download SKU: A0.931997 Composed by Camille Saint-Saens. Arranged by Steven Klaus. Romantic Period. Score and parts. 28 pages. NiceChart #4764601. Published by NiceChart (A0.931997). This lively first movement of his 1863 five movement suite has a very different approach from other Saint-Saëns pieces. Some believe its droning quality stems from it originally being composed on a harmonium (or pump organ). This Prelude was labeled as Opus No. 49 and uses a non-standard orchestra instrumentation that is very heavy on woodwinds and contains very little brass. Please note there are no trumpet, trombone, or tuba parts in this arrangement. See in the instrumentation page in the preview for more details.
$60.00
55.1 €
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Chamber Orchestra
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Camille Saint-Saens
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Suite in D Major No. 1 Prelude
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NiceChart
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SheetMusicPlus
Piano Concerto No. 1 - Score Only
Chamber Orchestra
Chamber Orchestra - Level 3 - Digital Download SKU: A0.1197642 Composed by Juan Mar…
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Chamber Orchestra - Level 3 - Digital Download SKU: A0.1197642 Composed by Juan MarÃa Solare. 20th Century,Classical,Contemporary. Score and parts. 77 pages. Juan Maria Solare #796823. Published by Juan Maria Solare (A0.1197642). Juan MarÃa Solare: Piano Concerto (No. 1)PARTSPiano Concerto No. 1 - FIRST movement [score and parts]https://www.sheetmusicplus.com/title/22466227?aff_id=565049https://www.sheetmusicplus.com/title/piano-concerto-no-1-first-movement-score-and-parts-digital-sheet-music/22466227?aff_id=565049https://www.sheetmusicplus.com/22466227?aff_id=565049Piano Concerto No. 1 - SECOND movement [score and parts]https://www.sheetmusicplus.com/title/22466231?aff_id=565049Piano Concerto No. 1 - THIRD movement [score and parts]https://www.sheetmusicplus.com/title/22466233?aff_id=565049Aesthetic reflections on the piano concertoDuring the eras of classicism and romanticism, a concerto was often conceived as a confrontation between a soloist, symbolising the individual, and the orchestra, representing society. Seen in this way, a concert reflects a value system that pits the individual against the group and poses a struggle of I against you. Surely this vehemence could be explained in a Beethovenian era when the concepts of human rights and individual freedom were fragile ideals.However, it is a different scale of values that my piano concerto tries to reflect: the idea of cooperation, of teamwork and of an orchestra as a living organism whose organs are not superior to one another, more vital than others, but fulfil different functions, qualitatively speaking.Every soloist plays a leading role, but this does not imply either subordination to the rest or denigration or subjugation of the rest. The fact that the soloist is sometimes in the foreground does not imply a victory over the others. The very concept of victory is meaningless here.At times, the soloist will fulfil a leadership role, at others he or she will underpin from passivity what is happening in the orchestra, intentionally from the shadows, as a grey eminence. And at other times - why not - he will question what the majority is doing.It is not a rough relationship of me against you, but there is also a we.The composition and orchestration of this piano concerto was made possible by a grant from the Senator for Culture of the Free Hanseatic City of Bremen. This work was funded by an artist's grant as part of the Bremen-Corona-Hilfen programme.The premiere by the orchestra of the Bremer Orchestergemeinschaft is scheduled for the beginning of 2024. Duration: 17 to 20 minutes.1st movement - https://youtu.be/DNckBKzaWtc2nd movement - https://youtu.be/1Zy0ZbrdPJE3rd movement - https://youtu.be/dnYE9dWUEZg
$25.00
22.96 €
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Chamber Orchestra
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Juan MarÃa Solare
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Piano Concerto No. 1 - Score Only
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Juan Maria Solare
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SheetMusicPlus
Piano Concerto No. 1 - FIRST movement [score and parts]
Chamber Orchestra
Chamber Orchestra - Level 3 - Digital Download SKU: A0.1197728 By Juan MarÃa Sol…
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Chamber Orchestra - Level 3 - Digital Download SKU: A0.1197728 By Juan MarÃa Solare. By Juan MarÃa Solare. 20th Century,Classical,Contemporary. Score and parts. 74 pages. Juan Maria Solare #796909. Published by Juan Maria Solare (A0.1197728). Juan MarÃa Solare: Piano Concerto No. 1 - FIRST movement [score and parts]Please find the other two movements - also in this platformThe full score (of the three movements) is also available independently HERE:https://www.sheetmusicplus.com/title/piano-concerto-no-1-score-only-digital-sheet-music/22468631?aff_id=565049Video in YouTube (score follower)Aesthetic reflections on the piano concertoDuring the eras of classicism and romanticism, a concerto was often conceived as a confrontation between a soloist, symbolising the individual, and the orchestra, representing society. Seen in this way, a concert reflects a value system that pits the individual against the group and poses a struggle of I against you. Surely this vehemence could be explained in a Beethovenian era when the concepts of human rights and individual freedom were fragile ideals.However, it is a different scale of values that my piano concerto tries to reflect: the idea of cooperation, of teamwork and of an orchestra as a living organism whose organs are not superior to one another, more vital than others, but fulfil different functions, qualitatively speaking.Every soloist plays a leading role, but this does not imply either subordination to the rest or denigration or subjugation of the rest. The fact that the soloist is sometimes in the foreground does not imply a victory over the others. The very concept of victory is meaningless here.At times, the soloist will fulfil a leadership role, at others he or she will underpin from passivity what is happening in the orchestra, intentionally from the shadows, as a grey eminence. And at other times - why not - he will question what the majority is doing.It is not a rough relationship of me against you, but there is also a we.The composition and orchestration of this piano concerto was made possible by a grant from the Senator for Culture of the Free Hanseatic City of Bremen. This work was funded by an artist's grant as part of the Bremen-Corona-Hilfen programme.The premiere by the orchestra of the Bremer Orchestergemeinschaft is scheduled for the beginning of 2024. Duration: 17 to 20 minutes.
$33.00
30.3 €
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Chamber Orchestra
#
Juan MarÃa Solare
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Piano Concerto No. 1 - FIRST movement [score and parts]
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Juan Maria Solare
#
SheetMusicPlus
Piano Concerto No. 1 - SECOND movement [score and parts]
Chamber Orchestra
Chamber Orchestra - Level 3 - Digital Download SKU: A0.1197730 By Juan MarÃa Sol…
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Chamber Orchestra - Level 3 - Digital Download SKU: A0.1197730 By Juan MarÃa Solare. By Juan MarÃa Solare. Arranged by Juan MarÃa Solare. 20th Century,Classical,Contemporary. Score and parts. 64 pages. Juan Maria Solare #796911. Published by Juan Maria Solare (A0.1197730). Piano Concerto No. 1 - SECOND movement [score and parts]Please find the other two movements - also in this platformThe full score (of the three movements) is also available independently HERE:https://www.sheetmusicplus.com/title/piano-concerto-no-1-score-only-digital-sheet-music/22468631?aff_id=565049Video in YouTube (score follower)Aesthetic reflections on the piano concerto (by Juan MarÃa Solare)During the eras of classicism and romanticism, a concerto was often conceived as a confrontation between a soloist, symbolising the individual, and the orchestra, representing society. Seen in this way, a concert reflects a value system that pits the individual against the group and poses a struggle of I against you. Surely this vehemence could be explained in a Beethovenian era when the concepts of human rights and individual freedom were fragile ideals.However, it is a different scale of values that my piano concerto tries to reflect: the idea of cooperation, of teamwork and of an orchestra as a living organism whose organs are not superior to one another, more vital than others, but fulfil different functions, qualitatively speaking.Every soloist plays a leading role, but this does not imply either subordination to the rest or denigration or subjugation of the rest. The fact that the soloist is sometimes in the foreground does not imply a victory over the others. The very concept of victory is meaningless here.At times, the soloist will fulfil a leadership role, at others he or she will underpin from passivity what is happening in the orchestra, intentionally from the shadows, as a grey eminence. And at other times - why not - he will question what the majority is doing.It is not a rough relationship of me against you, but there is also a we.The composition and orchestration of this piano concerto was made possible by a grant from the Senator for Culture of the Free Hanseatic City of Bremen. This work was funded by an artist's grant as part of the Bremen-Corona-Hilfen programme.The premiere by the orchestra of the Bremer Orchestergemeinschaft is scheduled for the beginning of 2024. Duration: 17 to 20 minutes.
$33.00
30.3 €
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Chamber Orchestra
#
Juan MarÃa Solare
#
Piano Concerto No. 1 - SECOND movement [score and parts]
#
Juan Maria Solare
#
SheetMusicPlus
Piano Concerto No. 1 - THIRD movement [score and parts]
Chamber Orchestra
Chamber Orchestra - Level 3 - Digital Download SKU: A0.1197732 Composed by Juan Mar…
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Chamber Orchestra - Level 3 - Digital Download SKU: A0.1197732 Composed by Juan MarÃa Solare. 20th Century,Classical,Contemporary. Score and parts. 53 pages. Juan Maria Solare #796913. Published by Juan Maria Solare (A0.1197732). Piano Concerto No. 1 - THIRD movement [score and parts]Please find the other two movements - also in this platformThe full score (of the three movements) is also available independently HEREavailable HERE:(https://www.sheetmusicplus.com/title/piano-concerto-no-1-score-only-digital-sheet-music/22468631?aff_id=565049).Video in YouTube (score follower)Aesthetic reflections on the piano concerto (by Juan MarÃa Solare)During the eras of classicism and romanticism, a concerto was often conceived as a confrontation between a soloist, symbolising the individual, and the orchestra, representing society. Seen in this way, a concert reflects a value system that pits the individual against the group and poses a struggle of I against you. Surely this vehemence could be explained in a Beethovenian era when the concepts of human rights and individual freedom were fragile ideals.However, it is a different scale of values that my piano concerto tries to reflect: the idea of cooperation, of teamwork and of an orchestra as a living organism whose organs are not superior to one another, more vital than others, but fulfil different functions, qualitatively speaking.Every soloist plays a leading role, but this does not imply either subordination to the rest or denigration or subjugation of the rest. The fact that the soloist is sometimes in the foreground does not imply a victory over the others. The very concept of victory is meaningless here.At times, the soloist will fulfil a leadership role, at others he or she will underpin from passivity what is happening in the orchestra, intentionally from the shadows, as a grey eminence. And at other times - why not - he will question what the majority is doing.It is not a rough relationship of me against you, but there is also a we.The composition and orchestration of this piano concerto was made possible by a grant from the Senator for Culture of the Free Hanseatic City of Bremen. This work was funded by an artist's grant as part of the Bremen-Corona-Hilfen programme.The premiere by the orchestra of the Bremer Orchestergemeinschaft is scheduled for the beginning of 2024. Duration: 17 to 20 minutes.Full score available here
$33.00
30.3 €
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Chamber Orchestra
#
Juan MarÃa Solare
#
Piano Concerto No. 1 - THIRD movement [score and parts]
#
Juan Maria Solare
#
SheetMusicPlus
Fantazia No. 1 for Trombone or Low Brass Sextet
Chamber Orchestra
Chamber Orchestra - Level 3 - Digital Download SKU: A0.508202 Arranged by Eric Burg…
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Chamber Orchestra - Level 3 - Digital Download SKU: A0.508202 Arranged by Eric Burger Music. Baroque. Score and parts. 24 pages. Eric Burger Music #3514821. Published by Eric Burger Music (A0.508202). From Psalmes, Songs, and Sonnets, No. 23, T 389 (1611) This lively work from the great composer William Byrd has great interest and challenges for your group, and will wow your audience. A multi section work with time and modal changes will delight. View the score with playback at:https://youtu.be/DxZR0yjCoJs This quality work is published by Eric Burger Music: www.EricBurgerMusic.com Each of these Trombone and Low Brass Ensemble works is arranged and transcribed with the intent of provide the musician with an opportunity to play works from notable composers otherwise not available to them, using the construct and voicings the compose intended. Please review the video for questions on range and difficulty, or go to my website and download the spreadsheet with ranges, keys, tempos and other important information. If you need parts modified to different clefs or keys, please write me direct at: EricBurgerMusic@gmail.com Custom work also available. If you are unhappy with any of my works, write me directly for a replacement.
$14.00
12.86 €
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Chamber Orchestra
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Fantazia No. 1 for Trombone or Low Brass Sextet
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Eric Burger Music
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SheetMusicPlus
Fantazia No. 2 For Trombone or Low Brass Sextet
Chamber Orchestra
Chamber Orchestra - Level 3 - Digital Download SKU: A0.508203 Arranged by Eric Burg…
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Chamber Orchestra - Level 3 - Digital Download SKU: A0.508203 Arranged by Eric Burger Music. Baroque. Score and parts. 22 pages. Eric Burger Music #3514867. Published by Eric Burger Music (A0.508203). From Psalmes, Songs, and Sonnets, No. 23, T 389 (1611) This lovely work from the great composer William Byrd has great interest and challenges for your group, and will woo your audience. A multi section work with time and modal changes will delight. View the score with playback at:https://youtu.be/OmdmXE5mb7w This quality work is published by Eric Burger Music: www.EricBurgerMusic.com Each of these Trombone and Low Brass Ensemble works is arranged and transcribed with the intent of provide the musician with an opportunity to play works from notable composers otherwise not available to them, using the construct and voicings the compose intended. Please review the video for questions on range and difficulty, or go to my website and download the spreadsheet with ranges, keys, tempos and other important information. If you need parts modified to different clefs or keys, please write me direct at: EricBurgerMusic@gmail.com Custom work also available. If you are unhappy with any of my works, write me directly for a replacement.
$14.00
12.86 €
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Chamber Orchestra
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Fantazia No. 2 For Trombone or Low Brass Sextet
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Eric Burger Music
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SheetMusicPlus
Minimally Fantastic Suite for Chamber Orchestra No. 1
Chamber Orchestra
Chamber Orchestra - Level 3 - Digital Download SKU: A0.1135286 Composed by Steven K…
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Chamber Orchestra - Level 3 - Digital Download SKU: A0.1135286 Composed by Steven Kudlo. 20th Century,Chamber,Classical,Contemporary. Score and Parts. 113 pages. Steven Mark Kudlo #733234. Published by Steven Mark Kudlo (A0.1135286). This suite is almost 16 minutes long, and while not technically challenging, it has multiple meters, and some stylistic varieties, mainly pandiatonic, expressionistic, and tonal within each of its six movements. Each movement ends on a passage of common practice harmony. Overall impression: neoclassical. There is one instrument per part, with a total of 10 instruments: 1,1,1,1; 1,0,0,0; 0; 1,1,1,1,1.
$7.99
7.34 €
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Chamber Orchestra
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Steven Kudlo
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1,0,0,0
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Minimally Fantastic Suite for Chamber Orchestra No. 1
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Steven Mark Kudlo
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SheetMusicPlus
In Christ Alone
Chamber Orchestra
Chamber Orchestra - Level 4 - Digital Download SKU: A0.1035787 By Margaret Becker. …
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Chamber Orchestra - Level 4 - Digital Download SKU: A0.1035787 By Margaret Becker. By Keith Getty and Stuart Townend. Arranged by Clark Cothern. Celtic,Irish,Praise & Worship,Sacred. Score and parts. 28 pages. Clark Cothern #640944. Published by Clark Cothern (A0.1035787). Maybe your church doesn't have a full complement of orchestral players. If not, here's a tasteful orchestral arrangement of In Christ Alone for a much smaller orchestral ensemble. If no accordionist is available, you can either a) add a keyboard with an accordion sample, b) use the piano and accordion music and play it on piano only.
$49.99
45.9 €
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Chamber Orchestra
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Margaret Becker
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In Christ Alone
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Clark Cothern
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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
51.41 €
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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
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
95.04 €
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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
Variations on a Rossini Theme op.Posth
Chamber Orchestra
Chamber Orchestra - Digital Download SKU: A0.1035224 Composed by Frederik Franço…
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Chamber Orchestra - Digital Download SKU: A0.1035224 Composed by Frederik François Chopin (1810-1949). Arranged by James Strauss. Romantic Period. Score and parts. 33 pages. James Strauss #5806027. Published by James Strauss (A0.1035224). Unless your name is Mozart, Mendelssohn or Korngold, the first compositional steps are always the hardest. Chopin was probably no older than 14 when he set to work on a set of variations for piano and flute. Already in love with opera, he decided on the happy- ending aria, Non più mesta (No longer sad) from Rossini’s opera Cinderella. As the curtain comes down, Cinderella gleefully warbles, No longer sad beside the fire shall I sit alone, singing; my long years of heartache were but a streak of lightning, a dream, a game. We are unsure what actually prompted Chopin to select this for his unique combination of flute and piano, but it was most likely written for the composer’s father who was a capable amateur flute player. In the end, the piece was probably dedicated to Józef Cichowski, a close friend of his fathers and an amateur flautist as well. We are indeed fortunate that this early piece of Chopin juvenilia has actually survived, as Jozef Nowakowski, one of the composer’s friends, kept the single manuscript copy as a memento. For one reason or another, the work did not appear in print until 1953. This charming and fluent set of variations presents the theme and four decorated versions of the original tune. Added triplet figuration enlivens the first variation, while the second relies on a florid bel canto style to embellish the theme. Rapid downward arpeggios propel variation three, and the concluding variant displays rapid staccato figuration. Stylistically, there is nothing in this composition to suggest Chopin’s hand. You certainly won’t hear Chopin’s fingerprint in the piano part, as all the interesting bits are given to the flute. In addition, it’s the only Chopin piano part that can comfortably be played by most amateurs. Clearly, the future poet of the piano had a long way to go! Here in a Flute and orchestra version.
$29.99
27.54 €
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Chamber Orchestra
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Frederik François Chopin
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Variations on a Rossini Theme op.Posth
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James Strauss
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SheetMusicPlus
TELEMANN – VIOLIN CONCERTO IN A MAJOR "THE FROGS", TWV 51:A4 (Score and parts in PDF)
Chamber Orchestra
Chamber Orchestra - Level 5 - Digital Download SKU: A0.890767 Composed by Georg Phi…
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Chamber Orchestra - Level 5 - Digital Download SKU: A0.890767 Composed by Georg Philipp Telemann. Arranged by Sneakwood Editions. Baroque,Classical. Score and parts. 41 pages. Sneakwood Editions #4781035. Published by Sneakwood Editions (A0.890767). Edition based on Ms. D MÜu, ms. 775Score (20 pages) and Parts (friendly performance edition): Violino principale, Violin I, Violin II, Violin III, Viola, Violoncello and Harpsichord.The Violin Concerto in A major (TWV 51:A4), which has come to light only fairly recently, does not take as its musical model the song of the nightingale (as in ‘La Bizarre’ [TWV 55:G2]) or of the goldfinch (Vivaldi), but the croaking of the common frog, also called ‘Reling’ in certain regions of Germany, whence the concerto’s subtitle. Nothing better could be expected of a composer who found inspiration even in crows and in the out-of-tune playing of village musicians! Although this concerto, which the manuscript attributes to Telemann, bears traces of his personal style, other features, such as the exceptionally high solo part, leave room for doubt. At a structurally important point in the first movement the soloist produces no more than a succession of repeated notes, ‘a-a, a-a’, which infect the other parts as well. Of course, this is the vowel that the frog croaks, given a distinctive tone-colour by use of the open A string and stopped D string. But worse is to come. In the second ritornello the orchestral violins ‘forget’ the beginning of their theme, whilst the cello inappropriately pushes its way into the foreground. The setting of the second movement (Adagio), probably a moonlit stretch of shallow water, then audibly inspires a pair of courting frogs to make sweet music together. We are given the opportunity to rejoice in their croaking offspring in the concluding Menuet and its rapid Double. This movement entirely dispenses with concertante sounds of nature and thereby betrays its origins in the suite, where it always takes its accustomed place in Telemann’s music. If we knew that a satirist was at work in this ‘Relinge’ Concerto, someone who was deliberately exhibiting all these deviations from good taste, then we could infer with some certainty that the composer is indeed Telemann. Since his own concertos ‘smack of France’ (as he puts it in his autobiography of 1718), we may most likely credit him with permitting his not at all ‘sullen old heart’ a little joke at the expense of the relevant concertos of a certain Italian composer… – Peter Huth (trans. Charles Johnston)www.snakewoodeditions.com
$18.00
16.53 €
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Chamber Orchestra
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Georg Philipp Telemann
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TELEMANN – VIOLIN CONCERTO IN A MAJOR "THE FROGS", TWV 51:A4
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Sneakwood Editions
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SheetMusicPlus
The Christmas Song (chestnuts Roasting On An Open Fire)
Chamber Orchestra
Chamber Orchestra - Level 3 - Digital Download SKU: A0.845993 By Nat Cole With N. R…
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Chamber Orchestra - Level 3 - Digital Download SKU: A0.845993 By Nat Cole With N. Riddle Orch. By Mel Torme and Robert Wells. Arranged by Kyle Pudenz. Christmas,Classical,Holiday,Standards,Traditional. Score and parts. 22 pages. ViolinVagabond Music #6696667. Published by ViolinVagabond Music (A0.845993). There are over 500 arrangements of this tune for sale on this site, but there is exactly ONE reason you should choose this one over any of the rest of them. It is in THE KEY OF C!! As advertised, you will find absolutely no, none, zero, zilch, NADA! accidentals in the key signature. That said, the tune is pretty chromatic as you well know, so there will of course be ample accidentals, marked clearly & appropriately as needed. This key is a particularly good choice for a baritone (lower octave) or alto (higher octave) soloist, but would also work great with any sort of instrumental soloist as well. It's pretty much the version of this tune you know and love, with a nice little instrumental break right before the last verse. No frills, but the lines you need to hear are there.Difficulty level - A professional or college orchestra could sight read this at a glance. High schoolers might take a rehearsal or two, but can totally handle it as long as the concertmaster can grab a high F on that opening fermata.Performance time - 3 minutes, right on the nose (at which Jack Frost may or may not be nipping...)Questions? Feel free to contact me via my website, www.kylepudenz.com/ or on the 'Insta @theviolinvagabond.
$49.99
45.9 €
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Chamber Orchestra
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Nat Cole With N
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The Christmas Song
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ViolinVagabond Music
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SheetMusicPlus
Mermaid in the Jar Full Score - Score Only
Chamber Orchestra
Chamber Orchestra - Level 4 - Digital Download SKU: A0.1325451 By Rachel J Peters. …
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Chamber Orchestra - Level 4 - Digital Download SKU: A0.1325451 By Rachel J Peters. By Rachel J. Peters. 21st Century,Classical,Opera. 86 pages. Rachel J Peters #913678. Published by Rachel J Peters (A0.1325451). A short chamber operaLibretto by Royce Vavrek, based on the short story by Sheila Heti.Mermaid in the Jar is the first short chamber opera in the Wild Beast of the Bungalow triptych (Mermaid in the Jar, Prairie Dogs, and Fine and Dandy), which takes place entirely within an eleven-year-old Girl’s bedroom as she overhears her parents’ volatile conversations. Over the course of a few days, a mermaid, a family of stuffed prairie dogs, and singing groups of chickenpox and shingles force her to confront what it means to care for others and be cared for herself.CAST: coloratura soprano, mezzo-soprano, bass-baritone, and three additional treble voices. (If the Prologue is omitted, no bass-baritone is required.)INSTRUMENTATION: 1.0.1 (doubling BCl.).1.bar.sax/0.0.1.0/pft-perc (1)-harp-1.0.0.1.1 (Parts need to be rented separately.)DURATION: 20 minutesPAGES: 86WORLD PREMIERE: Oberlin Conservatory, Winter 2020.NOTE: All performances of this work require separate permission and licensing. Any performance without a license is a violation of copyright.. For all performance inquiries, please write to rachel@racheljpeters.com.
$28.00
25.71 €
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Chamber Orchestra
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Rachel J Peters
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Mermaid in the Jar Full Score - Score Only
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Rachel J Peters
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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
146.91 €
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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
Händel: The Trumpet Shall Sound for Bassoon, Trumpet in Bb, Bass Solo, Harpsichord and Strings (Bb)
Chamber Orchestra
Chamber Orchestra - Level 4 - Digital Download SKU: A0.1281935 By George Frideric H…
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Chamber Orchestra - Level 4 - Digital Download SKU: A0.1281935 By George Frideric Handel. By George Frideric Handel. Arranged by Flavio Regis Cunha. Baroque,Classical,Contest,Festival,Sacred,Wedding. Score and Parts. 43 pages. Flavio Regis Cunha #873288. Published by Flavio Regis Cunha (A0.1281935). Händel: The Trumpet Shall Sound for Bassoon, Trumpet in Bb, Bass Solo, Harpsichord and Strings (Bb)Experience the power of composition with the classic 'The Trumpet Shall Sound for Bassoon, Trumpet in Bb, Bass Solo, Harpsichord and Strings' composed by the masterful Georg Friedrich Händel. Brighten your church or school orchestra with the timeless beauty of this work. Professional orchestras can stand out with its unique combination of instruments and dazzling strings. Treat your audience to this masterpiece for a night that will not be forgotten. Get your sheet music today and create a moment in music history with 'The Trumpet Shall Sound for Bassoon, Trumpet in Bb, Bass Solo, Harpsichord and Strings' by Händel.🎵 Introducing a Musical Masterpiece: The Trumpet Shall Sound Sheet Music! 🎵Are you ready to elevate your church, school, or professional orchestra performances to new heights of grandeur? Look no further! Unveil the majestic beauty of Georg Friedrich Händel's timeless composition with our meticulously crafted sheet music for The Trumpet Shall Sound.🎶 Experience the Elegance:Imagine the resounding harmony of a Bassoon and a Trumpet in Bb, accompanied by a captivating Bass Solo, the enchanting tones of a Harpsichord, and the lush backdrop of Strings. This composition is a celebration of musical artistry that will captivate hearts and souls.🌟 Elevate Your Performance:Whether you're aiming for a heavenly church performance, an educational masterpiece at your school, or a captivating showcase by your professional orchestra, The Trumpet Shall Sound offers a perfect blend of elegance, energy, and emotion. Leave your audience in awe as you bring this iconic piece to life.🎻 Immerse in Musical History:Georg Friedrich Händel's compositions have stood the test of time, enchanting generations with their unparalleled beauty. Now, you have the opportunity to immerse yourself in this rich musical heritage and deliver a performance that resonates with every listener.📚 Our Sheet Music:With utmost care, our sheet music has been transcribed to ensure accuracy and authenticity, capturing every intricate nuance of Händel's original masterpiece. Each note, each crescendo, and each glorious moment has been preserved for you to bring to life.🔥 Stand Out with Excellence:Set your performance apart with The Trumpet Shall Sound. Let the passion of Händel's music course through your ensemble, creating a lasting impact that will be talked about for years to come.🎉 Join the Musical Journey:Bring together the majestic harmonies of Bassoon, Trumpet in Bb, Bass Solo, Harpsichord, and Strings in a symphonic experience that will leave your audience mesmerized. Elevate your church, school, or professional orchestra's performance and become part of a musical journey that transcends time.👉 Get your The Trumpet Shall Sound sheet music today and prepare to deliver a performance that echoes through the ages. Unleash the power of Händel's genius and create a musical memory that will be cherished forever.Visit our website now to get your copy and embark on a transformative musical adventure! 🎼🌠Get Your Sheet Music Now#MajesticHarmony #MusicalElegance #HändelMagic🎵 Let the trumpets sound, and let your performance resound with brilliance! 🎵Advanced Intermediate LevelFormat: Concert, 9 x 12 inches43 pages.
$18.99
17.44 €
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Chamber Orchestra
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George Frideric Handel
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Händel: The Trumpet Shall Sound for Bassoon, Trumpet in Bb, Bass Solo, Harpsichord and Strings
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Flavio Regis Cunha
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SheetMusicPlus
Bachata Sinfónica (Symphony Bachata) - Baila Conmigo
Chamber Orchestra
Chamber Orchestra - Level 5 - Digital Download SKU: A0.1341672 By Roberto Pálmer…
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Chamber Orchestra - Level 5 - Digital Download SKU: A0.1341672 By Roberto Pálmer. By Roberto Pálmer. 21st Century,Classical,Contemporary,Latin. 62 pages. Roberto Pálmer Music #927221. Published by Roberto Pálmer Music (A0.1341672). BAILA CONMIGO es el segundo movimiento de la tercera sinfonia del compositor español Roberto Pálmer. Se trata de una pieza única por tratarse de musica original (no es una adaptacion u orquestacion) escrita para orquesta sinfonica, sin letra, sin voz y sin los instrumentos y percusion propios de la bachata. Son los instrumentos de cuerda y viento habituales de la orquesta sinfonica los que realizan la percusion para recrear el ritmo de bachata, de una manera novedosa en la practica instrumental.BAILA CONMIGO is the second movement of the third symphony of the spanish composer Roberto Palmer. it is an unique piece of original music (not an arrangement nor an orchestration) written for symphony orchestra, with no lyrics, no singer and none of the bachata traditional instruments and percussion. Are the strings and winds sections of the orchestra who play their instruments in new different ways to recreate bachata rhythm.Web
$30.00
27.55 €
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Chamber Orchestra
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Roberto Pálmer
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Bachata Sinfónica
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Roberto Pálmer Music
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SheetMusicPlus
Live And Let Die
Chamber Orchestra
Chamber Orchestra - Level 3 - Digital Download SKU: A0.750472 By Wings. By Linda Mc…
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Chamber Orchestra - Level 3 - Digital Download SKU: A0.750472 By Wings. By Linda McCartney and Paul McCartney. Arranged by Matt Amy. Film/TV. Score and parts. 40 pages. Matt Amy Music #4782353. Published by Matt Amy Music (A0.750472). Key: G majorBPM: 60 - 70 - 152Style: Ballad - RockDuration: 2’54Instrumentation: Piccolo, Horn, Trumpet, 2 Trombones, x2 Keyboards (piano - strings), Harp, Guitar, Bass, Drums, Xylophone, Violin & Cello.Note: There is no vocal score included in this arrangement - vocals follow the same form as the original. More arrangements from Matt Amy here: https://www.sheetmusicplus.com/publishers/matt-amy-music-sheet-music/3005565?ac=1
$50.00
45.91 €
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Chamber Orchestra
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Wings
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Cello
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Live And Let Die
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Matt Amy Music
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SheetMusicPlus
Fields Of Gold
Chamber Orchestra
Chamber Orchestra - Level 3 - Digital Download SKU: A0.844233 By Sting. By Sting. A…
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Chamber Orchestra - Level 3 - Digital Download SKU: A0.844233 By Sting. By Sting. Arranged by Gerhard Guter. Contemporary,Pop. Score and parts. 25 pages. Gerhard Guter #3244463. Published by Gerhard Guter (A0.844233). Looking for a beautiful piece with a poignant lyric to be sung with a string quartet at a wedding or other celebration of life? Look no further. Fields of Gold is a beautiful ballad treatment of this song from Sting's classic Ten Summoner's Tales album. Though the demo recording features a female voice, this arrangement be performed effectively by a male vocalist as well. Optional multiple-stops are notated so that beginning string players can focus on single note lines exclusively.
$29.99
27.54 €
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Chamber Orchestra
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Sting
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Fields Of Gold
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Gerhard Guter
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SheetMusicPlus
The Joyce Cycle, for voice and orchestra
Chamber Orchestra
Chamber Orchestra - Level 4 - Digital Download SKU: A0.944034 Composed by Music and…
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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
49.59 €
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Chamber Orchestra
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the turbulent sea, the loved one has disappeared
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Music and James Joyce, Ofer Ben-Amots, and Poetry
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The Joyce Cycle, for voice and orchestra
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The Composer's Own Press
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SheetMusicPlus
Aveux Non Avenus (2020) for soprano and string quartet
Chamber Orchestra
Chamber Orchestra - Level 4 - Digital Download SKU: A0.869642 Composed by Thomas Ob…
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Chamber Orchestra - Level 4 - Digital Download SKU: A0.869642 Composed by Thomas Oboe Lee. 20th Century,Contemporary,Romantic Period. Score and parts. 66 pages. Thomas Oboe Lee #5302511. Published by Thomas Oboe Lee (A0.869642). I saw an obituary in the New York Times entitled Overlooked No More: Claude Cahun, Whose Photographs Explored Gender and Sexuality. I was so fascinated by the article that I went and purchased a book of her poems and writings. Within it I found a series of poems under the subtile of Délectations Moroses that were truly fantastic. A year ago I wrote a work for soprano and string quartet titled Gaspard de la Nuit on a set of poems by Aloysius Bertrand. Ravel's Gaspard de la Nuit is for solo piano, a set of tone poems inspired by the poems of the same A. Bertrand. I enjoyed my Gaspard so much that I wanted to write another work for soprano and string quartet, this time using these fascinating poems by Claude Cahun.The work is in seven movements.1. Allegro (de l'oubli)2. Largo (de l'oubli)3. Allegro con moto (d'un enfant difficile)4. Moderato (de l'amour)5. Moderato (de l'art)6. Allegro (Vocation)7. Adagio (Quatrième dimension)Enjoy!!!Duration: 27 minuteshttps://thomasoboelee.bandcamp.com/album/aveux-non-avenus-2020-for-soprano-and-string-quartet
$9.99
9.17 €
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Chamber Orchestra
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Thomas Oboe Lee
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Aveux Non Avenus
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Thomas Oboe Lee
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SheetMusicPlus
Chaconne in G minor for Strings
Chamber Orchestra
Chamber Orchestra - Level 4 - Digital Download SKU: A0.742460 Composed by Henry Pur…
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Chamber Orchestra - Level 4 - Digital Download SKU: A0.742460 Composed by Henry Purcell. Arranged by Arte Nova Music Lab. Baroque,Concert,Standards,World. Score and parts. 25 pages. Arte Nova Music Lab #4285965. Published by Arte Nova Music Lab (A0.742460). Henry Purcell . 10 September 1659[Note 1] – 21 November 1695) was an English composer. Although incorporating Italian and French stylistic elements into his compositions, Purcell's legacy was a uniquely English form of Baroque music. He is generally considered to be one of the greatest English composers; no later native-born English composer approached his fame until Edward Elgar, Ralph Vaughan Williams, William Walton and Benjamin Britten in the 20th century.Taken from https://en.wikipedia.org/wiki/Henry_Purcell.
$25.00
22.96 €
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Chamber Orchestra
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Henry Purcell
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Chaconne in G minor for Strings
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Arte Nova Music Lab
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SheetMusicPlus
Sonata Op. 19 #1
Chamber Orchestra
Chamber Orchestra - Digital Download SKU: A0.952022 Composed by Marcello, Benedetto…
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Chamber Orchestra - Digital Download SKU: A0.952022 Composed by Marcello, Benedetto. Arranged by Nick M Lacanski. Baroque. Score and parts. 20 pages. Theupperstaff #557751. Published by theupperstaff (A0.952022). Arranged for solo bassoon and string quartet or string orchestra. I like to call this series of arrangements – just the notes. Why? Because that’s exactly what you get. As a performer/instructor I longed for the day when I no longer needed to write over someone’s bowings, interpretations and fingerings.
$9.99
9.17 €
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Chamber Orchestra
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Marcello, Benedetto
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Sonata Op. 19 #1
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theupperstaff
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SheetMusicPlus
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