Download Digital Sheet Music of OUR TIME for Chamber Orchestra

OUR TIME

Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra - Digital Download SKU: S9.Q7038 Teil I: Schwarz vor Augen... Â· 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 â€¢ 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 â€œletting 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: â€œI 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 â€œin an oceanâ€ 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: â€œSo 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 boyâ€™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 â€œlux 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: â€œEntreiÃŸ dich, Seele, nun der Zeit, entreiÃŸ dich deinen Sorgen und mache dich zum Flug bereit in den ersehnten Morgenâ€ [â€œTear 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: â€œUnd die Seele unbewacht will in freien FlÃ¼gen schweben, um im Zauberkreis der Nacht tief und tausendfach zu lebenâ€ [â€œAnd 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: â€œUnd meine Seele spannte weit ihre FlÃ¼gel aus. Flog durch die stillen Lande, als flÃ¶ge sie nach Hausâ€ [â€œAnd 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 Beethovenâ€™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 â€œrenewedâ€ occupation with the â€œoldâ€ 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 â€œhomecomerâ€. Harald WeissColonia de San PedroMarch 20091 (auch Altfl.) Â· 2 (2. auch Engl. Hr.) Â· 1 (auch Bassklar.) Â· 0 - 2 Â· Flhr. Â· 0 Â· 0 - P. S. (Glsp. Â· RÃ¶hrengl. Â· Gongs Â· Trgl. Â· Beck. Â· Tamt. Â· 2 Holzschlitztr. (oder Woodbl.) Â· Woodbl. Â· gr. Tr.) (3 Spieler) - Org. (Positiv) - Str. (4 Â· 4 Â· 4 Â· 4 Â· 2).

Chamber Orchestra - Level 5 - Digital Download SKU: A0.534690 Composed by Thierry PÃ©licant. 20th Century,Contemporary. Score and parts. 96 pages. Musik Fabrik Music Publishing #6230969. Published by Musik Fabrik Music Publishing (A0.534690). A four-movement concerto for bassoon and orchestra (PIC22(CA)22/2100/Timp/2perc/strings) by the noted French composer. Duration is about 16 minutes. This file is the orchestral score only. The piano reduction and solo part. is also available for sale. The parts are on rental from the publisher. Thierry PÃ©licant was born in 1957 at Sainte-Adresse, France. After studying the organ and the horn, his meeting with Jean-Claude Hartemann, the Musical Director of the OpÃ©ra Comique in Paris lead him to decide to explore conducting. He was the student of Haremann for fifteen years. He is the Musical Director of the AndrÃ© Messager Orchestre and has also directed the Orchestre Philharmonique de lâ€™Oise since 1980, one of the oldest French orchestras, since it was founded in 1750. A passionate supporter of French music, PÃ©licant reconstructed the Messe solennelle of L.V.A BoÃ¯eldieu and Te Deum of 1792 by Philidor and premiÃ¨red and recorded the Suite Parnassienne, Massenetâ€™s last work. At the same time, he has also served the music of our time in premiÃ¨ring or recording the works of Dazzi, Marchand, Braconnier, BÃ©nard, Drouin, Preschez, etc. As a composer, musical grammar and stylistic debates only interest him from afar. As a true gourmet (since cooking is another of his passions), he strives to write the music that pleases him, that would be enjoyable to play and which would be enjoyable to hear, hopefully with real pleasure and in which he tries to express the emotions and the pleasant or surprising states of being which, to hime, these works are tied. Through this process, he has created concertos (for oboe, for bassoon, for organ, for contrabass), Escales & paysages, ma monumental literary concerto for narrator, piano and orchestra, composed with his friend Dominique Preschez, Operas (Histoires comme Ã§a, Ribouldingue, Ã‰lise et le fantÃ´me) ; With the poet Luis Porquet, he wrote the song cycle Ombre lÃ©gÃ¨re (for soprano, harp and orchestre), Rhapsodie du Havre (for tenor and chamber orchestra, a commission from the Forum de Normandie to commemorate the 500 years of the founding of the city Le Havre), Et de toi, Bethleem, Christmas oratorio for baritone, chorus and orchestra and, finally, commissioned by the Orchestre de lâ€™Oise in honor of the centennial of the First World War 14, fresque de la Grande Guerre, for the tenor Daniel GÃ lvez-Vallejo, childrenâ€™s chorus and orchestra. In the area of chamber music, he has written a sonata for horn and piano, for the Festival de Giverny, BorÃ©e, (quintet for oboe and strings), Sextuor dâ€™Ã©tÃ©, , and Milonga, (septet inspired by the World of Tango Music). Published in 2005, his novel Carnets de Walter Crane, explores the sufferings of a composer who has the obligation to write a string quartet ..

Chamber Orchestra - Level 5 - Digital Download SKU: A0.1027777 Composed by MohammadHadi Ayanbod. 20th Century,A Cappella,Contemporary,Sacred. Score and parts. 32 pages. Rimorarte Edition #5996921. Published by Rimorarte Edition (A0.1027777). Canticum Canticorum, for Grand String Orchestra & Mixed Choir, is a musical piece based on the old text with the same name from Vulgate. The Canticum Canticorum text also known as Song of Songs, the Song of Solomon, the Canticle of Canticles, (Old Greek: Î†ÏƒÎ¼Î± Î‘ÏƒÎ¼Î¬Ï„Ï‰Î½, same meaning as song of songs). As David Berlo once beautifully put this into words: Meanings are in people â€¦ not in the messages â€¦. The elements and structure of a language â€¦ are only symbols â€¦. Meanings are not transmittable â€¦ Only messages are transmittable, and meanings are not in the message, they are in the message-users! Therefore, I needed to understand and interpret the text itself, even before I wanted to try setting it to the music. However, in order to understand the text correctly, one should comprehend the origin of the text and get to know its author(s), at first. In the case of Canticum Canticorum, both the author and the origin of the text are obscure. Furthermore, even the approximate date/century/era of the birth and the cultural context in which the text was created, are far from clear. According to the scholars, the creation of the text ranges from the tenth century B.C.; the era of Solomon, up to the first century B.C., and the origin of it considers from Indian, Tamil, or Ethiopic literature to Palestinian one. Because of these vast spectra of dates and cultures, I had to read and understand the text, compare with other sources, find similarities in other languages and cultures, hermeneutically interpret it and search for those non-written or metaphorical clues that may lead to unfasten the mystery has been attached to the text. In order to achieve the most accurate and faithful interpretation of the text I also had to answer few questions regarding the style, structure, medium, architecture and techniques of the music in relation to the text. I have used string orchestra and mixed choir to render the ideas, since that is among highly versatile instrumentations capable of providing small and delicate whispers, heavenly voices, and intonation changes that is hardly-reproducible by other mediums as well as thunderous sounds. Although Canticum Canticorum is single-movement work, but still possible to distinguish three different sections: the beginning choral part that is a long fugue in 5 voices with the material of serial music which helps orchestra to enter and grow, the a-capella middle section consists of two contrasting but invisibly related atmospheres and the third section â€“ the recapitulation of the ideas already presented, in both the text and the music. The culmination of the work; 11-parts choral, takes place in the third section, somewhere near the end of the piece. Canticum Canticorum, for Grand String Orchestra & Mixed Choir, is dedicated to the genius composer of our time, Maestro Prof. dr. h.c. Krzysztof Penderecki.

Triplo concerto barocco Chamber Orchestra

Chamber Orchestra - Digital Download SKU: S9.Q5767 For Chamber Orchestra. Co…(+)

Chamber Orchestra - Digital Download SKU: S9.Q5767 For Chamber Orchestra. Composed by Hans Werner Henze. This edition: study score. Music Of Our Time. Downloadable, Study score. Duration 10 minutes. Schott Music - Digital #Q5767. Published by Schott Music - Digital (S9.Q5767). Hans Werner Henze used original music by Scarlatti, Handel and Vivaldi to evoke the baroque lifestyle for a TV film of JosÃ© Montes-Baquer based on the novella â€™Concierto Baroccoâ€™ by the Cuban Alejo Carpentier; the film music of Lâ€™amour Ã mort by the French master director Alain Resnais was turned into a sonata by Henze.Picc. Â· 2 Â· 1 Â· Cornetto (oder Ob. d'am. oder Engl. Hr.) Â· 0 Â· 0 - 0 Â· 1 Â· 0 Â· 0 - P. S. (Marimba Â· 4 hg. Beck. Â· Crot. Â· 3 Gongs Â· Schellentr. Â· 2 Bong. Â· Tomt. Â· 2 afrik. Tr. Â· Trinidad Steel Drum Â· Tempelbl. Â· SchÃ¼ttelrohr) (4 Spieler) - Cemb. (konzertierend) Â· Klav. (konzertierend) Â· Org. (konzertierend) Â· 1 Trumscheit - Str.
$29.99 27.06 € #Chamber Orchestra #Hans Werner Henze #Triplo concerto barocco #Schott Music - Digital #SheetMusicPlus

Double Bass Concerto Chamber Orchestra

2.0.1.bcl.1.cbsn-2.0.0.0-timp.2perc(glsp, crot, vib, tub bells, tam-t, b.d)-hp-str(0.0.6.4…(+)

2.0.1.bcl.1.cbsn-2.0.0.0-timp.2perc(glsp, crot, vib, tub bells, tam-t, b.d)-hp-str(0.0.6.4.2 preferred) solo double bass, optional 3 part bass chorus and chamber orchestra - Digital Download SKU: S9.Q47174 (Farewell to St. Petersburg). Composed by Gavin Bryars. This edition: study score. Music Of Our Time. Downloadable, Study score. Duration 28 minutes. Schott Music - Digital #Q47174. Published by Schott Music - Digital (S9.Q47174). Russian.This concerto has the unusual addition of an optional male voice choir. Many Russian elements influenced Bryars when he was writing the piece, not least the text for the bass voices which is taken from Glinkaâ€™s song cycle Farewell to St Petersburg. Bryars writes â€˜The orchestration is quite light throughout, so that the singing quality of the double bass can emerge. The emphasis in terms of tessitura is on the middle register, though in the closing section there is a passage in natural harmonics. Although the piece is not designed to be a virtuoso showpiece, there is a brief cadenza in which the soloist is supported at times by other solo instruments (bass clarinet, viola, cello, bass).â€™.
$16.99 15.33 € #Chamber Orchestra #Gavin Bryars #Double Bass Concerto #Schott Music - Digital #SheetMusicPlus

Last Door of Light Chamber Orchestra

1.2.0.2-2.2.0.0-timp-str(7.6.5.4.3) chamber orchestra - Digital Download SKU: S9.Q19150…(+)

1.2.0.2-2.2.0.0-timp-str(7.6.5.4.3) chamber orchestra - Digital Download SKU: S9.Q19150 For chamber orchestra. Composed by Sir Peter Maxwell Davies. This edition: study score. Music Of Our Time. Downloadable, Study score. Op. 293. Duration 20 minutes. Schott Music - Digital #Q19150. Published by Schott Music - Digital (S9.Q19150). Peter Maxwell Davies was thinking of individual and communal vulnerability when composing this piece, especially in relation to the problem of climate change and his home in the Orkney Islands, which is under threat from rising sea levels. However, this theme is not a completely negative one: Davies claims we must all enter the last door of light but the journey is full of light and joy. The melody at the start of the work, which Davies composed in the â€˜70â€™s and never used, could be an Island folk melody and is subject to constant transformation throughout the piece before reaching apotheosis at the end.
$21.99 19.84 € #Chamber Orchestra #Sir Peter Maxwell Davies #Last Door of Light #Schott Music - Digital #SheetMusicPlus

Beliebte Annen-Polka op. 137 Chamber Orchestra

Chamber Orchestra - Level 2 - Digital Download SKU: A0.927361 Composed by Johann St…(+)

Chamber Orchestra - Level 2 - Digital Download SKU: A0.927361 Composed by Johann Strauss Sr. Arranged by Wim Lasoen. Romantic Period. Score and Parts. 14 pages. Newzenmusic.org #3601913. Published by Newzenmusic.org (A0.927361). Arrangement for Salon Orchestra (Flute, Clarinet, Piano, Violin I, Violin II, Cello and Double Bass)Strauss programmed this polka for the Austrian Empress's name-day in 1842. Name-day celebrations at court always meant a carnival for the inhabitants of Vienna in those days. Strauss sr. directed the music for the court balls, namely in the Volksgarten. At its premiÃ¨re, this Anna Polka was encored four times. Only one week after the feast, the published edition of the piano reduction already appeared. Interesting detail: its the publisher who adds 'Popular' (Beliebte) to the title, which was a brilliant move crowned with success: not only would this piece become an enduring crowd-pleaser, it also launched the Polka as the new dance sensation.
$18.50 16.69 € #Chamber Orchestra #Johann Strauss Sr #Beliebte Annen-Polka op. 137 #Newzenmusic.org #SheetMusicPlus

Wesendonck-Lieder Chamber Orchestra

1 Â· Altfl. Â· 1 Â· Engl. Hr. Â· 1 Â· Bassklar. Â· 1 Â· Kfg. - 2 Â· 0 Â·…(+)

1 Â· Altfl. Â· 1 Â· Engl. Hr. Â· 1 Â· Bassklar. Â· 1 Â· Kfg. - 2 Â· 0 Â· 0 Â· 0 - Hfe. - Str. (6 Â· 4 Â· 4 Â· 4 Â· 2) alto and chamber orchestra - Digital Download SKU: S9.Q2899 FÃ¼nf Lieder fÃ¼r eine Frauenstimme auf Gedichte von Mathilde Wesendonck von Richard Wagner. Composed by Hans Werner Henze and Richard Wagner. This edition: conductor's and study score. Music Of Our Time. Downloadable, Full and study score. Duration 15 minutes. Schott Music - Digital #Q2899. Published by Schott Music - Digital (S9.Q2899). German.During the period in which these arrangements were created, Hans Werner Henze was far from being a Wagnerite. Despite this, he deliberately set out to study Wagner's music. Tristan und Isolde was the opera Henze found most accessible and it was therefore the Wesendonck-Lieder, dating from 1858 with their clear affinity to the harmony of Tristan, which became Henzeâ€™s focal point of interest. In his arrangements he was aiming 'to evoke the pre-Tristan state. For this reason, I have selected a small ensemble consisting of seven wind instruments, two horns, harp and small string orchestra to retain the preliminary study character of these Lieder. At the same time however, I am attempting to permit the Tristanesque tone which is already inherent in the piano version to unfold through harmonic separation.' - Hans Werner Henze.
$45.99 41.49 € #Chamber Orchestra #Hans Werner Henze and Richard Wagner #Wesendonck-Lieder #Schott Music - Digital #SheetMusicPlus

Carson Cooman: Quintet for Bassoon and Strings (2005–08) for bassoon and string quartet Chamber Orchestra

Chamber Orchestra - Level 5 - Digital Download SKU: A0.533574 Composed by Carson Co…(+)

Chamber Orchestra - Level 5 - Digital Download SKU: A0.533574 Composed by Carson Cooman. Contemporary,Standards. Score and parts. 65 pages. Musik Fabrik Music Publishing #3024985. Published by Musik Fabrik Music Publishing (A0.533574). Quintet for Bassoon and Strings (2005â€“08) was commissioned by The Commission Projectand is dedicated to Klaus Heymann, in tribute for his invigoration of the classical recordingindustry and his enthusiastic support for the composers of our time.The original conception for the work was devised during an extremely foggy week onNantucket Island, Massachusetts in the summer of 2005. It is music deeply connected to theocean landscape. Throughout the work, the strings often present a fog-like backdrop,through which the bassoonâ€™s color emerges like a lighthouse beaconâ€”lyrical and flexible.The work opens with a series of interlocking, nebulous figurations in the strings thatgradually build in intensity. The bassoon unfolds the workâ€™s basic melodic material in a freesolo that also increases in intensity. At the point of climax, the tempo suddenly slowsdramatically, and a tender, lyrical cantilena emerges. As this music dissolves, a bouncy andenergetic music takes the foreground. It climaxes in a bassoon cadenza. Though the bassoonhas played the leader throughout, this is the first time it is heard unaccompanied. A brief,but vigorous afterglow recalls the opening of the work. The final section emerges out of it: aseries of high, distant harmonics (perhaps harbor buoys) in the strings through which thebassoon sings a final song.
$25.95 23.41 € #Chamber Orchestra #Carson Cooman #Carson Cooman: Quintet for Bassoon and Strings #Musik Fabrik Music Publishing #SheetMusicPlus

Sauterelle Chamber Orchestra

Chamber Orchestra - Digital Download SKU: A0.1022716 Composed by Andy Fielman. Cont…(+)

Chamber Orchestra - Digital Download SKU: A0.1022716 Composed by Andy Fielman. Contemporary. Score and parts. 8 pages. Gisela August Publishing #3000413. Published by Gisela August Publishing (A0.1022716). Sauterelle, a playful grasshopper once came inside to spend an evening or three. It subsisted on bell pepper strips and a bottle cap of water. Our time together was joyful and is represented in this buoyant and playful tune. Sauterelle eventually hopped back outside to resume the life of a grasshopper leaving me with a smile and this song clocking in at 2:48. The music can be previewed at the following link: https://www.youtube.com/watch?v=8OXWCMoAC18&t=3s Enjoy!
$8.95 8.07 € #Chamber Orchestra #Andy Fielman # #Sauterelle #Gisela August Publishing #SheetMusicPlus

Press Play Chamber Orchestra

Chamber Orchestra - Level 5 - Digital Download SKU: A0.1027496 Composed by Till Mac…(+)

Chamber Orchestra - Level 5 - Digital Download SKU: A0.1027496 Composed by Till MacIvor Meyn. 20th Century,Contemporary,Pop. Score and parts. 86 pages. Till MacIvor Meyn #550691. Published by Till MacIvor Meyn (A0.1027496). Submitted for 2015 Areon Flutes International Chamber Music Composition Competition, â€˜Press Playâ€™ was composed for internationally renowned bassoonist Scott Pool. When I was growing up in the 1980s, I had a rather large cassette tape collection with many different types of music; my friends and I spent much of our time browsing through each otherâ€™s sets and listening to diverse rock albums. â€˜Press Playâ€™ is designed to represent the format of an EP album, though the music contained is a mix of styles. Track 1 is a chorale-style introductory movement that features the bassoon in brief solo passages between the chordal string sections. Hit Single is basically a pop song for bassoon and strings. In Deep Cut, the instruments explore a slow contrapuntal texture; the title refers to an obscure type of track on an album that radio stations are less likely to air, except perhaps on late night shows. Deep Cut accelerates in the second half, and moves almost directly into Hidden Track, named for a type of song that some albums hide after all the popular songs are over. Hidden Track also features an acceleration from beginning to end, and has a style and format similar to process music.
$26.00 23.46 € #Chamber Orchestra #Till MacIvor Meyn #Press Play #Till MacIvor Meyn #SheetMusicPlus

Concerto in E flat "Dumbarton Oaks" Chamber Orchestra

1 Â· 0 Â· 1 Â· 1 â€“ 2 Â· 0 Â· 0 Â· 0 â€“ Str. (3 Â· 0 Â· 3 Â·…(+)

1 Â· 0 Â· 1 Â· 1 â€“ 2 Â· 0 Â· 0 Â· 0 â€“ Str. (3 Â· 0 Â· 3 Â· 2 Â· 2) Chamber Orchestra - Digital Download SKU: S9.Q1929 For chamber orchestra. Composed by Igor Stravinsky. This edition: study score. Music Of Our Time. Downloadable, Study score. Duration 15 minutes. Schott Music - Digital #Q1929. Published by Schott Music - Digital (S9.Q1929).
$16.99 15.33 € #Chamber Orchestra #Igor Stravinsky #Concerto in E flat "Dumbarton Oaks" #Schott Music - Digital #SheetMusicPlus

Voie lactée ô sœur lumineuse Chamber Orchestra

1 (auch Picc.) Â· 0 Â· 1 Â· 1 - 1 Â· 1 Â· 1 Â· 0 - P. S. (Vibr. Â· Marimba �…(+)

1 (auch Picc.) Â· 0 Â· 1 Â· 1 - 1 Â· 1 Â· 1 Â· 0 - P. S. (Vibr. Â· Marimba Â· gr. hg. Beck. Â· 2 Tamt. Â· Tamb. Â· kl. Tr. Â· gr. Tr. Â· Tempelbl. Â· Log Drums Â· Sistren Â· Crot. Â· Trinidad Steel Drum Â· Glsp.) (5 Spieler) - Cel. Â· Klav. - Str. (2 Â· 0 Â· 1 Â· 1 Â· 1) Chamber Orchestra - Digital Download SKU: S9.Q5766 Abendmusik fÃ¼r einen alten Freund. Composed by Hans Werner Henze. This edition: study score. Music Of Our Time. Downloadable, Study score. Duration 8 minutes. Schott Music - Digital #Q5766. Published by Schott Music - Digital (S9.Q5766).
$16.99 15.33 € #Chamber Orchestra #Hans Werner Henze #Voie lactée ô sœur lumineuse #Schott Music - Digital #SheetMusicPlus

Sinfonia 1 "Fogli" / Sinfonia 2 "Ricordanze" Chamber Orchestra

Orchestra / chamber orchestra - Digital Download SKU: S9.Q2710 Composed by Wilhelm …(+)

Orchestra / chamber orchestra - Digital Download SKU: S9.Q2710 Composed by Wilhelm Killmayer. This edition: study score. Music Of Our Time. Downloadable, Study score. Schott Music - Digital #Q2710. Published by Schott Music - Digital (S9.Q2710). Sinfonie 1 Fogli: 1 * 0 * 2 (2. auch Bassklar. in B) * 0 - 1 * 0 * 0 * 0 - P. S. (gr. Tr. * 4 Tomt. * Bong. * Tempelbl. * Glocke in G) - Hfe. * Klav. * Harm. * Mand. - Str. (6 * 6 * 4 * 4 * 3) Sinfonie 2 Ricordanze: 1 * 1 * 0 * 1 - 0 * 0 * 0 * 0 - Cemb. * Str. (6 * 0 * 2 * 1 * 1)Sinfonie 1 Fogli: 1 * 0 * 2 (2. auch Bassklar. in B) * 0 - 1 * 0 * 0 * 0 - P. S. (gr. Tr. * 4 Tomt. * Bong. * Tempelbl. * Glocke in G) - Hfe. * Klav. * Harm. * Mand. - Str. (6 * 6 * 4 * 4 * 3) Sinfonie 2 Ricordanze: 1 * 1 * 0 * 1 - 0 * 0 * 0 * 0 - Cemb. * Str. (6 * 0 * 2 * 1 * 1)Sinfonie 1 Fogli: 1 Â· 0 Â· 2 (2. auch BaÃŸklar. in B) Â· 0 â€“ 1 Â· 0 Â· 0 Â· 0 â€“ P. S. (gr. Tr. Â· 4 Tomt. Â· Bong. Â· Tempelbl. Â· Glocke in G) â€“ Hfe. Â· Klav. Â· Harm. Â· Mand. â€“ Str. (6 Â· 6 Â· 4 Â· 4 Â· 3) Sinfonie 2 Ricordanze: 1 Â· 1 Â· 0 Â· 1 â€“ 0 Â· 0 Â· 0 Â· 0 â€“ Cemb. Â· Str. (6 Â· 0 Â· 2 Â· 1 Â· 1).
$19.99 18.04 € #Chamber Orchestra #Wilhelm Killmayer #Sinfonia 1 "Fogli" / Sinfonia 2 "Ricordanze" #Schott Music - Digital #SheetMusicPlus