Download Digital Sheet Music of Sorrow for Chamber Orchestra

Sorrow

Sweet Sorrow

Sweet Sorrow Chamber Orchestra

Chamber Orchestra - Level 2 - Digital Download SKU: A0.923568 Composed by Lisa Came…(+)

Chamber Orchestra - Level 2 - Digital Download SKU: A0.923568 Composed by Lisa Cameron. Contemporary,Instructional,Standards. Score and parts. 11 pages. Lisa Cameron #2964739. Published by Lisa Cameron (A0.923568). A quartet written for one flute and three cellos, this is a piece for players of mixed ability. There are other arrangements of this piece available for various string ensemble instrumentations. This is the original version. Ideal for ensembles who are extending into time signature change (in this case from 3/4 to 6/8 and back to 3/4), this piece is a celebration of life within the sorrow of loss.
$8.99 8.29 € #Chamber Orchestra #Lisa Cameron #Sweet Sorrow #Lisa Cameron #SheetMusicPlus

#Sweet Sorrow

Chamber Orchestra - Level 4 - Digital Download SKU: A0.1283479 By Johann Sebastian Bach and Netherlands Bach Society. By Johann Sebastian Bach. Arranged by Flavio Regis Cunha. Baroque,Contest,Easter,Festival,Instructional,Sacred. Score and Parts. 51 pages. Flavio Regis Cunha #874665. Published by Flavio Regis Cunha (A0.1283479). Bach: Aria 'Mache dich, mein Herze, rein' for Bass Solo and Chamber Baroque Orchestra from the St Matthew Passion (BWV 244).Discover timeless music with the Bach classic - 'Mache dich, mein Herze, Rein'! Enjoy the intricate and vibrant performance of the piece from the renowned Netherlands Bach Society. Perfect for both professional orchestras and soloists â€“ as well for the joy of schools performing the revered composer's masterpiece. Get the perfect accompaniment for your performance with the authentic sheet music available now!The aria 'Mache dich, mein Herze, rein' from the St Matthew Passion (BWV 244), performed here by the Netherlands Bach Society and conducted by Jos van Veldhoven for All of Bach. The St Matthew Passion tells the story of the last days of Jesus. He is betrayed, tried, crucified and buried. The lyrics were compiled by Picander (the pseudonym of Christian Friedrich Henrici), probably in close consultation with Bach himself. For their theme, they took the story as told by St Matthew the Evangelist. As different groups or people have their say, the singers get different roles â€“ Christ, Judas, Peter, a slave girl, the pupils, the high priests, the people and the soldiers, etc. At key moments in the story, Bach and Picander added chorales and arias as a reflection of the biblical story. The action is suspended and the events are placed in the theological context of Bachâ€™s day. The chorale lyrics and melodies come from the Lutheran hymn book, and were well known to the congregation in Leipzig. Even though Bachâ€™s harmonies were new, everyone would have recognised the melody and the words. The lyrics for the opening and closing choruses and the arias were brand new, however. Both the arias and the chorales often link up seamlessly with the evangelical words.Â Advanced IntermediateFormat: Concert, 9 x 12 inches51 pagesProgram NotesMache dich, mein Herze, rein is a deeply poignant and emotional piece from the renowned work by Johann Sebastian Bach, St Matthew Passion (BWV 244). Written as a part of the 16th passion oratorio as a love song sung by Jesus to his disciples, this piece brilliantly conveys the struggle of redemption and longing for peace.Accompanied by a chamber baroque orchestra, the stark vocal line is delivered with an intense intricacy by the bass solo. Each note is carefully laden with sincere emotion, imbuing within the words a sense of longing and deep sorrow. As the piece progresses, the reprise of the chorus adds a layer of reflection to the message, driving home the power of the connection between Christ and his disciples.Mache dich, mein Herze, rein is a highly moving and truly remarkable piece of music that has rightly earned a place amongst Bach's most renowned works. Mache dich, mein Herze, rein is one of the most stunningly tender and moving chorales from Johann Sebastian Bach's monumental oratorio the St Matthew Passion (BWV 244). Originally written with a full choral accompaniment for the Easter Week Vespers of 1729, Bach's skilful reworking of the melody for bass and chamber baroque orchestra in the St Matthew Passion gives the solo voice a unique poignancy and fragility. The Lutheran chorale on which Bach based his composition speaks of hearts needing to be cleansed of sin and sorrow as they prepare to meet the Savior - an idea timeless in its poignancy and universality. Bach's arrangement is akin to a prayer of reflection and contemplation, the music's restrained dynamics and sighing counterpoint creating an atmosphere of resignation and acceptance. Mache dich, mein Herze, rein is a sublime masterpiece of sacred music, truly embodying the spirit of Easter.

Barbara Allen for piccolo and orchestra Chamber Orchestra

Chamber Orchestra - Level 4 - Digital Download SKU: A0.1470559 By Reinhold Behringe…(+)

Chamber Orchestra - Level 4 - Digital Download SKU: A0.1470559 By Reinhold Behringer. By Traditional. Arranged by David Warin Solomons. Contemporary,Traditional. 44 pages. David Warin Solomons #1048222. Published by David Warin Solomons (A0.1470559). An arrangement for piccolo and orchestra of the Barbara Allen folk song with many interesting cadences, harmonies and countermelodies.In Scarlet Town where I was born,There was a fair maid dwelling,Made every youth cry, “Well-a-day”,Her name was Barbara Allen.All in the merry month of May,When green buds they were swelling,Young Willy Grove on his death bed lay,For love of Barbara Allen.He sent his man down unto her then,To the town where she was dwelling.“You must come to my master dear,If your name's Barbara Allen.”So slowly, slowly she came up,And slowly she came nigh him,And all she said when there she came,“Young man I think you’re dying.”[“A dying man, no, no,” said he,“One kiss from thee would cure me.”“One kiss from me thou never shalt have,If your poor heart was breaking.”]He turned his face unto the wall,And death was drawing nigh him,“Adieu, adieu, my dear friends all,And be kind to Barbara Allen.”As she was walking o’er the fields,She heard the dead-bell knellin’;And every stroke did seem to say“Unworthy Barbara Allen!”When he was laid dead in his grave,Her heart was struck with sorrow,“Oh mother, mother make my bed,For I shall die tomorrow.”And on her death bed she lay,She begged to be buried by him,And so repented of the day,That she did e’er deny him.“Farewell”, she said, “You virgins all,And shun the fault I fell in.Hence forth take warning by the fall,Of cruel Barbara Allen.”.
$16.00 14.75 € #Chamber Orchestra #Reinhold Behringer #Barbara Allen for piccolo and orchestra #David Warin Solomons #SheetMusicPlus

Chamber Orchestra - Level 3 - Digital Download SKU: A0.976713 Composed by Isaac Watts / Lowell Mason. Arranged by Robert Myers. Christian,Holiday,Love,Sacred. Score and parts. 49 pages. WheatMyer Music #4775721. Published by WheatMyer Music (A0.976713). When I Survey the Wondrous Cross, written by the Father of English Hymnody, Isaac Watts, in 1707 and later matched with Lowell Masonâ€™s 1824 tune, HAMBURG, has long stood at the forefront of English hymnody.This arrangement, taken from my Passion Week cantata, Wounded, Bleeding, Still Proceeding, allows the full talent-spectrum of the Body of Christ to contemplate His sacrifice and offer their devotion.The first two stanzas feature an alto/soprano duet, set in a minor key with frequent diminished and augmented chords to reflect the despair and loss of a witness to the crucifixion. The entire third stanza, set for SATB chorus, never really moves off the F minor tonic until the end. That, and the relentless pounding of the bass line, ponders the witnesses' anguish and our vicarious experience of it through Scripture. So, sing these stanzas sadly â€“ they are sad! When the choir enters, be sure to observe the swelling crescendos/diminuendos as the sorrow and love mingle together.The fourth stanza offers optional congregational participation and may be used to provide a responsorial to the Word of God or a preparation for the Table. The choir sings this stanza in four part harmony as the congregation joins on the melody. It stays in a major key and closely follows the traditional consonances used in Lowell Masonâ€™s harmonization; thus, the choral parts will feel familiar and the congregational melody will flow naturally. Take the text literally (Love so amazing, so divine, demands my soul, my life, my all.) and sing it firmly, enthusiastically, passionately, but never triumphantly. Sing it as a song of personal devotion to commit all that you have, all that you are, and all that you will ever be, to the one who humbled Himself by becoming obedient to the point of death, even death on a cross (Phil 2:8b) so that we might become the righteousness of God in Him (2 Cor 5:21)The music is well within the grasp of any ensemble competent with traditional SATB anthems. The instrumental accompaniments are straightforward yet very colorful, suitable for high school or higher level players. When I Survey the Wondrous Cross is an unapologetic Christian worship anthem suitable for sacred services, yet it does not compromise on artistic expression.This is the orchestral accompaniment for the choral octavo version sold separately. This version includes full score and all instrumental parts.

Separazione (Parting) - Version for Voice and Orchestra Chamber Orchestra

Chamber Orchestra - Level 3 - Digital Download SKU: A0.1317212 Composed by Giovanni…(+)

Chamber Orchestra - Level 3 - Digital Download SKU: A0.1317212 Composed by Giovanni Sgambati. Arranged by Stanley M. Hoffman. Classical,Romantic Period. 26 pages. Stanleymhoffman.com #905884. Published by stanleymhoffman.com (A0.1317212). Sgambati/Hoffman, arr. - Separazione (Parting) Arranged for Voice & OrchestraItalian Folk SongEdited, and provided with accompaniment byÂ Giovanni Sgambati (1841â€“1914)English singing translation, SATB vocal/orchestral arrangement, and edition by Stanley M. HoffmanArrangement: Â© Copyright 2023 by Stanley M. Hoffman. www.stanleymhoffman.com Â All rights reserved.---TEXTDolorosa partenza,ahi! quanto e dura!Quanto Ã¨ grande per me la pena amara!Full of sadness is this parting,ah! how hard it is to leave you!Oh, how sore is the pain, the sorrow it gives me!---#music #arrangement #Italian #FolkSong #Sgambati #artsong #parting #voice #piano #satb Â #MixedChorus #chorus #voice #VocalMusic Â #orchestra #orchestralmusic.
$13.00 11.98 € #Chamber Orchestra #Giovanni Sgambati #Separazione #stanleymhoffman.com #SheetMusicPlus

Agnus Dei (Mamie Solo from Requiem of Emmett Till movement 13) Chamber Orchestra

Chamber Orchestra - Digital Download SKU: A0.982669 Composed by Michael Dryver, Com…(+)

Chamber Orchestra - Digital Download SKU: A0.982669 Composed by Michael Dryver, Composer. Contemporary. Score and parts. 16 pages. Contemporary Choral Series #4848517. Published by Contemporary Choral Series (A0.982669). Agnus Dei, 4th movement of Requiem, the anguished, determined mother of Emmett (Bobo) Mamie sings out her mournful sorrow for her poor son. An Solo and orchestral setting... .
$8.00 7.38 € #Chamber Orchestra #Michael Dryver, Composer #Agnus Dei #Contemporary Choral Series #SheetMusicPlus

Chamber Orchestra - Digital Download SKU: A0.944036 Composed by Ofer Ben-Amots. Contemporary,Jewish,World. Score and parts. 124 pages. The Composer's Own Press #4627681. Published by The Composer's Own Press (A0.944036). Kantes del verdgel de granadas â€“ Songs from the Pomegranate Garden A Judeo-Spanish song cycle for solo voice and chamber symphony orchestra Composerâ€™s notes: Kantes del verdgel de granadas, or in its English translation: Songs from the Pomegranate Garden, is a cycle of five songs in the Judeo-Spanish dialect, also known as Ladino. The texts, based on folk-poetry, are magical, passionate, and encompass a wide range of human emotions and experiences. We can find in them love and longing, sorrow and death, lightheartedness and folly, as well as burning love and even sexual innuendo. The vocal part portrays different stories and a variety of human characters in each of the five songs. It, thus, ranges in expression from parlando secco to lirico espressivo. The role of the orchestra in this cycle is more than just an accompaniment; it converses with the voice, adds colors and ambience, and serves as a commentary over the sung text. Thus, the orchestral part is equal to, or at times even more predominant than the voice itself. The initiative to write this composition came in response to a specific cultural approach by which creativity based on traditional Judaic material should correspond to four stages in the artistic process: Exploration, Preservation, Interpretation, and Innovation (as translated by the Hebrew terms: ×—×™×“×•×© â€“ ×¤×™×¨×•×© â€“ ×©×™×ž×•×¨ â€“ ×—×™×¤×•×©). The main idea behind this initiative was to conserve crucial elements within traditional Jewish folk music, and then, bring about their revival as art music through new contemporary interpretations. Thus, the musical arrangement is partially based on the traditional Ladino tunes and partially original. However, phrases based on old Ladino melodies are starkly modified and composed in such way to completely evoke personal imagery and interpretation. The songs I selected for the cycle were taken from the four-volume collection: Chants judÃ©o-espagnols by Isaac Levy. My criteria for the selection was finding lesser-known melodies, yet most intriguing ones and with a strong Judeo-Spanish character. The five songs have various degrees of arrangement vs. original composition: songs 2 and 3, Mi korason and Entre las huertas, for example, are almost unchanged, while songs 1 and 4, Dos amantes and Malato â€˜sta el hijo del rey, heavily combine the old Ladino romancero melodies with originally composed material. The concluding song (Nr. 5) is entirely original, but correspond stylistically to the Judeo-Spanish musical language. While all five songs are secular in nature, the ballad Malato â€˜sta el hijo del rey (The Kingâ€™s Son is Ill) has been traditionally sung - according to Isaac Levy - on the night of Tisha Bâ€™Av along the scroll of Eicha to bemoan the destruction of the Holy Temple in Jerusalem. The Judeo-Spanish text of the songs can be found below along with its English translation. Duration: ca. 24 min.Performance material by rental only! For demo recording, questions, or any additional information please e-mail Ofer Ben-Amots at: thecomposerspress@gmail.com

Concerto No.3 for Violin and Orchestra Chamber Orchestra

Chamber Orchestra - Level 5 - Digital Download SKU: A0.882393 Composed by David Che…(+)

Chamber Orchestra - Level 5 - Digital Download SKU: A0.882393 Composed by David Chesky. Contemporary,Jewish. Score and parts. 218 pages. Pamaluc Music #18835. Published by Pamaluc Music (A0.882393). From the composers Joy and Sorrow album. This three movement concerto uses the language of Eastern European Klezmer. The first movement is a lively and filled with virtuoso lines. The second movement is slow and haunting. The last movement once again is the classic virtuoso violin concerto at a very up tempo marking. Duration 18.00 min 1perc./ clar. / trpt. strings.
$34.98 32.25 € #Chamber Orchestra #David Chesky #Concerto No.3 for Violin and Orchestra #Pamaluc Music #SheetMusicPlus

Separazione (Parting) - Version for SATB Chorus and Orchestra Chamber Orchestra

Chamber Orchestra - Level 3 - Digital Download SKU: A0.1317209 Composed by Giovanni…(+)

Chamber Orchestra - Level 3 - Digital Download SKU: A0.1317209 Composed by Giovanni Sgambati. Arranged by Stanley M Hoffman. Classical,Romantic Period. 26 pages. Stanleymhoffman.com #905881. Published by stanleymhoffman.com (A0.1317209). Sgambati/Hoffman, arr. - Separazione (Parting) Arranged for SATB Chorus & OrchestraSeparazione (Parting)Italian Folk SongEdited, and provided with accompaniment byGiovanni Sgambati (1841â€“1914)English singing translation, SATB choral/orchestral arrangement, and edition by Stanley M. HoffmanArrangement: Â© Copyright 2023 by Stanley M. Hoffman. www.stanleymhoffman.com Â All rights reserved.---TEXTDolorosa partenza,ahi! quanto e dura!Quanto Ã¨ grande per me la pena amara!Full of sadness is this parting,ah! how hard it is to leave you!Oh, how sore is the pain, the sorrow it gives me!---#music #arrangement #Italian #FolkSong #Sgambati #artsong #parting #voice #piano #satb Â #MixedChorus #chorus #choral #ChoralMusic #choralarrangement #orchestra #orchestralmusic.
$13.00 11.98 € #Chamber Orchestra #Giovanni Sgambati #Separazione #stanleymhoffman.com #SheetMusicPlus

Dora's Dance Chamber Orchestra

Chamber Orchestra - Level 5 - Digital Download SKU: A0.882376 Composed by David Che…(+)

Chamber Orchestra - Level 5 - Digital Download SKU: A0.882376 Composed by David Chesky. Contemporary,Jewish. Score and parts. 62 pages. Pamaluc Music #18285. Published by Pamaluc Music (A0.882376). An up tempo Klezmer Dance from the composers Joy and Sorrow album. This work captures the joyous feeling of the Eastern European Klezmer artists in an orchestral setting. Duration 5.00 min 1perc./ clar / trpt. strings.
$24.98 23.03 € #Chamber Orchestra #David Chesky #Dora's Dance #Pamaluc Music #SheetMusicPlus

Cantata No. 12 (Dominica Jubilate) Chamber Orchestra

3 solo parts, choir and chamber orchestra - Digital Download SKU: S9.Q4578 Weepi…(+)

3 solo parts, choir and chamber orchestra - Digital Download SKU: S9.Q4578 Weeping, crying, sorrowing, sighing. Composed by Johann Sebastian Bach. This edition: study score. Choral music - Ernst Eulenburg - Score. Eulenburg Miniature Scores. Downloadable, Study score. Ernst Eulenburg & Co. GmbH - Digital #Q4578. Published by Ernst Eulenburg & Co. GmbH - Digital (S9.Q4578). German.With more than 1,200 titles from the orchestral and choral repertoire, from chamber music and musical theatre, Edition Eulenburg is the world's largest series of scores, covering large part of music history from the Baroque to the Classical era and looking back on a long tradition.
$10.99 10.13 € #Chamber Orchestra #Johann Sebastian Bach #Cantata No. 12 #Ernst Eulenburg & Co. GmbH - Digital #SheetMusicPlus

Ring out, wild bells - sleigh bells part Chamber Orchestra

Chamber Orchestra - Level 3 - Digital Download SKU: A0.942853 Composed by James W. …(+)

Chamber Orchestra - Level 3 - Digital Download SKU: A0.942853 Composed by James W. Knox. Contemporary. Score and parts. 3 pages. Knox Music #3594167. Published by Knox Music (A0.942853). Ring out, Wild Bells is based on the major theme of rejuvenation and bidding goodbye to the past year and letting go of pass sorrows with it. James W. Knox' dramatic work is a great concert feature for intermediate choirs and beyond. Duration 9:30 minutesContact the composer for questions at jwknox@cocc.edu.
$1.99 1.83 € #Chamber Orchestra #James W #Ring out, wild bells - sleigh bells part #Knox Music #SheetMusicPlus

Ring out, wild bells - violin II part Chamber Orchestra

Chamber Orchestra - Level 3 - Digital Download SKU: A0.942849 Composed by James W. …(+)

Chamber Orchestra - Level 3 - Digital Download SKU: A0.942849 Composed by James W. Knox. Contemporary. Score and parts. 6 pages. Knox Music #3594159. Published by Knox Music (A0.942849). Ring out, Wild Bells is based on the major theme of rejuvenation and bidding goodbye to the past year and letting go of pass sorrows with it. James W. Knox' dramatic work is a great concert feature for intermediate choirs and beyond. Duration 9:30 minutesContact the composer for questions at jwknox@cocc.edu.
$1.99 1.83 € #Chamber Orchestra #James W #Ring out, wild bells - violin II part #Knox Music #SheetMusicPlus

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).

Ring out, wild bells - double bass part Chamber Orchestra

Chamber Orchestra - Level 3 - Digital Download SKU: A0.942852 Composed by James W. …(+)

Chamber Orchestra - Level 3 - Digital Download SKU: A0.942852 Composed by James W. Knox. Contemporary. Score and parts. 5 pages. Knox Music #3594165. Published by Knox Music (A0.942852). Ring out, Wild Bells is based on the major theme of rejuvenation and bidding goodbye to the past year and letting go of pass sorrows with it. James W. Knox' dramatic work is a great concert feature for intermediate choirs and beyond. Duration 9:30 minutesContact the composer for questions at jwknox@cocc.edu.
$1.99 1.83 € #Chamber Orchestra #James W #Ring out, wild bells - double bass part #Knox Music #SheetMusicPlus