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Chamber Orchestra
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73 sheet music found
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51
Variations on a Rossini Theme op.Posth
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Chamber Orchestra
#
Classical
#
Frederik François Chopin
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James Strauss
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Variations on a Rossini Theme
#
James Strauss
#
SheetMusicPlus
Chamber Orchestra - Digital Download SKU: A0.1035224 Composed by Frederik François Chopin (1810-1949). Arranged by James Strauss. Romantic Period. Sco...
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Chamber Orchestra - Digital Download SKU: A0.1035224 Composed by Frederik François Chopin (1810-1949). Arranged by James Strauss. Romantic Period. Score and parts. 33 pages. James Strauss #5806027. Published by James Strauss (A0.1035224). Unless your name is Mozart, Mendelssohn or Korngold, the first compositional steps are always the hardest. Chopin was probably no older than 14 when he set to work on a set of variations for piano and flute. Already in love with opera, he decided on the happy- ending aria, Non più mesta (No longer sad) from Rossini’s opera Cinderella. As the curtain comes down, Cinderella gleefully warbles, No longer sad beside the fire shall I sit alone, singing; my long years of heartache were but a streak of lightning, a dream, a game. We are unsure what actually prompted Chopin to select this for his unique combination of flute and piano, but it was most likely written for the composer’s father who was a capable amateur flute player. In the end, the piece was probably dedicated to Józef Cichowski, a close friend of his fathers and an amateur flautist as well. We are indeed fortunate that this early piece of Chopin juvenilia has actually survived, as Jozef Nowakowski, one of the composer’s friends, kept the single manuscript copy as a memento. For one reason or another, the work did not appear in print until 1953. This charming and fluent set of variations presents the theme and four decorated versions of the original tune. Added triplet figuration enlivens the first variation, while the second relies on a florid bel canto style to embellish the theme. Rapid downward arpeggios propel variation three, and the concluding variant displays rapid staccato figuration. Stylistically, there is nothing in this composition to suggest Chopin’s hand. You certainly won’t hear Chopin’s fingerprint in the piano part, as all the interesting bits are given to the flute. In addition, it’s the only Chopin piano part that can comfortably be played by most amateurs. Clearly, the future poet of the piano had a long way to go! Here in a Flute and orchestra version.
$29.99
The Wild Beast of the Bungalow (Orchestra Score) - Score Only
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Chamber Orchestra
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INTERMEDIATE/ADVANCED
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Rachel J Peters
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The Wild Beast of the Bungalow
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Rachel J Peters
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SheetMusicPlus
Chamber Orchestra - Level 4 - Digital Download SKU: A0.1368170 By Rachel J Peters. By Rachel J Peters. 21st Century,Broadway,Classical,Comedy,Musical/Sho...
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Chamber Orchestra - Level 4 - Digital Download SKU: A0.1368170 By Rachel J Peters. By Rachel J Peters. 21st Century,Broadway,Classical,Comedy,Musical/Show,Opera. 337 pages. Rachel J Peters #952492. Published by Rachel J Peters (A0.1368170). The Wild Beast of the Bungalow is a triptych of short operas (Mermaid in the Jar, Prairie Dogs, and Fine and Dandy), which takes place entirely within an eleven-year-old Girl’s bedroom as she overhears her parents’ volatile conversations. Over the course of a few days, a mermaid, a family of stuffed prairie dogs, and singing groups of chickenpox and shingles force her to confront what it means to care for others and be cared for herself. Libretto by Royce Vavrek, based on and further inspired by the short story by Sheila Heti.CAST: 1 coloratura soprano plus eight additional principals playing multiple rolesINSTRUMENTATION: 1.0.1 (doubling BCl.).1.bar.sax/0.0.1.0/pft-perc (1)-harp-ukulele (doubling banjo)/1.0.0.1.1 (Parts must be rented separately.)DURATION: 90 minutesPAGES: 337WORLD PREMIERE: Oberlin Conservatory, Winter 2020.NOTE: All performances of this work require separate permission and licensing. Any performance without a license is a violation of copyright. To obtain performance rights and more information, please write to the composer at rachel@racheljpeters.com.
$70.00
A Dream from the Past
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Chamber Orchestra
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INTERMEDIATE
#
Classical
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Arianna Cunningham
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A Dream from the Past
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Arianna Cunningham
#
SheetMusicPlus
Chamber Orchestra - Level 3 - Digital Download SKU: A0.1164132 Composed by Arianna Cunningham. Classical,Romantic Period. 55 pages. Arianna Cunningham #7...
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Chamber Orchestra - Level 3 - Digital Download SKU: A0.1164132 Composed by Arianna Cunningham. Classical,Romantic Period. 55 pages. Arianna Cunningham #764482. Published by Arianna Cunningham (A0.1164132). A couple or a few years ago during the Pandemic, there was a Discord Server vs Server Competition going on, and one of the online virtual group communities out of all the other servers took part in a theme called Dreams. When the event started, I immediately started composing this beautiful composition, and chose the instrumentation for Uncommon Woodwinds (Alto Flute, English Horn, and Sopranino Sax), Strings, Harp, and Crotales. However, my submission entry didn't make it to the final Dreams EP as expected. But the admins of the online orchestra group told me that I can still host it as a community project, and it just so happens that I actually did do that, and I've gotten a good amount of submissions from the members themselves, went through all the mixing and editing, etc, before releasing the final performance.This piece is meant to be described about dreaming to a wonderful place you might've remembered, and haven't forgotten in a long time, experiencing the deja vu moments of what you think might've happened long time ago, hence the title, of course.
$25.00
Scimitars of the Storm
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Chamber Orchestra
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INTERMEDIATE
#
Anthony Plominski
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Scimitars of the Storm
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Anthony Plominski
#
SheetMusicPlus
Chamber Orchestra - Level 3 - Digital Download SKU: A0.1459155 Composed by Anthony Plominski. Chamber. 13 pages. Anthony Plominski #1038126. Published by...
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Chamber Orchestra - Level 3 - Digital Download SKU: A0.1459155 Composed by Anthony Plominski. Chamber. 13 pages. Anthony Plominski #1038126. Published by Anthony Plominski (A0.1459155). This is Scimitars of the Storm, an original orchestral composition made by Anthony Plominski. This piece includes 14 instruments of various types, though it can all be played one intrument, most commonly the piano. This piece has a dramatic, epic, battle sort of theme to it, which the many intruments help create. That epic feel keeps throughout the entire composition, though it still has variety and interesting parts to it. The difficulty of this piece can vary depending on what intrument is performing its part, though there is a decent amount of skill an experience required to play it.Loads of thought and effort went into this composition, despite it only being just over two minutes when correctly played. We hope that you enjoy playing this piece!
$10.00
Piano Concerto No. 1 - FIRST movement [score and parts]
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Chamber Orchestra
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INTERMEDIATE
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Juan MarÃa Solare
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Piano Concerto No. 1 - FIRST m
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Juan Maria Solare
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SheetMusicPlus
Chamber Orchestra - Level 3 - Digital Download SKU: A0.1197728 By Juan MarÃa Solare. By Juan MarÃa Solare. 20th Century,Classical,Contemporary. Sco...
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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
Piano Concerto No. 1 - SECOND movement [score and parts]
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Chamber Orchestra
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INTERMEDIATE
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Juan MarÃa Solare
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Juan MarÃa Solare
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Piano Concerto No. 1 - SECOND
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Juan Maria Solare
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SheetMusicPlus
Chamber Orchestra - Level 3 - Digital Download SKU: A0.1197730 By Juan MarÃa Solare. By Juan MarÃa Solare. Arranged by Juan MarÃa Solare. 20th C...
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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
Piano Concerto No. 1 - THIRD movement [score and parts]
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Chamber Orchestra
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INTERMEDIATE
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Contemporary
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Juan MarÃa Solare
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Piano Concerto No. 1 - THIRD m
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Juan Maria Solare
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SheetMusicPlus
Chamber Orchestra - Level 3 - Digital Download SKU: A0.1197732 Composed by Juan MarÃa Solare. 20th Century,Classical,Contemporary. Score and parts. 53...
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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
Piano Concerto No. 1 - Score Only
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Chamber Orchestra
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INTERMEDIATE
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Juan MarÃa Solare
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Piano Concerto No. 1 - Score O
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Juan Maria Solare
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SheetMusicPlus
Chamber Orchestra - Level 3 - Digital Download SKU: A0.1197642 Composed by Juan MarÃa Solare. 20th Century,Classical,Contemporary. Score and parts. 77...
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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
Mermaid in the Jar Full Score - Score Only
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Chamber Orchestra
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INTERMEDIATE/ADVANCED
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Rachel J Peters
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Mermaid in the Jar Full Score
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Rachel J Peters
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SheetMusicPlus
Chamber Orchestra - Level 4 - Digital Download SKU: A0.1325451 By Rachel J Peters. By Rachel J. Peters. 21st Century,Classical,Opera. 86 pages. Rachel J ...
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Chamber Orchestra - Level 4 - Digital Download SKU: A0.1325451 By Rachel J Peters. By Rachel J. Peters. 21st Century,Classical,Opera. 86 pages. Rachel J Peters #913678. Published by Rachel J Peters (A0.1325451). A short chamber operaLibretto by Royce Vavrek, based on the short story by Sheila Heti.Mermaid in the Jar is the first short chamber opera in the Wild Beast of the Bungalow triptych (Mermaid in the Jar, Prairie Dogs, and Fine and Dandy), which takes place entirely within an eleven-year-old Girl’s bedroom as she overhears her parents’ volatile conversations. Over the course of a few days, a mermaid, a family of stuffed prairie dogs, and singing groups of chickenpox and shingles force her to confront what it means to care for others and be cared for herself.CAST: coloratura soprano, mezzo-soprano, bass-baritone, and three additional treble voices. (If the Prologue is omitted, no bass-baritone is required.)INSTRUMENTATION: 1.0.1 (doubling BCl.).1.bar.sax/0.0.1.0/pft-perc (1)-harp-1.0.0.1.1 (Parts need to be rented separately.)DURATION: 20 minutesPAGES: 86WORLD PREMIERE: Oberlin Conservatory, Winter 2020.NOTE: All performances of this work require separate permission and licensing. Any performance without a license is a violation of copyright.. For all performance inquiries, please write to rachel@racheljpeters.com.
$28.00
Come to the Child - Score and Parts
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Chamber Orchestra
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INTERMEDIATE/ADVANCED
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Christmas
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Traditional Christmas Carols
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Edward David Zeliff
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Come to the Child - Score and
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Edward David Zeliff
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SheetMusicPlus
Chamber Orchestra - Level 4 - Digital Download SKU: A0.888259 Composed by Traditional Christmas Carols. Arranged by Edward David Zeliff. Christmas,Sacred...
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Chamber Orchestra - Level 4 - Digital Download SKU: A0.888259 Composed by Traditional Christmas Carols. Arranged by Edward David Zeliff. Christmas,Sacred. Score and parts. 91 pages. Edward David Zeliff #4766979. Published by Edward David Zeliff (A0.888259). This unique arrangement of three traditional Christmas carols, Bring a Torch, Jeannette, Isabella – What Child Is This? – Wexford Carol, is scored for SATB choir, string orchestra, and piano. The strings add a touch of liveliness and also solemnity, with the piano an added color in a part that is different from the piano reduction found in the choral score which is sold separately. There is variety in the voicing and rich textures in the strings.
$35.00
Requiem
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Chamber Orchestra
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Harald Weiss
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Requiem
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Schott Music - Digital
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SheetMusicPlus
Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra - Digital Download SKU: S9.Q7038 Teil I: Schwarz vor Augen... · Teil I...
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Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra - Digital Download SKU: S9.Q7038 Teil I: Schwarz vor Augen... · Teil II: ...und es ward Licht!. Composed by Harald Weiss. This edition: study score. Music Of Our Time. Downloadable, Study score. Duration 100' 0. Schott Music - Digital #Q7038. Published by Schott Music - Digital (S9.Q7038). Latin • German.On letting go(Concerning the selection of the texts) In the selection of the texts, I have allowed myself to be motivated and inspired by the concept of “letting goâ€. This appears to me to be one of the essential aspects of dying, but also of life itself. We humans cling far too strongly to successful achievements, whether they have to do with material or ideal values, or relationships of all kinds. We cannot and do not want to let go, almost as if our life depended on it. As we will have to practise the art of letting go at the latest during our hour of death, perhaps we could already make a start on this while we are still alive. Tagore describes this farewell with very simple but strikingly vivid imagery: “I will return the key of my doorâ€. I have set this text for tenor solo. Here I imagine, and have correspondingly noted in a certain passage of the score, that the protagonist finds himself as though “in an ocean†of voices in which he is however not drowning, but immersing himself in complete relaxation. The phenomenon of letting go is described even more simply and tersely in Psalm 90, verse 12: “So teach us to number our days, that we may apply our hearts unto wisdomâ€. This cannot be expressed more plainly.I have begun the requiem with a solo boy’s voice singing the beginning of this psalm on a single note, the note A. This in effect says it all. The work comes full circle at the culmination with a repeat of the psalm which subsequently leads into a resplendent “lux aeternaâ€. The intermediate texts of the Requiem which highlight the phenomenon of letting go in the widest spectrum of colours originate on the one hand from the Latin liturgy of the Messa da Requiem (In Paradisum, Libera me, Requiem aeternam, Mors stupebit) and on the other hand from poems by Joseph von Eichendorff, Hermann Hesse, Rabindranath Tagore and Rainer Maria Rilke.All texts have a distinctive positive element in common and view death as being an organic process within the great system of the universe, for example when Hermann Hesse writes: “Entreiß dich, Seele, nun der Zeit, entreiß dich deinen Sorgen und mache dich zum Flug bereit in den ersehnten Morgen†[“Tear yourself way , o soul, from time, tear yourself away from your sorrows and prepare yourself to fly away into the long-awaited morningâ€] and later: “Und die Seele unbewacht will in freien Flügen schweben, um im Zauberkreis der Nacht tief und tausendfach zu leben†[“And the unfettered soul strives to soar in free flight to live in the magic sphere of the night, deep and thousandfoldâ€]. Or Joseph von Eichendorff whose text evokes a distant song in his lines: “Und meine Seele spannte weit ihre Flügel aus. Flog durch die stillen Lande, als flöge sie nach Haus†[“And my soul spread its wings wide. Flew through the still country as if homeward bound.â€]Here a strong romantically tinged occidental resonance can be detected which is however also accompanied by a universal spirit going far beyond all cultures and religions. In the beginning was the sound Long before any sort of word or meaningful phrase was uttered by vocal chords, sounds, vibrations and tones already existed. This brings us back to the music. Both during my years of study and at subsequent periods, I had been an active participant in the world of contemporary music, both as percussionist and also as conductor and composer. My early scores had a somewhat adventurous appearance, filled with an abundance of small black dots: no rhythm could be too complicated, no register too extreme and no harmony too dissonant. I devoted myself intensely to the handling of different parameters which in serial music coexist in total equality: I also studied aleatory principles and so-called minimal music.I subsequently emigrated and took up residence in Spain from where I embarked on numerous travels over the years to India, Africa and South America. I spent repeated periods during this time as a resident in non-European countries. This meant that the currents of contemporary music swept past me vaguely and at a great distance. What I instead absorbed during this period were other completely new cultures in which I attempted to immerse myself as intensively as possible.I learned foreign languages and came into contact with musicians of all classes and styles who had a different cultural heritage than my own: I was intoxicated with the diversity of artistic potential.Nevertheless, the further I distanced myself from my own Western musical heritage, the more this returned insistently in my consciousness.The scene can be imagined of sitting somewhere in the middle of the Brazilian jungle surrounded by the wailing of Indians and out of the blue being provided with the opportunity to hear Beethoven’s late string quartets: this can be a heart-wrenching experience, akin to an identity crisis. This type of experience can also be described as cathartic. Whatever the circumstances, my “renewed†occupation with the “old†country would not permit me to return to the point at which I as an audacious young student had maltreated the musical parameters of so-called contemporary music. A completely different approach would be necessary: an extremely careful approach, inching my way gradually back into the Western world: an approach which would welcome tradition back into the fold, attempt to unfurl the petals and gently infuse this tradition with a breath of contemporary life.Although I am aware that I will not unleash a revolution or scandal with this approach, I am nevertheless confident as, with the musical vocabulary of this Requiem, I am travelling in an orbit in which no ballast or complex structures will be transported or intimated: on the contrary, I have attempted to form the message of the texts in music with the naivety of a “homecomerâ€. Harald WeissColonia de San PedroMarch 20091 (auch Altfl.) · 2 (2. auch Engl. Hr.) · 1 (auch Bassklar.) · 0 - 2 · Flhr. · 0 · 0 - P. S. (Glsp. · Röhrengl. · Gongs · Trgl. · Beck. · Tamt. · 2 Holzschlitztr. (oder Woodbl.) · Woodbl. · gr. Tr.) (3 Spieler) - Org. (Positiv) - Str. (4 · 4 · 4 · 4 · 2).
$55.99
Do You Hear What I Hear
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Chamber Orchestra
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INTERMEDIATE/ADVANCED
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Carrie Underwood
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Dennis Ruello
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Do You Hear What I Hear
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Chicory Music
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SheetMusicPlus
Chamber Orchestra - Level 4 - Digital Download SKU: A0.734392 By Carrie Underwood. By Gloria Shayne and Noel Regney. Arranged by Dennis Ruello. Christian...
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Chamber Orchestra - Level 4 - Digital Download SKU: A0.734392 By Carrie Underwood. By Gloria Shayne and Noel Regney. Arranged by Dennis Ruello. Christian,Gospel,Rock. Score and parts. 19 pages. Chicory Music #3690903. Published by Chicory Music (A0.734392). Do You Hear What I Hear? is a song written in October 1962, with lyrics by Noël Regney and music by Gloria Shayne Baker. The pair, married at the time, wrote it as a plea for peace during the Cuban Missile Crisis. Regney had been invited by a record producer to write a Christmas song, but he was hesitant due to the commercialism of the Christmas holiday. It has sold tens of millions of copies and has been covered by hundreds of artists, This Advanced Intermediate Level arrangement for Chamber orchestra is appropriate for holiday recitals, concerts and church services.Performance time is approx. 2 min. 40 sec. 2018 Holiday Contest Entry .
$18.99
What Wondrous Love is This - Mary's Love (Christmas song) - Strings and piano
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Chamber Orchestra
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EASY
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Connie Boss
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What Wondrous Love is This - M
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Connie Boss
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SheetMusicPlus
Chamber Orchestra - Level 2 - Digital Download SKU: A0.801501 Arranged by Connie Boss. Christian,Christmas,Easter,Sacred. Score and parts. 4 pages. Conni...
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Chamber Orchestra - Level 2 - Digital Download SKU: A0.801501 Arranged by Connie Boss. Christian,Christmas,Easter,Sacred. Score and parts. 4 pages. Connie Boss #6051913. Published by Connie Boss (A0.801501). This arrangement is for strings and piano. It has a lot of moving parts which makes it very pretty. The lyrics are included and for Christmas but could be used at any time. cdboss@cvalley.net
$5.00
O How the Winds are Changin'!
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Chamber Orchestra
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Contemporary
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James Alexander Pavlic
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O How the Winds are Changin'!
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James A. Pavlic
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SheetMusicPlus
Chamber Orchestra - Digital Download SKU: A0.923347 Composed by James Alexander Pavlic. Contemporary. Score and parts. 25 pages. James A. Pavlic #6339863...
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Chamber Orchestra - Digital Download SKU: A0.923347 Composed by James Alexander Pavlic. Contemporary. Score and parts. 25 pages. James A. Pavlic #6339863. Published by James A. Pavlic (A0.923347). Work scored a finalist spot in the Great American Song Contest. Work was inspired about the ever changing nature of the wind. Sometimes it gets easy; and, sometimes it picks up, taking with it whatever it can within its grasp. Scored for chamber orchestra and link to audio of work is found here: https://distrokid.com/hyperfollow/alexanderjamespavlic/dmGf. Visual of score playing is at link included in Youtube Link.
$10.99
Appassionato
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Chamber Orchestra
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Peter Nostrand
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Peter Nostrand
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the strings are supportive
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Appassionato
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Imagine Music - Digital
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SheetMusicPlus
Chamber orchestra - Grade 3 - Digital Download SKU: IZ.OMS128 Composed by Peter Nostrand. Score and Parts. 34 pages. Imagine Music - Digital #OMS128. Pub...
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Chamber orchestra - Grade 3 - Digital Download SKU: IZ.OMS128 Composed by Peter Nostrand. Score and Parts. 34 pages. Imagine Music - Digital #OMS128. Published by Imagine Music - Digital (IZ.OMS128). 9 x 12 in inches.For Chamber Orchestra (Grade 3). By Peter Nostrand. Appassionato is a story about the struggle for love. While it was composed in a traditional ABA structure, there are many elements in this composition which are not at all traditional. As the piece awakens, the oboes and flutes seem innocent and coquettish. As orchestral participation grows, one has the sense of an entire field of rich colors growing before our very ears. Enter the piano. Simple, elegant and romantic. Softly supported by the strings, the piano issues an invitation to the winds. They respond cautiously, obviously curious to see what this charming piano has in mind. The strings express an opinion. It's not what the piano wants and he presses harder. The strings and winds question each other, back and forth with triplets. Who is this piano? The mid-section is an announcement by the strings that a love relationship may be in the cards. The piano replies with passion and tenderness.With eighth notes, the strings become entangled with the piano, counseling it, guiding it. The winds using triplets put their two cents on the table. They're not so sure. The piano makes a passionate plea; the strings are supportive. The piano and the winds have a conversation. They finally dance together. In the end,.Appassionato is a musical expression of the struggle over whether or not love is worth the risk Sometimes in conflict sometimes in harmony, the piano and winds do unite. Passion has won.
$30.00
Carson Cooman: Cerulean: Double Percussion Concerto (2004) for two solo percussionists and ensemble,
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Chamber Orchestra
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ADVANCED
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Carson Cooman
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Carson Cooman: Cerulean: Doubl
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Musik Fabrik Music Publishing
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SheetMusicPlus
Chamber Orchestra - Level 5 - Digital Download SKU: A0.533592 Composed by Carson Cooman. Contemporary,Standards. Score and parts. 87 pages. Musik Fabrik ...
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Chamber Orchestra - Level 5 - Digital Download SKU: A0.533592 Composed by Carson Cooman. Contemporary,Standards. Score and parts. 87 pages. Musik Fabrik Music Publishing #3029401. Published by Musik Fabrik Music Publishing (A0.533592). Cerulean: Double Percussion Concerto (2004) for two solo percussionists and ensemblewas commissioned by the Carnegie Mellon School of Music for percussionists Cory Cousins,Mike Perdue, and the Carnegie Mellon Contemporary Ensemble, Walter Morales, director.The work is dedicated to them and to Howard Stokar. The work is inspired by the ocean,particularly its greatest depths.The work is in two movements, played without break. The two movements explore the samemusical material (a specific collection of twelve pitches) in two very different ways. In thefirst movement, the material is presented often in row forms -- and harmonies derived from it.In the second movement, a more free approach is used to the material and it becomes moremotivic and gestural.The first movement, Different Purposes, is inspired by the vast diversity of deep-sea life.Musical objects interact with each other and ideas transform each other. Many of these deepseacreatures live in very isolated and solitary environments at the ocean's lowest points.They each exist and pursue their own purposes without any awareness of what else ishappening around them. However, despite this, they are all existing within a commonenvironmental system and are thus achieving goals together on a larger level.The second movement, Different Porpoises, is inspired by porpoises and other sea-creatureswho surface, thus providing a link to human land-bound life. The marimba establishes arhythmic ostinato which (although passed around) remains steady throughout most of themovement.InstrumentationFluteOboeClarinet in BbBass Clarinet in BbBassoonHorn in FPiano2 Solo Percussion:I: marimba, crotales, suspended cymbal, 2 spokes/bellsII: vibraphone (with motor), tubular bells, 3 bowls (indef. pitches),medium-size water gong (i.e., gong with bucket of water),3 roto-toms, conga, bass drum(each percussionist needs two bows)Violin IViolin IIViolaCello(All players except for the two solo percussion also playoracle rods in addition to their instruments.)The full score without the solo parts is also available for sale.. The parts are on rental from the publisher
$21.95
Carson Cooman: Cerulean: Double Percussion Concerto (2004) for two solo percussionists and ensemble,
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Chamber Orchestra
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ADVANCED
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Contemporary
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Carson Cooman
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Carson Cooman: Cerulean: Doubl
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Musik Fabrik Music Publishing
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SheetMusicPlus
Chamber Orchestra - Level 5 - Digital Download SKU: A0.533591 Composed by Carson Cooman. Contemporary. Score and parts. 66 pages. Musik Fabrik Music Publ...
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Chamber Orchestra - Level 5 - Digital Download SKU: A0.533591 Composed by Carson Cooman. Contemporary. Score and parts. 66 pages. Musik Fabrik Music Publishing #3029399. Published by Musik Fabrik Music Publishing (A0.533591). Cerulean: Double Percussion Concerto (2004) for two solo percussionists and ensemblewas commissioned by the Carnegie Mellon School of Music for percussionists Cory Cousins,Mike Perdue, and the Carnegie Mellon Contemporary Ensemble, Walter Morales, director.The work is dedicated to them and to Howard Stokar. The work is inspired by the ocean,particularly its greatest depths.The work is in two movements, played without break. The two movements explore the samemusical material (a specific collection of twelve pitches) in two very different ways. In thefirst movement, the material is presented often in row forms -- and harmonies derived from it.In the second movement, a more free approach is used to the material and it becomes moremotivic and gestural.The first movement, Different Purposes, is inspired by the vast diversity of deep-sea life.Musical objects interact with each other and ideas transform each other. Many of these deepseacreatures live in very isolated and solitary environments at the ocean's lowest points.They each exist and pursue their own purposes without any awareness of what else ishappening around them. However, despite this, they are all existing within a commonenvironmental system and are thus achieving goals together on a larger level.The second movement, Different Porpoises, is inspired by porpoises and other sea-creatureswho surface, thus providing a link to human land-bound life. The marimba establishes arhythmic ostinato which (although passed around) remains steady throughout most of themovement.InstrumentationFluteOboeClarinet in BbBass Clarinet in BbBassoonHorn in FPiano2 Solo Percussion:I: marimba, crotales, suspended cymbal, 2 spokes/bellsII: vibraphone (with motor), tubular bells, 3 bowls (indef. pitches),medium-size water gong (i.e., gong with bucket of water),3 roto-toms, conga, bass drum(each percussionist needs two bows)Violin IViolin IIViolaCello(All players except for the two solo percussion also playoracle rods in addition to their instruments.)The solo parts plus the full score are available for sale. The parts are on rental from the publisher
$17.95
In Memoriam - Score Only
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Chamber Orchestra
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INTERMEDIATE
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Robert A
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In Memoriam - Score Only
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Robert A. Howard
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SheetMusicPlus
Chamber Orchestra - Level 3 - Digital Download SKU: A0.1471118 Composed by Robert A. Howard. 20th Century,Classical,Contemporary,Religious,Spiritual. 17 ...
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Chamber Orchestra - Level 3 - Digital Download SKU: A0.1471118 Composed by Robert A. Howard. 20th Century,Classical,Contemporary,Religious,Spiritual. 17 pages. Robert A. Howard #1048771. Published by Robert A. Howard (A0.1471118). In Memoriam, for chamber orchestra, is a short but powerful work. It was specifically composed in memory of the composer's father, but the work can be used to the reflect any loss, or similar sentiment. The point of departure is the pounding repeated tones (the note D, for Death) at the start of the Lacrymosa of Benjamin Britten's Sinfonia da Requiem; a work which mourned the death of both its composer's parents. Throughout my In Memoriam, the repeated pedal note D is literally ever-present and obsessive, like the looming of death itself, and the percussion take a somewhat military role. The main melodic idea is a twelve-note theme stated at the beginning, though the music is not strictly serial. This theme undergoes various transformations and orchestrations, depicting the many facets of a character who essentially remains themself. More optimistic interludes feature woodwind solos, but the note D always remains. A passage of stark two-part counterpoint is followed by the disintegration of the main theme before a varied return of previous material. Then follows the inevitable dominance of the note D, in crescendo, before the work abruptly ends, frozen still. The work is highly accessible for both performers and audience. The attached document is the score only, with audio for reference. Note that the 3rd & 4th horn parts are optional, or they could be played on 2 trombones.Duration: 5 minutes 30 seconds.Registered with PRS (Performing Rights Society, UK).Composer's website: www.roberthowardmusic.co.uk
$7.99
What a friend we have in Jesus (For Violin and Chamber)
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Chamber Orchestra
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INTERMEDIATE/ADVANCED
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C
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Han-Ki Kim
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What a friend we have in Jesus
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Han-Ki Kim
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SheetMusicPlus
Chamber Orchestra - Level 4 - Digital Download SKU: A0.1433607 By C.C.Converse. By C.C.Converse. Arranged by Han-Ki Kim. Chamber,Christian,Classical,Reli...
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Chamber Orchestra - Level 4 - Digital Download SKU: A0.1433607 By C.C.Converse. By C.C.Converse. Arranged by Han-Ki Kim. Chamber,Christian,Classical,Religious,Sacred. 25 pages. Han-Ki Kim #1013839. Published by Han-Ki Kim (A0.1433607). “What a Friend We Have in Jesus” is a Chriatian hymn written in 1855 by preacher Joseph M. Scriven. The motive for writing this poem was to comfort his mother, who was in Ireland while M.Scriven was living in Canada, when she lay sick in her bed. Scriven originally wrote this poem anonymously, and it was not until 1880 that his name became known. The hymn's melody was composed by Charles Crozat Converse in 1868. I quoted this beautiful melody and arranged it into a small violin concerto format.
$15.90
Carson Cooman: Symphony No. 3, “Ave Maris Stella” (2005) for chamber orchestra, score only
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Chamber Orchestra
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ADVANCED
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Christian contemporary
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Sacred music
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Carson Cooman
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Carson Cooman: Symphony No. 3,
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Musik Fabrik Music Publishing
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SheetMusicPlus
Chamber Orchestra - Level 5 - Digital Download SKU: A0.533672 Composed by Carson Cooman. Contemporary,Sacred. Score and parts. 54 pages. Musik Fabrik Mus...
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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
Dona Nobis Pacem
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Chamber Orchestra
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BEGINNER
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Anonymous
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Dan Severio
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Dona Nobis Pacem
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Piano Teacher Press
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SheetMusicPlus
Chamber Orchestra - Level 1 - Digital Download SKU: A0.864727 Composed by Anonymous. Arranged by Dan Severio. Children,Instructional,Standards. Score and...
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Chamber Orchestra - Level 1 - Digital Download SKU: A0.864727 Composed by Anonymous. Arranged by Dan Severio. Children,Instructional,Standards. Score and parts. 5 pages. Piano Teacher Press #48771. Published by Piano Teacher Press (A0.864727). In my piano studio I encourage my students to play music together with their friends that play in their school bands and orchestras. So, I’ve needed to arrange some music for them so they would have something to play. Here’s a very easy elementary arrangement. It gives the beginning student the chance to listen to his musical partner and learn what ensemble playing is all about.
$3.99
Charpentier: Messe de Menuit pour Noël (SSAA soli, SSAA choir, flutes, strings and continuo) - Full
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Chamber Orchestra
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INTERMEDIATE
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Marc-Antoine Charpentier
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Roar Kvam
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Charpentier: Messe de Menuit p
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KVAMusic Edition
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SheetMusicPlus
Chamber Orchestra - Level 3 - Digital Download SKU: A0.768506 Composed by Marc-Antoine Charpentier. Arranged by Roar Kvam. Baroque,Christmas. Score and p...
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Chamber Orchestra - Level 3 - Digital Download SKU: A0.768506 Composed by Marc-Antoine Charpentier. Arranged by Roar Kvam. Baroque,Christmas. Score and parts. 120 pages. KVAMusic Edition #4717673. Published by KVAMusic Edition (A0.768506). The Messe de Minuit was written around 1694 for the Jesuit church of Saint-Louis in Paris.What is remarkable about this mass is the use of ten French noëls (Christmas carols) in the composition. In the liturgy the birth of Christ is celebrated with three masses: the first during the night of December 24th, the second in the early morning of December 25th, and the third on the day itself. A special atmosphere surrounds the first of these masses on account of the midnight hour, and so CharpenÂtier gave special expression to the long observed practice in France of including popular Christmas carols in the Christmas liturgy by including them in the composition of his midnight mass. Although the Council of Trent had forbidden this kind of borrowing of secular melodies in masses in principle, long established customs were tolerated. Charpentier’s justly famous Messe de Minuit represents a perfect synthesis between the secular and liturgical, and between the popular and learned. Adapting the vast majority of the Latin mass to French noëls, the Messe de Minuit’s freshness and joyful spirit perfectly represent Advent. While Charpentier used ten different noël’s through the course of the work, the most serious moment of the mass, the statements of Christ’s incarnation, his mortal existence, and his death under Pontius Pilate, is given wholly original, appropriately sober music.
$20.00
Concerto For Clarinet
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Chamber Orchestra
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ADVANCED
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Jazz
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Artie Shaw
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Edited Robert C
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Concerto For Clarinet
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Robert C. Olivia
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SheetMusicPlus
Chamber Orchestra - Level 5 - Digital Download SKU: A0.1433339 By Artie Shaw. By Artie Shaw. Arranged by Edited Robert C. Olivia. Jazz. 176 pages. Robert...
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Chamber Orchestra - Level 5 - Digital Download SKU: A0.1433339 By Artie Shaw. By Artie Shaw. Arranged by Edited Robert C. Olivia. Jazz. 176 pages. Robert C. Olivia #1013630. Published by Robert C. Olivia (A0.1433339). This edition of the Artie Shaw Concerto for Clarinet is a note for note transcription of what Shaw recorded on the record version and in the motion picture. These are the parts for the big band and strings. Shaw’s solos as played in both the motion picture and record version are represented in great detail with the film solo shown as ossia so the player can view and choose which they might prefer to play. Techniques are carefully detailed to show ornaments, slurs, accents etc. This edition restores many elements missing in other versions available. The strings here are restored to the original voicings so important to the style of the classic sound of the period.The solos are transcribed note for note as played by greats such as Billy Butterfield on Trumpet, Johnny Guarnieri on Piano, Les Robinson on Alto Sax, Jerry Jerome on Tenor Sax, Vernon “Brownie” Brown on Trombone.There is an entire sax riff that was extemporaneously improvised during the session that is missing entirely in other published versions. The instrumentation is also restored to only the instruments that were used in Shaw’s recordings. There are many details that help the ease of performability of the genre and gesture of jazz idiom. Lastly, the intention is that this should be performed with saxophones. However, there are optional parts for clarinets and bassoons that can be used only if saxes are not available.
$200.00
Where Is Your Mercy Now? (Chamber Orchestra Version)
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Chamber Orchestra
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EASY
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Stephen DeCesare
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Stephen DeCesare
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Where Is Your Mercy Now?
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Exultet Music
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SheetMusicPlus
Chamber Orchestra - Level 2 - Digital Download SKU: A0.1100192 By Stephen DeCesare. By Stephen DeCesare. Arranged by Stephen DeCesare. 20th Century,Class...
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Chamber Orchestra - Level 2 - Digital Download SKU: A0.1100192 By Stephen DeCesare. By Stephen DeCesare. Arranged by Stephen DeCesare. 20th Century,Classical,Jewish,Multicultural,World. Score and parts. 22 pages. Exultet Music #704075. Published by Exultet Music (A0.1100192). This dramatic, heartfelt piece is the cry of what the prisoners of the holocaust might have been feeling in the Nazi concentration camps. Scored for Flute, Bb-Clarinet, Bassoon, Violin, Viola, and Cello.
$12.99
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