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You've selected:
Inevitable Nature
Sheetmusic to print
20 sheet music found
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1
Inevitable Nature
Piano solo
Piano Solo - Level 5 - Digital Download SKU: A0.748966 By Stan iB. By Stanislav Bor…
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Piano Solo - Level 5 - Digital Download SKU: A0.748966 By Stan iB. By Stanislav Borisov. Contemporary,New Age. Score. 10 pages. Lulu #3062397. Published by Lulu (A0.748966). Inevitable Nature, from the solo piano album Explorations, composed and performed by Stan iB (Stanislav Borisov).Stan iB
$7.00
6.42 €
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Piano solo
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Stan iB
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Inevitable Nature
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Lulu
#
SheetMusicPlus
Lovliest of Trees, A.E. Housman, poem
Piano, Voice
Piano,Vocal,Voice - Level 4 - Digital Download SKU: A0.989230 Composed by Mary Ann …
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Piano,Vocal,Voice - Level 4 - Digital Download SKU: A0.989230 Composed by Mary Ann Joyce. Concert,Contemporary. Score. 4 pages. Mary Ann Joyce-Walter #6207637. Published by Mary Ann Joyce-Walter (A0.989230). Housman’s poem is about the nature of life, here represented by the cherry tree. The poet feels he does not have enough time to appreciate this beautiful world, because, like all living things, he will die. The first stanza is a description of the cherry tree in its spring-time splendor. It is as 'wearing white for Eastertide as if it is celebrating a religious festival. In the second stanza, the mood shifts from the tree to the poet himself, as he thinks about the inevitability of death. He, a twenty-year old, estimates that he has about fifty years left to live. The final stanza expresses the poet's feeling that fifty more years does not give him enough time to enjoy the beauties of nature. He decides that he will look at the cherry tree not only when it is hung with bloom, but also in winter when it is hung with snow. The poet thus celebrates the beauties of nature in all seasons, but also poignantly laments the inevitable passage from youth to old age and death, the seasons of his own life.I composed this setting of Loveliest of Trees to celebrate the 86th birthday of Joyce Hope Suskind, beloved friend, brilliant musician and composer par excellence.
$4.99
4.58 €
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Piano, Voice
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Mary Ann Joyce
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Lovliest of Trees, A.E. Housman, poem
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Mary Ann Joyce-Walter
#
SheetMusicPlus
English Autumn
Small Ensemble,Strings Clarinet - Level 5 - Digital Download SKU: A0.913624 Compose…
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Small Ensemble,Strings Clarinet - Level 5 - Digital Download SKU: A0.913624 Composed by James Marshall. Contemporary,Folk. Score and parts. 87 pages. James Marshall Music #6096869. Published by James Marshall Music (A0.913624). English Autumn was composed in Fall/Winter 2018-2019 for Clarinetist Allison Eales commissioned by the Gregynog . Scored for Clarinet in A and String Trio it reflects the collage of Autumn colors: Green, Yellow, Brown shades of first Autumn; Red, Orange of Autumn at its peak. It followed my English Sonatina for young clarinetists premiered by Alison Eales and Anna de Hair in London in January, 2019, and was premiered in London in October, 2019. This piece reflects the heightened emotions of fiery intensity reflected in the changing of the colors of the leaves in Autumn. Reflected as well is the serene beauty before the Autumn arrives, and the resignation of the eternal cycles of nature. The opening section (Andante) evokes the feeling of nostalgia and assurance of the inevitable cycle of nature. We know the life will go from the tress only to return again next season. We feel the joy of the intense colors of the foliage, and the sadness of the loss of life in winter. This section segues into Green (Adagio cantabile) with pastoral music and quotes of The Water is Wide and I pass all the hours in a shady grove of Pelham Humphrey. This leads into Red (Allegro con fuoco/Presto), followed by Orange (Declamando) as well as absence of color when the leaves all fall. I pass all the hours is a song by Pelham Humphrey with words by Charles II: I pass all the hours in a shady grove …When I see the print of her shape in the green…I think there’s no hell like loving too well, The melody is incorporated because it is the same melodic motif of the Scherzando movement of my English Sonatina for young clarinetists which Alison Eales and Anna de Hair premiered. I discovered it after composing that piece in researching English folk songs to refer to in this piece. It is an ideal segue into the Allegro con fuco/Presto music. The final section (Andante cantabile) is my personal melodic sequence from the rising motif of Over the hills and far away.
$19.99
18.34 €
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James Marshall
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English Autumn
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James Marshall Music
#
SheetMusicPlus
Chorus and Aria from Ariadne auf Naxos
Guitar
Solo Guitar - Level 4 - Digital Download SKU: A0.899109 Composed by Richard Strauss…
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Solo Guitar - Level 4 - Digital Download SKU: A0.899109 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music #25787. Published by Maggie Creek Music (A0.899109). 2 pages; for solo classical guitar; published by Maggie Creek MusicRichard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …' Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register o.
$7.00
6.42 €
#
Guitar
#
Richard Strauss
#
for solo classical guitar
#
Chorus and Aria from Ariadne auf Naxos
#
Maggie Creek Music
#
SheetMusicPlus
'A golden time ...' from Ariadne auf Naxos
Guitar
Solo Guitar - Level 4 - Digital Download SKU: A0.899112 Composed by Richard Strauss…
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Solo Guitar - Level 4 - Digital Download SKU: A0.899112 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music #25789. Published by Maggie Creek Music (A0.899112). 2 pages; for solo classical guitar; published by Maggie Creek MusicRichard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …' Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register of the so.
$7.00
6.42 €
#
Guitar
#
Richard Strauss
#
for solo classical guitar
#
'A golden time ...' from Ariadne auf Naxos
#
Maggie Creek Music
#
SheetMusicPlus
Excerpt from the Last Part of Ariadne Auf Naxos
Guitar
Solo Guitar - Level 3 - Digital Download SKU: A0.899127 Composed by Richard Strauss…
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Solo Guitar - Level 3 - Digital Download SKU: A0.899127 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 4 pages. Maggie Creek Music #3037161. Published by Maggie Creek Music (A0.899127). Transcription for solo classical guitar. 4 pages. Richard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …' Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register of the soprano voices, som.
$7.00
6.42 €
#
Guitar
#
Richard Strauss
#
Excerpt from the Last Part of Ariadne Auf Naxos
#
Maggie Creek Music
#
SheetMusicPlus
Overture from Ariadne auf Naxos
Guitar
Solo Guitar - Level 4 - Digital Download SKU: A0.899111 Composed by Richard Strauss…
(+)
Solo Guitar - Level 4 - Digital Download SKU: A0.899111 Composed by Richard Strauss. Arranged by Rod Whittle. 20th Century. Individual part. 2 pages. Maggie Creek Music #25793. Published by Maggie Creek Music (A0.899111). 2 pages; for solo classical guitar; published by Maggie Creek MusicRichard Strauss (1864 -1949) Strauss's music amounts to a huge body of symphonic and operatic work written over 60 years. Full of vitality, endlessly melodic, brilliantly orchestrated, it begins and ends in the romantic tradition, but for the most part expresses something more modern and individualistic, not without controversy in its time. Variation of style and structure is drawn from the descriptive (literary) nature of compositions, and an extraordinary inventiveness enlivens the scenes, moods and situations. Strauss said once that he produced music the way cows give milk, and indeed his music rarely seems contrived. The opera Strauss wrote 15 operas on a variety of subjects and across the whole spectrum of drama. He acknowledged being enchanted by the soprano voice, and his writing for it highlights many of the works, including Adriane auf Naxos (composed in 1912). The opera has been described as 'sparkling', which sums it up well, and passages influenced by Bach, Mozart, Puccini, and Wagner add to the interest. The storyline is a play within a play, the second part being the mythological 'Opera' staged in the story. The three pieces transcribed* are from this Opera. The guitar arrangements All classical guitar pieces are compromises. The instrument has only six strings, the left hand four fingers able to be used, and with the right hand its rare to use more than three fingers and the thumb. So, despite the amount of noise possible, it's inevitable that passages occur where either harmony, bass or fragments of counterpoint that would be beneficial are left out. In particular, the higher up the neck music is played the simpler it tends to be, if harder to play, and unless the low bass is an open string there wont be any. So I think the main part of attaining a fair transcription (better to be called an arrangement if the original musical structure is not strictly followed, as in this case) is determining how a good compromise can be reached. Melody, counterpoint, bass and main harmonies demand inclusion, and register is important. One may generally assume the original score can't be improved on. However, if the music may sound well on guitar, and the above elements can be incorporated without the playing becoming very difficult, something enjoyable to play and worthwhile listening to should be able to be achieved. Overture; 'A golden time …'Here the Mozart influence, better, inspiration, is wonderfully evident. A gentle waltz time (only the first section of the overture is transcribed) carries the colourful harmonies, strong melodic threads and connecting flourishes that stamp both pieces. The aria is alluded to in the Overture several times, which as you would expect, is intricately woven with the hints themes later to be established in the Opera. It has a kind of 'jazzy' freedom, and it's always miraculous to me that composition so involved can retain its musical line, here done in Strauss's inimitable way. The aria, sung not far into the Opera, has the perfect inevitability of Mozart, but again it is Strauss. As explained, keys have been changed to suit the guitar. Chorus and Aria This selection from the finale has features well worth trying to translate. The device of having a strong chorus, in the style of a Bach chorale, stated and then counterpointed by a solo voice in a restatement, is potent, and that in the opera the chorus (of the three nymphs) isn't immediately followed by the accompanying aria (of Ariadne) means the latter comes as a moment of surprising beauty. Neither parts are complicated, and lovely arpeggios, a feature Strauss's music, often impart the assured progressions. A problem was to capture the distinct register of the sopr.
$7.00
6.42 €
#
Guitar
#
Richard Strauss
#
for solo classical guitar
#
Overture from Ariadne auf Naxos
#
Maggie Creek Music
#
SheetMusicPlus
Songs Without Words: Ten Popular Songs Arranged for Solo Instrument with Piano Accompaniment
Piano solo
Instrumental Solo,Piano - Level 3 - Digital Download SKU: A0.1387412 By Christopher…
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Instrumental Solo,Piano - Level 3 - Digital Download SKU: A0.1387412 By Christopher Alexander. By Various. Arranged by Christopher Alexander. Multicultural,Standards,Traditional,World. Score and individual part. 80 pages. Christopher Alexander #971260. Published by Christopher Alexander (A0.1387412). This collection spanning the breadth of music history aims to explore the nature of beautifully-crafted musical works even before lyrics are included.  Making these famous vocal songs applicable for instrumentalists allows the performers and audience alike to rekindle their appreciation for creating the musical setting upon which the poetry can be seen thematically inevitable.  The musical notation and their performance allows the opportunity for listeners to make their own connections with the song’s power and allure.  These ten (10) songs give a wide variety of styles, cultures, and themes to perform and will be a great addition to your repertoire.
$17.99
16.51 €
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Piano solo
#
Christopher Alexander
#
Songs Without Words: Ten Popular Songs Arranged for Solo Instrument with Piano Accompaniment
#
Christopher Alexander
#
SheetMusicPlus
A Prayer for Harmonic Convergence" for Soprano Sax, B Flat Clarinet, and Bass Clarinet
Woodwind Ensemble,Woodwind Trio - Level 4 - Digital Download SKU: A0.1006443 Compos…
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Woodwind Ensemble,Woodwind Trio - Level 4 - Digital Download SKU: A0.1006443 Composed by David Jaedyn Conley. 20th Century,Classical,Contemporary,Film/TV. 14 pages. Mydnyte Publishing #2016307. Published by Mydnyte Publishing (A0.1006443). A Prayer for Harmonic Convergence is a musical meditation for Soprano Sax, B Flat Clarinet, and Bass Clarinet. It is written in free time, and is more of an exercise in vertical development versus horizontal. A degree of tonal indeterminacy is implied and demanded, as the nature of the instruments that it was written for requires the player to make adjustments of their embouchure in order to keep the pitch in tune with the other lines. In a piece where a note which acts as a third suddenly finds itself acting as a fifth or a root means that slight variations of intonation is inevitable. This is a desired effect. Slight overtones from the instruments are meant to combine and mingle. Occasionally the overtones converge and cause the sinusoidal waveform to beat at different frequencies. There is no way to predict how and when the phenomena will happen, and therefore there is no real way to perform this piece the same way twice. While the performer should take care to keep their intonation complimentary to the other players, a degree of latitude is intended so that the performer may experiment with this concept. It is suggested that the players perform from the score so as to anticipate the entrances and exits of the other performers.
$9.99
9.17 €
#
David Jaedyn Conley
#
A Prayer for Harmonic Convergence" for Soprano Sax, B Flat Clarinet, and Bass Clarinet
#
Mydnyte Publishing
#
SheetMusicPlus
Aphelion
String Orchestra
Two Horns & String Orchestra - Digital Download SKU: IZ.CMS206 Composed by Daniel B…
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Two Horns & String Orchestra - Digital Download SKU: IZ.CMS206 Composed by Daniel Baldwin. Score and Parts. 50 pages. Imagine Music - Digital #CMS206. Published by Imagine Music - Digital (IZ.CMS206). 9 x 12 inches.I have long been inspired by mythology, nature, and space as a primary influence in my writing. I keep updated on all things astronomical. Though I likely won't live to see it, I greatly look forward to mankind's inevitable exploration of deep space and other galaxies. An aphelion is defined as the point in the orbit of a planet, asteroid, or comet at which it is furthest from the sun. This phenomenon was the inspiration for this concert piece for two horns and string orchestra (or piano). The work begins starkly, with just the horns playing by themselves before a single string drone enters. This is the light of the sun a long ways away. The piece then takes us on a few adventures as it begins its revolution around the sun. The piece ends warmly as we arrive at perihelion (the point in the orbit of a planet, asteroid, or comet at which it is closest to the sun). Aphelion for two horns and string orchestra was commissioned by and is gratefully dedicated to the Chech American Horn Duo (Steven Gross and Jiri Havlik) and the Symphony of the Vines, Greg Magie, conductor, who premiered the piece in January of 2018.
$50.00
45.88 €
#
String Orchestra
#
Daniel Baldwin
#
Aphelion
#
Imagine Music - Digital
#
SheetMusicPlus
Shadow and Self
Piano Trio: Violin, Viola, Piano
Instrumental Duet,Piano Instrumental Duet,Piano,Viola,Violin - Level 5 - Digital Download …
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Instrumental Duet,Piano Instrumental Duet,Piano,Viola,Violin - Level 5 - Digital Download SKU: A0.1004166 Composed by Matthew Scott Phillips. 20th Century,Contemporary. Score and parts. 33 pages. Matthew Scott Phillips #6358435. Published by Matthew Scott Phillips (A0.1004166). Among the most recognizable of psychological archetypes is the Self; the totality of all the characteristics,perspectives, and personal natures we can introspectively recognize as our own, and the Shadow; the collection ofrepressed traits, tendencies, and instincts with which we do not identify but nevertheless posses. While the Shadow is always present, hidden within the details of our awareness, it is rarely observable to the conscious mind.However in times of stress or personal growth the antithesis of our self image cancome boiling to the surface. And although it may seem sinister to us, exposure often reveals it as a source of creativity,inspiration, and the keeper of all the honestly simple emotions and drives that we had forgotten.This composition is a programmatic telling of the emergence and (inevitable?) return to the unconscious of the Shadow Archetype.It is also an exploration of the archetype concept itself: having both a conscious texture, and asubconscious harmonic direction. Its key structure consists of a tonal center, and two subcenters which are completetonal areas in themselves, but are nevertheless part of the greater whole. As the conflict betweenShadow and Self progresses, the intervallic distance separating these keys is altered to produce greater dissonance or consonanceas necessary to reflect the greater or lesser concord between the divergent aspects of personality.
$7.00
6.42 €
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Piano Trio: Violin, Viola, Piano
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Matthew Scott Phillips
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Shadow and Self
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Matthew Scott Phillips
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SheetMusicPlus
Det förlorade paradiset
Choral TTBB
SATB chorus and reciter - Digital Download SKU: BJ.1427 Das verlorene Paradies
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SATB chorus and reciter - Digital Download SKU: BJ.1427 Das verlorene Paradies. Composed by Kjell Perder. A paradise lost – A choral work in honour of Beethoven. Secular. Octavo. 24 pages. Bo Ejeby Forlag - Digital #1427. Published by Bo Ejeby Forlag - Digital (BJ.1427). 8.27 x 11.7 inches.In the symphony popularly known as the Pastoral, Beethoven delineates his deep love for nature, for the peace of the countryside along with the drama of a thunderstorm. Little could he know how industrialism, urbanisation, exploitation and a general lack of respect would come to be a threat to Mother Earth. When we hear the nightingale, the cuckoo, and the rumbling of thunder in Beethoven's sixth symphony, the aim of the composer is to express his emotions with regard to these sounds of nature rather than imitate them (Mehr Empfindung als Malerei!). Yet the Pastoral Symphony became a model for 19th century programme music composers who wished to renew the symphonic format with storytelling and a freer artistic idiom. The vocal work Det forlorade paradiset (The lost paradise) makes reference to Beethoven's ontologically anchored love for Creation, but also to the fundamental tension between the idyllic and encroaching threats, the very factors that give the Pastoral Symphony its richness and inevitability. The lyrics have nothing to do with John Milton's famous epos Paradise Lost, they foretell an approaching apocalypse created by mankind in this age of pollution and climate change. The choral text consists of fragments of Schiller's Ode an die Freude (used by LvB in his 9th Symphony). A few quotes by Beethoven will be recited as well.The basic principal of this composition is to present soothing parallel - tonally based - streams of nature sounds and idyllic surroundings with the gathering of ominous clouds of approaching disaster: ferocious fires, torrents of rain and stormy winds (where the singers make use of clusters, chanting, growl, stamping their feet, etc). Doch mehr Empfindung als Malerei! (emotion rather than mere imitation). A nod or two to Mr. Beethoven by way of droning and using chromatic runs. The performance can be choreographed for extra impact, but it is equally possible to perform the music as a concert piece. - Kjell Perder.
$6.40
5.87 €
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Choral TTBB
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Kjell Perder
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Det förlorade paradiset
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Bo Ejeby Forlag - Digital
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SheetMusicPlus
Three Songs
Soprano Saxophone and Piano
Ssax. Pft - Intermediate - Digital Download SKU: F2.FM422 Composed by David Osbon. …
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Ssax. Pft - Intermediate - Digital Download SKU: F2.FM422 Composed by David Osbon. Soprano Saxophone and piano. Score and part. 23 pages. Forton Music - Digital #FM422. Published by Forton Music - Digital (F2.FM422). ISBN 9790570483211.Writing for Soprano Saxophone and Piano was a revelation - the dialogue between the instruments was as if they were two voices sharing a converstaion on a subject that only they really knew about. So, I suppose, it was inevitable that I began to think of the pieces as a set of 'songs without words'. However, there was something rather elusive about their characters and it wasn't until they were composed that the titles, and the order in which they should be played, became obvious. These songs have been conceived in a non-standard harmonic language; for this reason the saxophone part intentionally has no key signature. Rhythmically, the songs are comparatively straightforward, although the constantly changing time signatures in Song Of Sorrow require careful counting. The range used is not excessive, with more use made of the higher notes than the lower ones.
$9.95
9.13 €
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Soprano Saxophone and Piano
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David Osbon
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Three Songs
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Forton Music - Digital
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SheetMusicPlus
No Place for the Savior of Men - SATB
Choral SATB
Choral Choir,Choral (SATB Chorus) - Level 3 - Digital Download SKU: A0.1512026 Comp…
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Choral Choir,Choral (SATB Chorus) - Level 3 - Digital Download SKU: A0.1512026 Composed by KATHLEEN HOLYOAK. Arranged by KATHLEEN HOLYOAK. Christian,Christmas,Contest,Festival,Holiday,Praise & Worship. 7 pages. Kathleen Holyoak #1087076. Published by Kathleen Holyoak (A0.1512026). This lovely Christmas title will touch your heart with lyrics by GARY CROXALL. Kathleen Holyoak and Gary Croxall teamed up with music and words that visually capture the image of Mary and Joseph as they are unable to find a single suitable place for Mary to birth the Lord. It appears they will fail to find any shelter at all, even though the beasts and birds and nature have places to rest. Desperate and rejected, they are inevitably driven to the most humble place imaginable for the birth of the creator of the universe, a stall housing beasts with a stone feeding trough or manger for a cradle. In essence, God must seek refuge among His beasts and not what you would expect for a king, let alone the King of kings! So, one place, an undesirable place is found in old Bethelehem.
$3.49
3.2 €
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Choral SATB
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KATHLEEN HOLYOAK
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No Place for the Savior of Men - SATB
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Kathleen Holyoak
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SheetMusicPlus
There Came a Wind like a Bugle
Choral 2-part
Choral Choir,Choral (SA) - Level 2 - Digital Download SKU: A0.1395757 By Gerda Blok…
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Choral Choir,Choral (SA) - Level 2 - Digital Download SKU: A0.1395757 By Gerda Blok-Wilson. By Gerda Blok-Wilson. 21st Century,Classical,Contest,Festival,Halloween,Instructional. 16 pages. CanSing #979129. Published by CanSing (A0.1395757). Gerda Blok-Wilson’s new composition of Emily Dickinson’s “There Came a Wind Like a Bugle†is a lively setting for SA voices with piano accompaniment. It portrays the arrival of a powerful wind and tells of its effects on the surroundings and impending disaster it brings. The piece has an ominous, almost supernatural sense that is driving to the end.Although the choral or duet piece would work at any time of year, it could set the tone for a Halloween concert, adding an eerie atmosphere and sense of mystery.Beautiful demo recording by ROCKY MOUNTAIN CHAMBER CHOIR - https://www.rockymountainchamberchoir.com/ Visit: www.gerdablokwilson.ca for a comprehensive selection of UPPER, LOWER and MIXED VOICE RepertoirGreat festival selection!YouTube: https://youtu.be/7elBk2jDogkSuggested themes: Nature’s powerFear of the unknownImpermanence and changeResilienceThe Inevitability of Fate. #ChoralMusic #EmilyDickinson #ChoralComposer #ChoirLife #PoetryInMusic #ChoralMagic #ChoralCanada #UpperVoices #Piano #FestivalSelection #GerdaBlok #rmccvc Social Media informationYoutube: Cansing ChoralInstagram: gerdachoralcomposerFaceBook: Gerda Blok-WilsonTwitter: @BlokWilsonThreads: gerdachoralcomposer Email: gerda.blokwilson@gmail.com for information about individual practice files. Also, I’d love to hear a video performance of your choir. Please send. Gerda Blok-Wilson, a Canadian composer, conductor, and educator, is a fervent advocate for the transformative power of choral singing and its remarkable ability to inspire people with diverse abilities. Her motto reflects that belief: If you can talk, you can sing! Since 2018, Gerda has dedicated herself to compiling and editing her compositions for publication. Her portfolio ranges from musicals and choral works tailored to nurture budding choirs to advanced choral repertoire that has garnered acclaim through live performances and recordings. Gerda is artist in residence at St. Patrick’s Regional High School in Vancouver and serves as the artistic director for the Vancouver Cansing Community Choir, which she founded in 2010. She is a frequent guest rehearsal conductor, helping local choirs polish their performances. Gerda's educational background includes a Bachelor of Music, a Kodály Teaching certificate, and a Master of Education with a focus on Kodály pedagogy.
$2.25
2.06 €
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Choral 2-part
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Gerda Blok-Wilson
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There Came a Wind like a Bugle
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CanSing
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SheetMusicPlus
Last Breath
Piano solo
Piano Solo - Level 3 - Digital Download SKU: A0.1391475 By Cristian Vivaldi. By Cri…
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Piano Solo - Level 3 - Digital Download SKU: A0.1391475 By Cristian Vivaldi. By Cristian Vivaldi. Arranged by Cristian Vivaldi. Classical,Contemporary,Film/TV,New Age. Score. 1 pages. Cristian Vivaldi #975019. Published by Cristian Vivaldi (A0.1391475). Last Breath is a sensitive piano composition that delves into the depths of human emotion with its melancholic melody. With each note, it paints a vivid portrait of life's journey, from the poignant moments of joy to the somber inevitability of its conclusion. The slow-paced rhythm and emotive nuances evoke a sense of introspection, inviting listeners to contemplate the transient nature of existence. As the melody unfolds, it gently guides the listener towards a peaceful acceptance of life's cycle, culminating in a poignant depiction of a final, tranquil breath. Last Breath offers a heartfelt soundtrack for reflection on the profound mysteries of life and mortality.
$1.99
1.83 €
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Piano solo
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Cristian Vivaldi
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Last Breath
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Cristian Vivaldi
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SheetMusicPlus
Nothing Gold Can Stay
Choral SATB
SATB choir, Piano - Digital Download SKU: LX.15-3768H Composed by Timothy P. Cooper…
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SATB choir, Piano - Digital Download SKU: LX.15-3768H Composed by Timothy P. Cooper. General. Octavo. 12 pages. Heritage Music Press #e15/3768H. Published by Heritage Music Press (LX.15-3768H). ISBN 9780787770174.Nature's first green is gold, her hardest hue to hold. Her early leaf's a flow'r; but only so an hour. Robert Frost's insightful words, dwelling on the inevitability that nothing lasts forever, come into sharper focus in this distinguished setting by Timothy Cooper. Written for mature high school or college and community ensembles, this piece displays a full palette of choral textures and colors without the addition of divisi or a cappella sections.
$2.50
2.29 €
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Choral SATB
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Timothy P
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but only so an hour
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Nothing Gold Can Stay
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Heritage Music Press
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SheetMusicPlus
Orgelsinfonie No. 16
Organ
Organ - advanced - Digital Download SKU: S9.Q45183 Martin Luther. Composed b…
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Organ - advanced - Digital Download SKU: S9.Q45183 Martin Luther. Composed by Enjott Schneider. This edition: Sheet music. Downloadable. Duration 24 minutes. Schott Music - Digital #Q45183. Published by Schott Music - Digital (S9.Q45183). On the occasion of the quincentenary of Reformation Day in 2017, the composer Enjott Schneider thoroughly studied Martin Luther the individual and all his contradictions. The result is a brilliant, demanding organ symphony which is perfect for concerts on the subject of Reformation and Martin Luther. The composer describes the five movements of the symphony as follows: '1st movement: Wir glauben all an einen Gott with its quintuplet-like beginning is very Gregorian in style, outlining the range of Lutheran emotionalism between the Middle Ages and the modern era. The irrationality of faith ultimately has priority over any thought and evidence. At the beginning of the movement, sounds of knocking on wood remind of the nailing of the Ninety-Five Theses to the doors of churches in Wittenberg. The chorale melody sometimes hides with an almost rough medieval saltarello, referring to Luther's robustness and vitality with which he knew to carry away even common people. 2nd movement: In 1530, the electoral prince of Saxony presented to Luther at Coburg Castle the golden signet ring with the Luther rose which became the symbol of his theology of grace. A white heart with black cross is fixed on a five-petalled rose. To him, white is the colour of angels and ghosts, black stands for the pain of crucification: The just shall live by faith, but by faith in the Crucified. But the fact that the rose and the heart are the dominating symbols shows how Catholic Marian piety remained an ingredient of Luther's spirituality throughout his life. In line with the dominant five-petal structure of the rose, this movement was composed, to a large extent, in accordance with the floating, lyrical rhythm in 5/8 time. 3rd movement: The omnipresence of death and dying – from the plague and war to the never-ending dangers of daily life – was an essential part of the world view of that time. Fears ensued that might heighten into the grotesque, e.g. in the pictures of Hieronymus Bosch. The Danse macabre was a popular motif in those years. Luther's chorale Mitten wir im Leben sind / mit dem Tod umfangen from 1524 (Enchiridion from Erfurt) is based on the Gregorian chant Media vita in morte sumus created in France around 750 and, with its idea of transience, inspired a simplistic air. 4th movement: The famous confession delivered at the Diet of Worms in 1521, I stand here and can say no more. God help me. Amen, are not Luther's words but the version later used as text for a pamphlet. However, it represents quite plainly the straightforwardness and inevitability of his mission. Musically, it was made into a perpetuum mobile, i.e. a dogged, ostinato and never-ending musical air. 5th movement: The Mighty Fortress, on the other hand, is one of the great symbols of Martin Luther which, with its shining C major key, embodies the Protestant ideology and willful nature of the Reformation unlike any other song. Heinrich Heine called it the Marseille anthem of the Reformation, Friedrich Engels the Marseillaise of the Peasants' Wars. This disputability is not thought through to the end but rather interrupted: With a jubilant birdcall version of the melody, the finale shows a rather chamber-music-like side of the ideals of freedom of Christians.'.
$21.99
20.18 €
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Organ
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Enjott Schneider
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Orgelsinfonie No. 16
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Schott Music - Digital
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SheetMusicPlus
Jesus, Lover of My Soul for Violin or Viola and Piano
Viola, Piano
Piano,Viola - Level 4 - Digital Download SKU: A0.1228636 Composed by Joseph P. Holb…
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Piano,Viola - Level 4 - Digital Download SKU: A0.1228636 Composed by Joseph P. Holbrook. Arranged by Hyrum Kohler. Christian,Easter,Praise & Worship,Religious,Sacred. Score and part. 8 pages. Hyrum Kohler #824692. Published by Hyrum Kohler (A0.1228636). I wanted to play a hymn in church without simply playing the same thing three times in a row. And, without words, I wanted to express the tension and pain that occasionally and inevitably accompanies trying one's best to live a good life. This arrangement is simultaneously fresh, familiar, and reasonably challenging for the performer. This is my go-to for playing in a church setting, but it can also fit right in to a pedagogical or classical recital scenario. The traditional tune wears different clothes throughout the piece, having variance in time signature, key signature, and mode (dipping into minor). This is a simplification and compression of my original arrangment for string quartet. I originally intended this to be for viola, but it just so happened to fit in the violin's range; I left the part in treble clef to accommodate both options. The piano part is somewhat easier to play than the violin/viola part (evidenced by how I can kind of play it), but it still serves a collaborative or duet role, sharing and passing the melody betwen parts.
$4.99
4.58 €
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Viola, Piano
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Joseph P
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Jesus, Lover of My Soul for Violin or Viola and Piano
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Hyrum Kohler
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SheetMusicPlus
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