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Chamber Orchestra
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Quiet Times - Solo Flugelhorn Feature for Studio Orchestra
Chamber Orchestra
Chamber Orchestra - Level 4 - Digital Download SKU: A0.817154 Composed by Richard D…
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Chamber Orchestra - Level 4 - Digital Download SKU: A0.817154 Composed by Richard Decker. 21st Century,Contemporary,Contest,Festival,Jazz,Pop. 41 pages. Charles Decker Music Press #5740917. Published by Charles Decker Music Press (A0.817154). This very accessible and moderately difficult original jazz-influenced, lush sounding ballad for studio orchestra featuring solo flugelhorn creates lasting memories for performers and audiences. New York State School Music News review: This slow ballad has an effective legato flow with remarkably colorful orchestration … a very original and playable creation. The audio file is an actual studio orchestra performance of the entire work and not a computer playback of the score. See also the piano reduction accompaniment for Quiet Times at Charles Decker Music Press. See 50+ homogeneous brass group editions for horn, trumpet and trombone ensembles and more than 70 mixed brass ensemble publications with Charles Decker Music Press at Sheet Music Plus for inexperienced to advanced musicians with music ranging from the Renaissance to contemporary new works for trios, quartets, quintets, brass choir and brass band. Many of the mixed brass ensemble editions include alternate and substitute parts being alternate C trumpet parts for B-flat trumpet parts, flugelhorn/trumpet substitute for horn, horn substitute for trombone and treble clef euphonium substitute for trombone. Check out our Music of Black Composers Series with Charles Decker Music Press at Sheet Music Plus with 25 arrangements for mixed brass ensembles ranging from early jazz to symphonic works with composers Samuel Coleridge-Taylor, R. Nathaniel Dett, William Grant Still, Will Marion Cook, James Reese Europe, James Johnson and others. All ensemble publications include recordings of the entire edition.
$18.95
17.34 €
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Chamber Orchestra
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Richard Decker
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Quiet Times - Solo Flugelhorn Feature for Studio Orchestra
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Charles Decker Music Press
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SheetMusicPlus
Händel: Atalanta, HWV 35: Ouverture. Largo - Allegro as played by Alison Balson and Trevor Pinnock.
Chamber Orchestra
Chamber Orchestra - Level 4 - Digital Download SKU: A0.1288408 By Georg Friedrich H…
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Chamber Orchestra - Level 4 - Digital Download SKU: A0.1288408 By Georg Friedrich Händel, Alison Balson, Trevor Pinnock and the English Concert. By George Frideric Handel. Arranged by Flavio Regis Cunha. Baroque,Classical,Contest,Festival,Instructional,Wedding. Score and Parts. 44 pages. Flavio Regis Cunha #879394. Published by Flavio Regis Cunha (A0.1288408). Handel: Atalanta, HWV 35: Ouverture. Largo - Allegro.Do you want to bring Georg Friedrich Händel's Atalanta to life? Introducing Handel's powerful work for trumpet solo and chamber orchestra, as played by the world's premier soloist Alison Balson and Trevor Pinnock. Perfect for church, school and professional orchestras, 'Handel: Atalanta' will give your performance exceptional energy and dynamic expression. Get this timeless masterpiece and experience a stunning work of genius.Advanced Intermediate Format: Concert, 9 x 12 inches44 pagesFull Score and Orchestral Parts Instrumentation: Basso continuo, Trumpet, Chamber Orchestra (0.2.0.1  0.1.0.0  harpsich. str.) + Trumpet and Continuo reductionDuration: 4 min.Program NotesAbout the ComposerThe 'Atalanta, HWV 35: Ouverture' was composed by the renowned Baroque composer, Georg Friedrich Händel. His imaginative works make him one of the most important figures of the Baroque period. Other well-known works of Händel's include 'The Messiah', 'Water Music', and 'Music for the Royal Fireworks'. He was a master at combining various instruments and emotional elements to create enthralling music.Musical CharacteristicsThe 'Atalanta, HWV 35: Ouverture' is characterized as a light and airy composition, made up of a combination of a trumpet solo and chamber orchestra. The movement transitions from a gentle, unhurried 'Largo' into an energetic and lively 'Allegro'. The bright, steady tempo of the 'Allegro' creates a lively and captivating atmosphere. The trumpet solo and chamber orchestra complement each other wonderfully, resulting in an energetic and joyous musical journey. The Composition ItselfThe 'Atalanta, HWV 35: Ouverture' is presented here by trumpeter Alison Balson and conductor Trevor Pinnock and The English Concert. The piece begins with a wonderfully flavorful 'Largo' section, featuring Balson's ethereal, small touches of the trumpet as the orchestra gently sets the musical groundwork. This is soon followed by an equally uplifting 'Allegro'. Balson's trumpet solo is full of passion and energy, creating a bold and energetic atmosphere. As the chamber orchestra grows more intense, the piece builds to a thrilling conclusion. Programmatic InterpretationThe 'Atalanta, HWV 35: Ouverture' is based on the ancient Greek myth of Atalanta. In the myth, Atalanta is a swift and brave Princess who is challenged by a band of young suitors to a race. To the winners, she offers a prize of marriage. As we listen to Handel's composition, we can imagine the race beginning with the slow and steady 'Largo', as Atalanta calmly assesses the present, and takes her time to decide her path. As the 'Allegro' begins, we can feel her strength and power as she embarks on her journey, full of excitement and determination. As the piece builds, we can feel her courage and enthusiasm as she confronts the race ahead. Finally, we can picture Atalanta achieving success as the piece ends in jubilation.About the album 'Magic Trumpet'Sound the Trumpet is an album of glorious baroque music associated with royalty where Alison brings the music of the Purcell and Händel to life. collaboration between the English trumpetist, Alison Balson, the conductor and harpsichordist, Trevor Pinnock and the English Concert baroque soloists.
$39.99
36.59 €
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Chamber Orchestra
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Georg Friedrich Händel, Alison Balson, Trevor Pinnock and the English Concert
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Händel: Atalanta, HWV 35: Ouverture. Largo - Allegro as played by Alison Balson and Trevor Pinnock.
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Flavio Regis Cunha
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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
17.37 €
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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
Cadenza for 3rd Mvmt of Piano Concerto in C Major #21 by W.A.Mozart, by Rozalina Gutman, for little
Chamber Orchestra
Chamber Orchestra - Level 4 - Digital Download SKU: A0.1018475 Composed by Rozalina…
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Chamber Orchestra - Level 4 - Digital Download SKU: A0.1018475 Composed by Rozalina Gutman. 20th Century,Children,Classical,Contemporary,Standards. Score and parts. 5 pages. Foundation C.H.A.R.I.S.M.A.: Community Helps to Assure the Rescue, Inspiration $ Support for Music & the Arts #4718069. Published by Foundation C.H.A.R.I.S.M.A.: Community Helps to Assure the Rescue, Inspiration $ Support for Music & the Arts (A0.1018475). MOZART, SYMPHONIC PERCEPTION OF REALITY & EFFECTIVE LEADERSHIP Rozalina Gutman’s Flow-based secret recipe that defies the common expectations of young students’ ability to achieve uncommon heights on their most satisfying path towards Higher Human Potential, is now OUT! No more waiting to grow up for having hands-on FUN-driven experiential interaction with complex and sophisticated piano/orchestra compositional mindset of Mozart! Thanks to this new publication release of CADENZA FOR THE 3RD MOVEMENT OF CONCERTO FOR PIANO & ORCHESTRA #21 IN C MAJOR BY W.A.MOZART, (K467) FOR LITTLE FUN-LOVING GENIUSES WITH SMALL AND FAST-MOVING HANDS, shared generously (in Limited Edition) by int’ly recognized master piano instructor Rozalina Gutman, now young performers can utilize her creative form of scaffolding during developmentally-critical time of their childhood. Her emotionally/intellectually balanced approach allows for the multi-dimensional engagement of child’s brain, fostering synaptic network growth for the symphonic perception of the reality - the crucial for the effective leadership ability to grasp complexities of balancing multiple priorities with no oversimplification, to help avoid the minds’s blind spots... (Read & see more inside, including Photo: Mihaly Csikszentmihalyi, Professor Flow, visionary Hungarian-born Research Psychologist who coined the term Flow & initiated paradigm shifting studies, shows his support for Rozalina Gutman’s innovations in the area of infusing children’s learning process with authentic narrative & fun, to help them achieve the state of Flow. )This publication affirms Rozalina Gutman’s outstanding lifelong commitment to advocacy for Music and Arts Education and Expressive Arts Therapy, to raise awareness for their evident high efficacy transformative impact on the human mind. And her Flow-infused teaching magic illustrates well this undeniable fact.(See inside Photo: Rozalina Gutman’s advocacy for Music Education message receives enthusiastic support from Maestro Gustavo Dudamel, proud music educator and passionate advocate for Music Education, conductor of famed Simon Bolivar National Youth Orchestra of Venezuela & Youth Orchestra of Los Angeles, conductor of LA Philharmonic.)Rozalina Gutman launched her campaign for Advocacy for Music Education through Brain/Music Research at the time of her presentation on her unique holistic teaching method (while showcasing this Cadenza) at the 17th International Seminar for the Commission on Education of Professional Musicians (CEPROM), ISME, under auspices of UNESCO. The head of Chinese delegation personally invited her to 29th World Conference of ISME in Beijing, China, where she led Int’l Symposium on this subject. ...Rozalina Gutman’s method revolves around encouraging students to invent narratives, relating to content and structure of the classical music pieces they are learning. Motivation for the child to enjoy the experience of learning... comes through personal investment in the meaning of the music being studied... Michael Hannan, Editor of Peer-Reviewed CEPROM Proceedings & Chair of 17th Int’l Seminar of CEPROM, ISME, under auspices of UNESCO(See more Photos of Rozalina Gutman inside: with celebrity supporters: Prof. Mihaly Csikszentmihalyi (Professor Flow), LA Philharmonic Conductor Gustavo Dudamel, Sen. Nancy Pelosi, Dr. Alexander (Sugar Tax on coke), Quincy Jones, celebrities’ producer, Dr. Deepak Chopra, among many others celebrities! )And now, you too can team up with this visionary strive - JOIN NOW! the initiated by her multi-disciplinary international campaign to advocate for the transformative power of Music & the Arts, to utilize this ancestral gift for propelling the spread of the human mind evolution during our time: www.CHARISMAfoundation.org Rozalina Gutman, int’ly recognized music educator and presenter, multidisciplinary scholar, concert.
$137.78
126.06 €
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Chamber Orchestra
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Rozalina Gutman
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EFFECTIVE LEADERSHIP
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Cadenza for 3rd Mvmt of Piano Concerto in C Major #21 by W.A.Mozart, by Rozalina Gutman, for little
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Foundation C.H.A.R.I.S.M.A.: Community Helps to Assure the Rescue, Inspiration $ Support for Music & the Arts
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SheetMusicPlus
American Patriotic Music for All, Volume 1
Chamber Orchestra
Composed by Various. Arranged by Randy Calistri-Yeh. Fourth of July, Recital, Patriotic,…
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Composed by Various. Arranged by Randy Calistri-Yeh. Fourth of July, Recital, Patriotic, Old-time, Americana. Score, Set of Parts. 468 pages. Published by Custom Chamber Music
Volume 1 of our Patriotic collection contains four classic patriotic tunes and three complete Sousa marches. Altogether this has 15 minutes of music that both you and your audience are sure to love. These arrangements can be played with anywhere from 3 to 7 parts, suitable for a small chamber group, accompaniment for a choir, or a full band or orchestra (school, community, or professional). This is one of the most versatile collections you'll ever use! To demonstrate the flexibility of this collection, the audio clip has "America the Beautiful" performed as a full concert band, a string orchestra, and a woodwind trio. The songs included in Volume 1 are: The Star-Spangled Banner (US National Anthem), by John Stafford Smith. America the Beautiful, by Samuel Ward. Battle Hymn of the Republic ("Mine Eyes Have Seen the Glory"). My Country, 'Tis of Thee ("America", known as "God Save the King/Queen" in England). Stars and Stripes Forever, by John Philip Sousa. Washington Post March, by John Philip Sousa. Semper Fidelis, by John Philip Sousa. These songs are also available separately through the publisher link above. Each song is in its original key, so it is easy to combine these with your own choir or piano/organ parts. This collection contains a full score, as well as individual parts in all the appropriate clef and transposition to support the following ensembles: Brass trio, quartet, quintet, and sextet. Woodwind trio, quartet, quintet, and sextet. String trio, quartet, quintet, and sextet. Clarinet trio, quartet, quintet, and sextet. Saxophone trio, quartet, and quintet. Mixed trio, quartet, quintet, and sextet, with optional percussion. Wind ensemble, brass ensemble, string orchestra, full orchestra, and full band. The parts are described as follows: Part 1 [D4-Ab5] is the main melody. Flute/Piccolo, Oboe, Bb Clarinet, Alto Clarinet, Soprano Saxophone, Bb Trumpet, Violin, Viola. Part 2 [G3-Eb5] has some B-section melody and harmony. Bb Clarinet, Alto/Bass Clarinet, Alto Saxophone, French Horn, Bb Trumpet, Violin, Viola. Part 3 [G3-Bb4] is additional harmony. Bb Clarinet, Alto/Bass Clarinet, Alto/Tenor Saxophone, French Horn, Bb Trumpet, Baritone, Trombone, C/Bb Euphonium, Violin, Viola, Cello. Part 4 [F2-C4] is the main bass line. Bass Clarinet, Baritone/Bass Saxophone, Bassoon, French Horn, Trombone, Bass Trombone, C/Bb Euphonium, Tuba, Cello, Bass. Part 5 [E2-C4] is other harmony. Bass Clarinet, Bass Saxophone, Bassoon, French Horn, Trombone, Bass Trombone, C/Bb Euphonium, Tuba, Cello, Bass. Part 6 [E2-F4] is the main melody down an octave, with some additional notes. Bass Clarinet, Bassoon, French Horn, Trombone, C/Bb Euphonium, Cello, Bass. Part 7 is an optional percussion part (snare drum, cymbal, bass drum) that can be added to any of the above combinations, or skipped entirely. We recommend the following combinations: Trio: Parts 1, 2, 4 (4 works better than 3 for trio). Quartet: Parts 1, 2, 3, 4. Quintet: Parts 1, 2, 3, 4, 5. Sextet: Parts 1, 2, 3, 4, 5, 6. Septet: Part 1, 2, 3, 4, 5, 6, 7. Be sure to also check out our three volumes of Christmas Carols for All!
$45.00
41.17 €
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Chamber Orchestra
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Various
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American Patriotic Music for All, Volume 1
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Custom Chamber Music
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SheetMusicPlus
Olga-Polka, Op. 196 (arr. for string orchestra): Optional Percussion
Chamber Orchestra
Chamber Orchestra - Level 4 - Digital Download SKU: A0.922640 Composed by Johann St…
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Chamber Orchestra - Level 4 - Digital Download SKU: A0.922640 Composed by Johann Strauss Jr. Arranged by Aaron Meier. Romantic Period,World. Score and parts. 1 pages. Aaron Meier #5792381. Published by Aaron Meier (A0.922640). Original by Johann Strauss II Reduction to String Orchestra by Aaron Meier Part: *Optional Percussion (snare drum, triangle, cymbals) True to the original work by Strauss, this reduction for string orchestra features the ornaments and mystical writing that defines Strauss' polkas. There are optional percussion parts to be added at the discretion of the ensemble, however even without percussion the ensemble will sound full (the percussion acts as an ornament). Difficulty: Intermediate-advanced - advanced (best-suited for advanced student ensembles) --- Performance Notes: • Approximate length: 3:30 minutes • 1st Violins: In m. 1, trill a half step from a D♠to a D♮ • 2nd Violins:  - At m. 42, divide players by 3, with 2 players playing line A and the remaining player playing line B  - At m. 72-75, emphasize the E♠in the div. • Snare Drum: The buzz roll needs to be quieter than how it is played in the midi recording (*see YouTube link ↓) History: The Olga-Polka itself owed its creation to a Russian royal wedding which took place in St. Petersburg on 28 August 1857. On that day, amid accompanying splendour, the music-loving Grand Duke Michail Nikolaievich (1832-1909), youngest brother of Tsar Alexander II, married Princess Caecilie of Baden (1839-91), daughter of Archduke Leopold of Baden. Johann Strauss, who at that time was giving a summer season of concerts in nearby Pavlovsk, used the opportunity occasioned by the event to enhance his already enviable popularity with the Russian royal family and composed the Caecilien-Polka in honour of the lovely young bride. Indeed, it is clear from a letter which Johann wrote in late July 1857 to Carl Haslinger, his publisher in Vienna, that the new polka had been prepared well in advance of the wedding (the fair copy of the full orchestral score made for the publisher's engraver is dated 9 August) and was enjoying success even before the royal couple's official engagement on 16August 1857. Sometime after performing the Caecilien-Polka in Pavlovsk, Johann despatched the work to the Austrian capital where his brother Josef conducted its Viennese première, together with that of Johann's waltz Telegraphische Depeschen (op. 195, Volume 28), at his own benefit concert in the Volksgartenon Sunday 18 October 1857. The Wiener Allgemeine Theaterzeitung (16.10.1857) remarked that both works have caused a sensation in St. Petersburg and are truly genial Viennese sounds full of verve and melody. Since tradition demanded that the German Princess Caecilie adopt a Russian name - Olga Feodorovna - before her marriage, so Johann's Caecilien-Polka also underwent a change of identity. On 8 December 1857 Carl Haslinger announced the publication of Strauss's Olga-Polka, on the title page of which is the inscription: Dedicated to her Imperial Highness Grand Duchess Olga, née Princess of Baden. It was under this title, too, that Johann himself first conducted the work in Vienna at a concert in the Volksgarten on 1 November 1857, shortly after his return from Russia. Reporting on this event, the Wiener Allgemeine Theaterzeitung (3.11.1857) observed: The 'Olga-Polka' is a most delightful, fragrant musical bouquet, full of fine, gracious rhythms. [excerpted from NAXOS Records] Kemp, Peter. Program Notes - About this Recording. NAXOS, 1993, www.naxos.com/mainsite/blurbs_reviews.asp?item_code=8.223232&catNum=223232&filetype=About%20.......... Accessed 5 June 2020.
$3.99
3.65 €
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Chamber Orchestra
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Johann Strauss Jr
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Olga-Polka, Op. 196
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Aaron Meier
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SheetMusicPlus
Lullabye (Goodnight, My Angel)
Chamber Orchestra
Chamber Orchestra - Level 4 - Digital Download SKU: A0.796624 By Billy Joel. By Bil…
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Chamber Orchestra - Level 4 - Digital Download SKU: A0.796624 By Billy Joel. By Billy Joel. Arranged by Gary D.Belshaw (ASCAP). Pop,Rock. Score and parts. 26 pages. DR GARY D BELSHAW #3109511. Published by DR GARY D BELSHAW (A0.796624). For String Quartet plus a guest artist: Alto Sax, Clarinet, Flute, Oboe, or Trumpet. From Billy Joel's final album, River of Dreams (1993).How would you answer a 7-year-old's question, Where do we go when we die? The hint of Medieval ambience came from Joel's plans to make this song part of a suite, with lyrics sung in Latin. The song has been covered more than 2 dozen times. Don't let our version become maudlin or morose. It's got plenty of meaning without getting gushy or sentimental. I chose the Alto sax for its contrast with the strings; the other instruments allow you to select from a variety of guest artists.Thank you for considering this work; your impressions are valuable. Follow Gary D.Belshaw Music on Facebook and Twitter (@GaryDBelshawMus).
$14.99
13.71 €
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Chamber Orchestra
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Billy Joel
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Lullabye
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DR GARY D BELSHAW
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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
22.87 €
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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
Symphony No. 8 ... City of Light (2011) for chamber orchestra
Chamber Orchestra
Chamber Orchestra - Level 4 - Digital Download SKU: A0.869356 Composed by Thomas Ob…
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Chamber Orchestra - Level 4 - Digital Download SKU: A0.869356 Composed by Thomas Oboe Lee. 20th Century,Baroque,Classical,Contemporary,Romantic Period. Score and parts. 113 pages. Thomas Oboe Lee #15879. Published by Thomas Oboe Lee (A0.869356). Instrumentation: 1 flute, 1 oboe, 1 English horn, 2 bassoons, 2 French horns, timpani and strings.Program note: In the year 2010, my wife Kristin Beckwith and I went to Paris twice, the first time in May and the second time in December right after Christmas. The weather was magnificent in May. Our friends Seph and Roger met us there. Being long-time veterans of Paris, they took us all over the city: Le Marais, the Left Bank, Montmartre, Sacré Coeur, Père LaChaise cemetery, Avenue des Champs-Élysées, Jardin du Luxembourg, Jardin des Tuileries, Notre Dame cathedral, Eiffel Tower, the flea market at Porte de Clignancourt, the canal at Saint Martin, etc. Since the weather was so great we basically stayed outside the entire two weeks. My wife Kris said that we had to return next again to Paris to go inside the museums. So we did. The weather in Paris after Christmas was very damp and chilly. So we did indoor activities: Le Louvre, Musée D’Orsay, Palais Garnier, etc. We even attended a beautiful performance of Swan Lake by the Paris Opera Ballet at L’Opéra Bastille. I should also mention that on both occasions I met up with a former student of mine from Berklee, Joe Makholm. He makes a living in Paris playing jazz piano. Joe got us a gig at the Swan Bar in Montparnasse. On the first occasion we did it as a trio with a French bass player. I played flute. On the second occasion, we did it as a duo. Playing jazz in Paris? You can’t beat that!!! Early this year, Steven Lipsitt and I had a chat about my writing a new work for the Boston Classical Orchestra. My last work for the BCO was a piano concerto with Robert Levin as soloist. I told Steven that this time I wanted to write a symphony. He said, Sure. Go ahead. I told him it would be about Paris. He said he would put Mozart’s Paris Symphony on the same program. I said, Fabulous! Symphony No. 8 … City of Light (2011) is in five movements. 1. La Seine Presto, Moderato 2. Basilique du Sacré-Coeur Largo 3. Palais Garnier Allegro, Trio 4. Avenue des Champs-Élysées Allegro 5. Musée du Louvre Largo, Moderato This work is dedicated to my wife and muse, Kristin Beckwith. Audio Link: https://thomasoboelee.bandcamp.com/album/symphony-no-8-city-of-light-2011Video link: https://youtu.be/-Yn76vWg7jE
$9.99
9.14 €
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Chamber Orchestra
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Thomas Oboe Lee
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Symphony No. 8 ... City of Light
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Thomas Oboe Lee
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SheetMusicPlus
Thérèse Brenet : Perles d'Ambre, vocalize for female voice and orchestra - score
Chamber Orchestra
Chamber Orchestra - Level 4 - Digital Download SKU: A0.532832 Composed by Therese B…
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Chamber Orchestra - Level 4 - Digital Download SKU: A0.532832 Composed by Therese Brenet. Contemporary. Score and parts. 29 pages. Musik Fabrik Music Publishing #45039. Published by Musik Fabrik Music Publishing (A0.532832). This work uses wordless-vocalize (singing on Ah, Oh or with the mouth closed, ad libitum). The vocal part is generally quite free, allowing the singer to express herself freely. The orchestration is for tymp/perc/vibra/hp/cel/harps/strings(minimum : 44222) Like a supple vine, the voice seems to unfold across the orchestra, with the warm expressive themes and shining strings, with the support of the harpsichord, the vibraphone and other percussion. Certainly, there is a coloristic note in the orchestral palette, but also a wish to combine the colors of the voice and the orchestra in different manners. Through this osmosis and through the tempo rubato suggested several times, by the absence of metronomic movements, the composer has tried to create music which breathes through freedom, suppleness and poetry, in the infinite spirals of beauty and love, outside of space and time.. The orchestral version of the work was recorded in 2014 with Isaure Equilez, mezzo-soprano and the National Polish Radio Orchestra under the direction of Paul Wehage The orchestral parts are available from the publisher on rental.
$19.95
18.25 €
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Chamber Orchestra
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Therese Brenet
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Thérèse Brenet : Perles d'Ambre, vocalize for female voice and orchestra - score
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Musik Fabrik Music Publishing
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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
30.19 €
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Chamber Orchestra
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Juan MarÃa Solare
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Piano Concerto No. 1 - FIRST movement [score and parts]
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Juan Maria Solare
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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
30.19 €
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Chamber Orchestra
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Juan MarÃa Solare
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Piano Concerto No. 1 - SECOND movement [score and parts]
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Juan Maria Solare
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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
30.19 €
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Chamber Orchestra
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Juan MarÃa Solare
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Piano Concerto No. 1 - THIRD movement [score and parts]
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Juan Maria Solare
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SheetMusicPlus
Carson Cooman: Symphony No. 3, “Ave Maris Stella” (2005) for chamber orchestra, score only
Chamber Orchestra
Chamber Orchestra - Level 5 - Digital Download SKU: A0.533672 Composed by Carson Co…
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Chamber Orchestra - Level 5 - Digital Download SKU: A0.533672 Composed by Carson Cooman. Contemporary,Sacred. Score and parts. 54 pages. Musik Fabrik Music Publishing #3037097. Published by Musik Fabrik Music Publishing (A0.533672). Symphony No. 3, “Ave Maris Stella†(2005) was written for the Duquesne ContemporaryEnsemble and is dedicated to composer David Stock. Throughout his career, Stock has beena tireless and generous advocate on behalf of new music and living composers. This work isdedicated to him in tribute – as both an important American composer and a significantcontributor to America’s contemporary musical life.The work’s basic source material is the plainchant Ave maris stella (“Hail, star of the seaâ€) –appropriate because of Duquesne’s standing and history as a Catholic university. When thecomposition of this work first began, the original plan was for a celebratory and vibrant piece.As the planning progressed, however, personal circumstances intervened and began to changethe work’s tone – becoming substantially bleaker and more obsessive.The title of the first movement, Pentimento, is defined as “an underlying image in a painting,as an earlier painting, that shows through when the top layer of paint has become transparentwith age.†The melodic and harmonic material for the movement is entirely drawn from theplainchant source, although it is completely transformed and covered up – as in a pentimento.At various points, one can begin to hear the original plainchant “peek out†in subtle ways.The opening section of the movement obsesses again and again on what sounds like a“beginning†– as though it is trying to begin again and again. After a brief bassoon cadenza, afast and driving section starts, marked “sinister.†After driving through a series oftransformations on the plainchant material, a bridge passage leads to further attempts at the“beginning†again. Finally, these attempts are given up, and the plainchant material (theunderlying layer) begins to show through quietly – in preparation for the next movement.In the second movement, Interrupted Motet, the plainchant theme is used in a morestraightforward fashion. After the opening declamatory statements, the following sectionsmove between more free developmental techniques, based on the first movement’stransformations, and “motet†sections – using cantus firmus methods and textures fromRenaissance music. The tone and palate is, however, much darker and more obsessive.There is a brooding ponderousness to these contrapuntal developments. The final motetsection ends in a rageful shout, the plainchant material is presented again in full force, and thepent-up energy dissipates to the close.FluteOboeClarinet in BbBass Clarinet in BbBassoonHorn in F/BbTrumpet in CTrombonePercussion (1 player):tubular bells, vibraphone(Percussionist needs one rosined bow for vibraphone.)PianoViolin IViolin IIViolaCelloContrabass(single strings)This is the score only. The complete parts and each seperate part are also available as seperate items.
$25.95
23.74 €
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Chamber Orchestra
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Carson Cooman
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Carson Cooman: Symphony No. 3, “Ave Maris Stella”
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Musik Fabrik Music Publishing
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SheetMusicPlus
Metamorphosis for solo flute, solo pedal or lever harp, and strings
Chamber Orchestra
Chamber Orchestra - Level 3 - Digital Download SKU: A0.953627 Composed by Adrienne …
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Chamber Orchestra - Level 3 - Digital Download SKU: A0.953627 Composed by Adrienne Inglis (ASCAP). Contemporary. Score and parts. 51 pages. Adrienne Inglis (ASCAP) #6383557. Published by Adrienne Inglis (ASCAP) (A0.953627). Celebrate women scientists!Metamorphosis (2019) by Adrienne Inglis (ASCAP) for flute, harp, and string orchestra, commissioned by Balcones Community Orchestra, celebrates the life and work of Maria Sibylla Merian (1647-1717), pioneering entomologist, naturalist, and artist.Duration 5:30 minutes.Commissioned by the Balcones Community Orchestra of Austin, Texas, Metamorphosis (2019) by Adrienne Inglis for solo flute, solo harp, and string orchestra, honors the life and work of pioneering entomologist, naturalist, and artist Maria Sibylla Merian (1647-1717). As she carefully documented in illustrated detail the life cycle of so many insects, Metamorphosis musically follows a butterfly from adult, egg, larva, pupa, and adult. The piece opens with an ostinato pattern in the strings over which the flute and harp play fluttering modal melodies. The strings and harp represent the egg stage with minimalistic layers of a single pitch. To recognize Merian’s time in Suriname and her discovery of many insect species there, a cheerful tune fashioned after traditional Arawak folk songs informs the busy larvae in the caterpillar canon. A bit of contemplative dorian polyphony laced with metamorphic machinations demonstrate the remarkable transformation of the pupa as well as Merian’s time at a devout Labadist religious commune. The butterfly emerges from the pupa with a flute/harp cadenza and then the strings underscore the adult butterfly with a return of the ostinato. The piece ends with the same ostinato as the beginning such that the piece could loop seamlessly as in a true life cycle.This performance does not include the revisions made in this version of the music: https://youtu.be/GIjQpkXl6Uc
$9.99
9.14 €
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Chamber Orchestra
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Adrienne Inglis
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Metamorphosis for solo flute, solo pedal or lever harp, and strings
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Adrienne Inglis
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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
51.23 €
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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
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
12.81 €
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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
12.81 €
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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
Germaine Tailleferre: Concerto for two guitars and orchestra, score only
Chamber Orchestra
Chamber Orchestra - Level 5 - Digital Download SKU: A0.534697 Composed by Germaine …
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Chamber Orchestra - Level 5 - Digital Download SKU: A0.534697 Composed by Germaine Tailleferre. 20th Century. Score and parts. 63 pages. Musik Fabrik Music Publishing #6245161. Published by Musik Fabrik Music Publishing (A0.534697). This Concerto, composed in the 60s for the French Radio, was never performed and it was rumoured that Tailleferre, always trusting with her performers, had given the score to a visiting Guitarist from South America in the hopes that it would be performed there. Tailleferre personally considered this work to be on of her strongest and regretted that it was never performed during her lifetime. Her description of the work motivated several musicologists and guitarists to spend many hours searching for the work in music archives and libraries. The missing score was finally located during the Fall of 2003. A musician visiting the French Radio was intrigued however by a new addition to the catalogue and it was quickly confirmed that this was indeed the missing manuscript that so manmusicologists and guitarists had been looking for all of these years. The work is in four movements and is scored for 2011/1000 tymp/harp/celesta/strings and lasts aproximately 17 minutes. The work is more in the style of a concerto grosso than that of a virtuosic concerto, with the guitars frequently used in a solo group with the harp and celesta, which adds a very interesting orchestral colour. The writing is varied, ranging from a medieval cantilène style in the slow movement to free atonal sections in the second Scherzo movement and in the first movement. The work ends in a movement which sounds influenced by South American Popular music. Inspite of this apparent stylistic disparity, the composition remains extremely coherent and shows a great deal of energy and a kind of poetic strangeness. This item is the full score. The parts are on rental from the publisher. A piano reduction and the solo parts are available for sale.
$46.95
42.96 €
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Chamber Orchestra
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Germaine Tailleferre
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Germaine Tailleferre: Concerto for two guitars and orchestra, score only
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Musik Fabrik Music Publishing
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SheetMusicPlus
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…
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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 (2005–08) 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 bassoon’s color emerges like a lighthouse beacon—lyrical and flexible.The work opens with a series of interlocking, nebulous figurations in the strings thatgradually build in intensity. The bassoon unfolds the work’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
23.74 €
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Chamber Orchestra
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Carson Cooman
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Carson Cooman: Quintet for Bassoon and Strings
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Musik Fabrik Music Publishing
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SheetMusicPlus
Carson Cooman: Shining Space: Quintet for Horn and Strings (2006)
Chamber Orchestra
Chamber Orchestra - Level 5 - Digital Download SKU: A0.533698 Composed by Carson Co…
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Chamber Orchestra - Level 5 - Digital Download SKU: A0.533698 Composed by Carson Cooman. Contemporary,Standards. Score and parts. 71 pages. Musik Fabrik Music Publishing #3038887. Published by Musik Fabrik Music Publishing (A0.533698). Shining Space: Quintet for Horn and Strings (2006) was commissioned by and is dedicatedto Hazel Dean Davis and Stephen Hackbarth on the occasion of their marriage, June 24, 2006.The work was premiered by James Sommerville, horn with Sarah Kapustin and FrancescaAnderegg, violins, Nathan Burke, viola, and Peter Lorenzo Anderegg, cello.The basic musical material for the work is a set of intervals which is gradually “expandedoutward†– moving from close dissonance to luminous consonance. This could be seen torepresent a sense of freedom, growth, and a bright future.The first movement, Bright Morning Sky, begins vibrantly with ecstatic ringing in the higherstrings. The cello presents the work’s basic pitch material in dramatic gestures. The hornthen enters: first abortively and then affirmatively – changing the texture to focus on itself.The horn continues lyrical melodic development while the strings react, dissipating theirinitial energy. Nervous tremolos in the strings start to build back energy again, leading to awild climax. The music then relaxes into the next section marked “Slow, suspended.†Thehorn and strings interact melodically, supported by luminous harmonies. The nervoustremolos return, regaining energy towards the coda. The work ends with the ecstatic ringingof the opening – but,this time, the harmonic material is open and bright.The second movement, I Am the Vine, is serene and expressive – consisting of a series ofcanons which develop, break-off, and start again. The canons are almost always in twovoices – representing two lives intertwining.The third movement, Chasing Windflower, returns to the energy of the opening movement.However, the harmonic language begins this time with the open sonorities. Darker colors(from the first movement) continue to interject, but are always overwhelmed by a sense offree-wheeling excitement. The work presses on to an ecstatic coda – with a sense ofunfettered joy.
$38.95
35.64 €
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Chamber Orchestra
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Carson Cooman
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Carson Cooman: Shining Space: Quintet for Horn and Strings
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Musik Fabrik Music Publishing
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SheetMusicPlus
Au Moment... (score)
Chamber Orchestra
Chamber Orchestra - Level 4 - Digital Download SKU: A0.799459 Composed by Drake Mab…
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Chamber Orchestra - Level 4 - Digital Download SKU: A0.799459 Composed by Drake Mabry. 20th Century,Contemporary,Jazz. Score and parts. 48 pages. Drake Mabry #1966929. Published by Drake Mabry (A0.799459). Au Moment… is for improviser(s) and chamber orchestra and was a commissioned from Gérard and Nicole Gouye for the multi-instrumental Resonance Duo. The work is dedicated to the conductor, Paul Méfano. The duration is about 20'. The part of the improviser(s) is entirely improvised while the orchestra plays from a written score which includes an open architecture that can be altered to create a different performing and listening experience each time. Any instrument may be used by the soloist(s). For the premiere of this piece, Resonance Duo played the following instruments: Drake Mabry – oboe with a small miniature saxophone mouthpiece, a wooden soprano saxophone and soprano to contrabass bamboo clarinets. Catherine Schneider played piano both on the keyboard and inside along with percussion instruments from Africa and the Middle East. The work, in three movements was premiered by Resonance Duo with the Ensemble 2e2m conducted by Paul Méfano at the Pompidou Center in Paris on January 29, 1996.
$9.99
9.14 €
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Chamber Orchestra
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Drake Mabry
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Au Moment...
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Drake Mabry
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SheetMusicPlus
Au Moment... (parts)
Chamber Orchestra
Chamber Orchestra - Level 4 - Digital Download SKU: A0.799460 Composed by Drake Mab…
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Chamber Orchestra - Level 4 - Digital Download SKU: A0.799460 Composed by Drake Mabry. 20th Century,Contemporary,Jazz. Score and parts. 34 pages. Drake Mabry #1966931. Published by Drake Mabry (A0.799460). Au Moment… is for improviser(s) and chamber orchestra and was a commissioned from Gérard and Nicole Gouye for the multi-instrumental Resonance Duo. The work is dedicated to the conductor, Paul Méfano. The duration is about 20'. The part of the improviser(s) is entirely improvised while the orchestra plays from a written score which includes an open architecture that can be altered to create a different performing and listening experience each time. Any instrument may be used by the soloist(s). For the premiere of this piece, Resonance Duo played the following instruments: Drake Mabry – oboe with a small miniature saxophone mouthpiece, a wooden soprano saxophone and soprano to contrabass bamboo clarinets. Catherine Schneider played piano both on the keyboard and inside along with percussion instruments from Africa and the Middle East. The work, in three movements was premiered by Resonance Duo with the Ensemble 2e2m conducted by Paul Méfano at the Pompidou Center in Paris on January 29, 1996.
$7.99
7.31 €
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Chamber Orchestra
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Drake Mabry
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Au Moment...
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Drake Mabry
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SheetMusicPlus
Thierry Pélicant: Concerto for Bassoon and Orchestra,orchestral score
Chamber Orchestra
Chamber Orchestra - Level 5 - Digital Download SKU: A0.534690 Composed by Thierry P…
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Chamber Orchestra - Level 5 - Digital Download SKU: A0.534690 Composed by Thierry Pélicant. 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 Pélicant 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 Opéra 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 André Messager Orchestre and has also directed the Orchestre Philharmonique de l’Oise since 1980, one of the oldest French orchestras, since it was founded in 1750. A passionate supporter of French music, Pélicant reconstructed the Messe solennelle of L.V.A Boïeldieu and Te Deum of 1792 by Philidor and premièred and recorded the Suite Parnassienne, Massenet’s last work. At the same time, he has also served the music of our time in premièring or recording the works of Dazzi, Marchand, Braconnier, Bénard, 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 ça, Ribouldingue, Élise et le fantôme) ; With the poet Luis Porquet, he wrote the song cycle Ombre légère (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 l’Oise in honor of the centennial of the First World War 14, fresque de la Grande Guerre, for the tenor Daniel Gà lvez-Vallejo, children’s chorus and orchestra. In the area of chamber music, he has written a sonata for horn and piano, for the Festival de Giverny, Borée, (quintet for oboe and strings), Sextuor d’été, , 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 ..
$29.95
27.4 €
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Chamber Orchestra
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Thierry Pélicant
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Thierry Pélicant: Concerto for Bassoon and Orchestra,orchestral score
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Musik Fabrik Music Publishing
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SheetMusicPlus
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