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Thierry Pélicant: Concerto for contrabass and orchestra, piano reduction and solo part
Orchestra
Full Orchestra - Level 5 - Digital Download SKU: A0.534555 Composed by Thierry Pél…
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Full Orchestra - Level 5 - Digital Download SKU: A0.534555 Composed by Thierry Pélicant. 20th Century,Contemporary,Standards. Score and parts. 46 pages. Musik Fabrik Music Publishing #4283543. Published by Musik Fabrik Music Publishing (A0.534555). In 2004, the Orchestre Philharmonique de l’Oise commissioned its musical director, t Thierry Pélicant, this concerto for the late Claude Caens, the principal contrabass of this orchestra. This great artist, who was friends with everyone in this ensemble, wanted everyone to have a part in the festivities, not only the strings, but also the winds, the horns, the trumpets and the percussion, and also that they all should be heard ! Thierry Pélicant wrote therefore a concerto which is at once very symphonic – and for this reason, it is strongly advised that the contrabass be amplified – but also a piece which would express the friendship between the orchestra and the soloist. This concerto strives to be both warm and lyrical : it is not a virtuoso showpiece, inspite of the real technical that it offers to the soloist and which he would do well to try to hid them from the audience. It is also not a battle between the orchestra and this gentle giant : they stroll together, sometimes joyously, sometimes with nostalgia and go through the strong storms which do not fail to present themselves, smiling together and finding them to be envigorating.The work is scored for (2(Pic)2(EH)22/2200/Timp/2perc/strings) and lasts aproximately 23 minutes. The orchestral parts are on rental from the pubilsher. The full score is available for sale on this site.Thierry Pélicant was born in 1957 at Sainte-Adresse, France. After studying the organ and the horn, his meeting with Jean-Claude Hartemann, the Musical Director of the Opéra Comique in Paris lead him to decide to explore conducting. He was the student of Haremann for fifteen years. He is the Musical Director of the André Messager Orchestre and has also directed the Orchestre Philharmonique de l’Oise since 1980, one of the oldest French orchestras, since it was founded in 1750. A passionate ssupporter of French music, Pélicant reconstructed the Messe solennelle of L.V.A Boïeldieu and Te Deum of 1792 by Philidor and premièred and recorded the Suite Parnassienne, Massenet’s last work. At the same time, he has also served the music of our time in premièring or recording the works of Dazzi, Marchand, Braconnier, Bénard, Drouin, Preschez, etc. As a composer, musical grammar and stylistic debates only interest him from afar. As a true gourmet (since cooking is another of his passions), he strives to write the music that pleases him, that would be enjoyable to play and which would be enjoyable to hear, hopefully with real pleasure and in which he tries to express the emotions and the pleasant or surprising states of being which, to hime, these works are tied. Through this process, he has created concertos (for oboe, for bassoon, for organ, for contrabass), Escales & paysages, ma monumental literary concerto for narrator, piano and orchestra, written for his friend Dominique Preschez, Operas (Histoires comme ça, Ribouldingue, Élise et le fantôme) ; With the poet Luis Porquet, he wrote the song cycle Ombre légère (for soprano, harp and orchestre), Rhapsodie du Havre (for tenor and chamber orchestra, a commission from the Forum de Normandie to commemorate the 500 years of the founding of the city Le Havre), Et de toi, Bethleem, Christmas oratorio for baritone, chorus and orchestra and, finally, commissioned by the Orchestre de l’Oise in honor of the centennial of the First World War 14, fresque de la Grande Guerre, for the tenor Daniel Gàlvez-Vallejo, children’s chorus and orchestra. In the area of chamber music, he has written a sonata for horn and piano, for the Festival de Giverny, Borée (quintet for oboe and strings), Sextuor d’été, and Milonga (septet inspired by the World of Tango Music). Published in 2005, his novel Carnets de Walter Crane, explores the sufferings of a composer who has the obligation to write a string quartet ...
$29.95
27.95 €
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Orchestra
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Thierry Pélicant
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Thierry Pélicant: Concerto for contrabass and orchestra, piano reduction and solo part
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Musik Fabrik Music Publishing
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SheetMusicPlus
Mr. Lucky
Orchestra
Full Orchestra - Level 4 - Digital Download SKU: A0.920763 Composed by Henry Mancin…
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Full Orchestra - Level 4 - Digital Download SKU: A0.920763 Composed by Henry Mancini. Arranged by Robert C. Olivia. Film/TV,Jazz,Pop. Score and parts. 81 pages. Robert C. Olivia #526643. Published by Robert C. Olivia (A0.920763). This arrangement was made at the request of Marvin Hamlisch. The Seattle Times Reviewer Tom Keogh wrote about this arrangement, “A highlight is certainly the silky grandeur of Henry Mancini’s theme for Blake Edwards’ TV series “Mr. Lucky”…” This arrangement draws inspiration from the record version with an insert Mancini wrote later. The Hammond B3 organ solo as played by the great Hollywood session musician Buddy Cole is transcribed note for note in this arrangement. This part can be alternately played by Rhodes or other keyboard. The written out solo is a suggestion and may be improvised by keyboard player. Throughout this arrangement Mancini’s voicings and orchestrational content have been preserved. Options It is possible to perform this without Hammond B3 or like keyboard solo. In one version in Mancini’s hand writing he called for a Flugal Horn solo. This could be used to replace the keyboard solo. However, a cut can also be made in lieu of solos from B to Bar 50 or D. Instrumentation 2 Flutes, 2 Oboes, 2 Clarinets, 1 opt Bass Clarinet, 2 Bassoons, 4 Horns, 3 Trumpets (includes optional Lead Trumpet solo) 3 Trombones, 1 Tuba, 1 Percussion: Tambourine ad-lib, 1 Drum Set (optional solo), 1 Fender Bass, 1 Keyboard (preferably Hammond B3 with Leslie or Synth or Rhodes) (solo is optional), Strings.
$200.00
186.67 €
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Orchestra
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Henry Mancini
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Mr. Lucky
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Robert C. Olivia
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SheetMusicPlus
Mass for the Holy Year 2000, pt. 1 (2000) for SATB soloists, chorus and orchestra
Orchestra
Full Orchestra - Level 4 - Digital Download SKU: A0.869362 Composed by Thomas Oboe …
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Full Orchestra - Level 4 - Digital Download SKU: A0.869362 Composed by Thomas Oboe Lee. 20th Century,Baroque,Classical,Contemporary,Romantic Period. Score and parts. 109 pages. Thomas Oboe Lee #25513. Published by Thomas Oboe Lee (A0.869362). Instrumentation: SATB chorus and soloists plus orchestra 2222-2221-timp-perc-hp-org-strings. Mass for the Holy Year 2000 is in nine movements and scored for SATB chorus, chamber orchestra and organ. I set the entire Latin text from the Ordinary of the Mass: Kyrie, Gloria, Credo, Sanctus and Agnus Dei. In between these sections, I added four settings of contemporary poems written in English. Initially, I wanted to use poems that would bring to the listener's attention the serious humanitarian issues we face every day on earth as we enter a new millennium: religious and ethnic wars, poverty, genocide, AIDS, intolerance, social inequality and racial injustice. But as I began to slowly understand the text of the Mass, I decided that the contemporary poems I would use should reflect and amplify what is already in the Latin text. It is all about faith and redemption. Elizabeth Kirschner (b. 1955) is a poet who lives in Chestnut Hill, Massachusetts. Her poem is about the search for God. Claude McKay (1890-1948), a member of the Harlem Renaissance Poets, was originally from Jamaica. His poem asks for God's presence. Edith Stein (1891-1942) was a Carmelite nun who was killed by the Nazis during World War II because she was a Jew. Her poem celebrates God's presence. The final poem is by the Trappist monk, Thomas Merton (1915-1968). His poem, which was published posthumously, is about the assassination of the civil rights leader, Dr. Martin Luther King.
$9.99
9.32 €
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Orchestra
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Thomas Oboe Lee
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Mass for the Holy Year 2000, pt. 1
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Thomas Oboe Lee
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SheetMusicPlus
Mass for the Holy Year 2000, pt. 2 (2000) for SATB soloists, chorus and orchestra
Orchestra
Full Orchestra - Level 4 - Digital Download SKU: A0.869364 Composed by Thomas Oboe …
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Full Orchestra - Level 4 - Digital Download SKU: A0.869364 Composed by Thomas Oboe Lee. 20th Century,Baroque,Classical,Contemporary,Romantic Period. Score and parts. 104 pages. Thomas Oboe Lee #25515. Published by Thomas Oboe Lee (A0.869364). Instrumentation: SATB chorus and soloists plus orchestra 2222-2221-timp-perc-hp-org-strings. Mass for the Holy Year 2000 is in nine movements and scored for SATB chorus, chamber orchestra and organ. I set the entire Latin text from the Ordinary of the Mass: Kyrie, Gloria, Credo, Sanctus and Agnus Dei. In between these sections, I added four settings of contemporary poems written in English. Initially, I wanted to use poems that would bring to the listener's attention the serious humanitarian issues we face every day on earth as we enter a new millennium: religious and ethnic wars, poverty, genocide, AIDS, intolerance, social inequality and racial injustice. But as I began to slowly understand the text of the Mass, I decided that the contemporary poems I would use should reflect and amplify what is already in the Latin text. It is all about faith and redemption. Elizabeth Kirschner (b. 1955) is a poet who lives in Chestnut Hill, Massachusetts. Her poem is about the search for God. Claude McKay (1890-1948), a member of the Harlem Renaissance Poets, was originally from Jamaica. His poem asks for God's presence. Edith Stein (1891-1942) was a Carmelite nun who was killed by the Nazis during World War II because she was a Jew. Her poem celebrates God's presence. The final poem is by the Trappist monk, Thomas Merton (1915-1968). His poem, which was published posthumously, is about the assassination of the civil rights leader, Dr. Martin Luther King.
$9.99
9.32 €
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Orchestra
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Thomas Oboe Lee
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Mass for the Holy Year 2000, pt. 2
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Thomas Oboe Lee
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SheetMusicPlus
Fantasia on Two Well-Known Christmas Carols
Orchestra
Full Orchestra - Level 4 - Digital Download SKU: A0.1098213 By John Ebenezer West. …
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Full Orchestra - Level 4 - Digital Download SKU: A0.1098213 By John Ebenezer West. By Traditional. Arranged by Kara Williams. Christmas,Classical,Contest,Festival,Holiday,Romantic Period. Score and parts. 76 pages. Kara Williams #702089. Published by Kara Williams (A0.1098213). As the title suggests, Fantasia on Two Well-known Christmas Carols features popular traditional Christmas Carols ‘The First Nowell’, and ‘Good King Wenceslas’ cleverly arranged in various ways by John Ebenezer West (1863-1929). Originally published as an Organ Solo by West in 1917, Kara Williams has thoughtfully reimagined this work for orchestra (including percussion) bringing West’s enjoyable writing to a whole new audience. Scoring: Picc; Fl1&2; Ob1&2; Cl1&2; Bsn1&2 (Bsn2 sub Bcl); FHn1&2; Tbn (sub FHn3); Tba; Perc1&2 (incl timp/glock); opt. harp; Vln I; Vln2; Vla; VC; CB.
$40.00
37.33 €
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Orchestra
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John Ebenezer West
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Fl1&2
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Fantasia on Two Well-Known Christmas Carols
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Kara Williams
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SheetMusicPlus
O Holy Night; Cantique de Noel - Solo Bass Clarinet
Orchestra
Full Orchestra - Level 3 - Digital Download SKU: A0.721609 Composed by Adam, Adolph…
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Full Orchestra - Level 3 - Digital Download SKU: A0.721609 Composed by Adam, Adolph. Arranged by Anne L Christopherson GRSM ARCM. Christmas,Concert,Sacred,Spiritual. Score and parts. 2 pages. Music-Scores.com #4846431. Published by Music-Scores.com (A0.721609). Cantique de Noel, or O Holy Night. The setting of a poem by Cappeau which was written to celebrate the renovation of the Church organ in Roquemaure, on the west of the Rhone. This arrangement has an option to improvise, and is for unaccompanied Bass Clarinet.Duration up to 3 minutes, 30 seconds.Arranged by Anne Christopherson and www.music-scores.com
$5.95
5.55 €
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Orchestra
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Adam, Adolph
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O Holy Night; Cantique de Noel - Solo Bass Clarinet
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Music-Scores.com
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SheetMusicPlus
Concerto for Double Bass (solo part, orchestral parts & full score)
Orchestra
Full Orchestra - Level 5 - Digital Download SKU: A0.932543 Composed by James Bersey…
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Full Orchestra - Level 5 - Digital Download SKU: A0.932543 Composed by James Bersey. Contemporary. Score and Parts. 268 pages. James Bersey #6668845. Published by James Bersey (A0.932543). CONCERTO FOR DOUBLE BASScomposed by JAMES BERSEYINCLUDES:1) Solo double bass part (& cadenza, as performed by the composer 2017)2) Complete set of orchestral parts 3) Full scoreVersion for Double bass & Piano is also available from Sheetmusic Plus:ITEM ID: S0.1162305PRINTING:Parts:Select each part, set your printer to A4 booklet, paper size A3 and fold each part into an A4 booklet. No staples or binding required.Score:Either read from device, or print off onto A4 back-to-back or fit to A3 back-to-back & bind.COPYRIGHTInternational copyright secured.LICENCESfor public performances, recordings or broadcasts are available from PRS for Music (UK), ASCAP (USA) and all other global affiliated Performing Rights Organisations.
$5.00
4.67 €
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Orchestra
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James Bersey
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Concerto for Double Bass
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James Bersey
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SheetMusicPlus
Mass for choir and orchestra (Score and parts)
Orchestra
Full Orchestra - Level 4 - Digital Download SKU: A0.576914 Composed by David Warin …
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Full Orchestra - Level 4 - Digital Download SKU: A0.576914 Composed by David Warin Solomons. 20th Century,Christian,Contemporary,Sacred. Score and parts. 70 pages. David Warin Solomons #519335. Published by David Warin Solomons (A0.576914). Setting of the Kyrie, Gloria, Sanctus, Benedictus and Agnus Dei for SATB choir and full orchestra based on my mass for men's voices and organ (which can be found on: http://www.dwsolo.com/serif/massformensvoices.html ) The style is lyrical and neo-classical with a few hints of oriental modes (full of Eastern promise as a member of the congregation said when the original version was performed in Manchester). The sound sample is an electronic preview but a professional live recording is expected soon. The pdf file contains score and parts (with the Choir part as a complete SATB score). The score on its own is also available on this site. The optional orchestral finale Ite Missa Est and the original versions for men's voices and organ and for sopranos, altos, men's voices and organ are also available on this site.
$25.00
23.33 €
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Orchestra
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David Warin Solomons
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Mass for choir and orchestra
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David Warin Solomons
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SheetMusicPlus
Mass for choir and orchestra (Score only)
Orchestra
Full Orchestra - Level 4 - Digital Download SKU: A0.576913 Composed by David Warin …
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Full Orchestra - Level 4 - Digital Download SKU: A0.576913 Composed by David Warin Solomons. 20th Century,Christian,Contemporary,Sacred. Score and parts. 20 pages. David Warin Solomons #519333. Published by David Warin Solomons (A0.576913). Setting of the Kyrie, Gloria, Sanctus, Benedictus and Agnus Dei for SATB choir and full orchestra based on my mass for men's voices and organ (which can be found on: http://www.dwsolo.com/serif/massformensvoices.html ) The style is lyrical and neo-classical with a few hints of oriental modes (full of Eastern promise as a member of the congregation said when the original version was performed in Manchester). The sound sample is an electronic preview but a professional live recording is expected soon. The pdf file contains just the score. The score with parts is also available on this site. The optional orchestral finale Ite Missa Est and the original versions for men's voices and organ and for sopranos, altos, men's voices and organ are also available on this site.
$10.00
9.33 €
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Orchestra
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David Warin Solomons
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Mass for choir and orchestra
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David Warin Solomons
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SheetMusicPlus
"Te Deum", op. 5 - Score Only
Orchestra
Full Orchestra - Level 4 - Digital Download SKU: A0.1203852 By Adrian Gagiu. By Adr…
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Full Orchestra - Level 4 - Digital Download SKU: A0.1203852 By Adrian Gagiu. By Adrian Gagiu. Arranged by Adrian Gagiu. 20th Century,Baroque,Christian,Classical,Sacred. 133 pages. Adrian Gagiu #802408. Published by Adrian Gagiu (A0.1203852). Neo-Baroque, medium-sized, large scale composition for 4 vocal soloists, mixed chorus in 4 to 8 parts, and full orchestra with organ, setting the traditional canticle text, mostly with church modes and alternating polyphonic intricacies with solemn, intense or profound moments. It would work both for worship and in concert, as it includes powerful outbursts, elaborate counterpoint, and also soft and humble moments, while avoiding any harsh excesses of modernism. Total duration: 46 min. Performing Rights Organization: SOCAN. The audio sample is the 5th movement. The first two choruses, in 4 parts, follow the general outline of the Baroque French overture: a solemn introduction followed by an elaborate fugue. The 3rd movement is a solemn arioso for bass, followed by a grand chorus in 4 and 5 parts. The 4th movement is an arioso for tenor, followed by a complex chorus in 5 parts. The 5th movement is a suite of two ariosos for alto and soprano, followed by a grand, but brief chorus in 6 parts, and then by a mysterious instrumental evocation of the Last Judgment. The 6th movement is a vocal quartet a cappella, based on a well-known Orthodox hymn and alternated with a refrain for chorus in 7 parts and organ, then followed by a grand choral complex ended in humble supplication. The final, 7th movement is a grand motet for double chorus and orchestra, with four themes more and more intricately combined, up to the majestic coda treated in quadruple counterpoint.
$49.99
46.66 €
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Orchestra
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Adrian Gagiu
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"Te Deum", op. 5 - Score Only
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Adrian Gagiu
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SheetMusicPlus
Symphony No. 3 in A minor, op. 17 (parts)
Orchestra
Full Orchestra - Level 5 - Digital Download SKU: A0.1357497 Composed by Adrian Gagi…
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Full Orchestra - Level 5 - Digital Download SKU: A0.1357497 Composed by Adrian Gagiu. 20th Century,Classical,Contemporary. 291 pages. Adrian Gagiu #942043. Published by Adrian Gagiu (A0.1357497). The orchestral parts of the Third Symphony (2000, revised 2023), an ambitious, modernist/neoclassical composition for orchestra and chorus with four vocal soloists. It may represent a search for harmony within and/or without and is a huge, subtle variations form on a theme that appears clearly and in full only in the Finale.The chromatic, first movement (Andante maestoso) begins mysteriously with A's in the unaccompanied violins, like a tuning or a seed of what is to come. These A's are adorned with oscillations which gradually become wider leaps until they reach the fifth (as in the beginning of the future full theme), and the other instruments join gradually. The mood is dark, tragic, pensive, and somehow abstract, as the music wanders in an almost improvisatory manner through chromatic modes and goes crescendo-decrescendo back again to the bare, cryptic A's.The energetic second movement (Allegro) is an enormous scherzo toying with the second melodic cell of the full theme, a descending tetrachord. This vital, Dionysian frenzy (in strong contrast to the Apollonian, severe contemplation in the first movement) leads only to its exhaustion and to the disorientated, slow Trio: first, an almost atonal tenor monologue accompanied by harp (on verses from Dante's Purgatory), then a quotation from Beethoven's sketches for a planned overture on the B-A-C-H motif, followed by a fugal section on the same archetypal motif and again a tenor monologue (on verses from Eminescu's Satire No. 4), this time with organ accompaniment and more and more tortured until the choral exclamations and the final cymbal clash. The search seemed in vain, so the rhythmic fury of the scherzo returns, but in mirror, as minor modes replaced the major ones on the same material.The Finale (Larghetto-Allegro-Larghetto) was inspired by the last scene in Goethe's Faust, part 2. After a cryptic variation for choir a cappella, the full theme appears at last in the orchestra, setting a lyric, appeased mood and more diatonic harmonies, while it reconciles the introspection of the first movement and the emotional and vital aspects of the second, although occasional attempts are made to escape, striving more and more towards the ending (with four vocal soloists and chorus). The parenthetic structure of the finale is a holographic reflection of the general form of the whole symphony, alternating gentle, contemplative episodes with exuberant or majestic fugatos. Towards the ending, ecstatic, big, complex quartal chords suggest the limits of perception and language (on the final stanzas from Dante's Paradise), until the sonority becomes again more and more rarefied and the journey returns to its starting point from the first movement: the 'tuning' A's in the violins.Total duration: 54 min. Performing Rights Organization: SOCAN. The mp3 audio clip is the second movement.
$210.00
196.01 €
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Orchestra
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Adrian Gagiu
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Symphony No. 3 in A minor, op. 17
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Adrian Gagiu
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SheetMusicPlus
Symphony No. 3 in A minor, op. 17
Orchestra
Full Orchestra - Level 5 - Digital Download SKU: A0.1356636 Composed by Adrian Gagi…
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Full Orchestra - Level 5 - Digital Download SKU: A0.1356636 Composed by Adrian Gagiu. 20th Century,Classical,Contemporary. 215 pages. Adrian Gagiu #941262. Published by Adrian Gagiu (A0.1356636). The score, parts and vocal score of the Third Symphony (2000, revised 2023), an ambitious, modernist/neoclassical composition for orchestra and chorus with four vocal soloists. It may represent a search for harmony within and/or without and is a huge, subtle variations form on a theme that appears clearly and in full only in the Finale. The chromatic, first movement (Andante maestoso) begins mysteriously with A's in the unaccompanied violins, like a tuning or a seed of what is to come. These A's are adorned with oscillations which gradually become wider leaps until they reach the fifth (as in the beginning of the future full theme), and the other instruments join gradually. The mood is dark, tragic, pensive, and somehow abstract, as the music wanders in an almost improvisatory manner through chromatic modes and goes crescendo-decrescendo back again to the bare, cryptic A's. The energetic second movement (Allegro) is an enormous scherzo toying with the second melodic cell of the full theme, a descending tetrachord. This vital, Dionysian frenzy (in strong contrast to the Apollonian, severe contemplation in the first movement) leads only to its exhaustion and to the disorientated, slow Trio: first, an almost atonal tenor monologue accompanied by harp (on verses from Dante's Purgatory), then a quotation from Beethoven's sketches for a planned overture on the B-A-C-H motif, followed by a fugal section on the same archetypal motif and again a tenor monologue (on verses from Eminescu's Satire No. 4), this time with organ accompaniment and more and more tortured until the choral exclamations and the final cymbal clash. The search seemed in vain, so the rhythmic fury of the scherzo returns, but in mirror, as minor modes replaced the major ones on the same material. The Finale (Larghetto-Allegro-Larghetto) was inspired by the last scene in Goethe's Faust, part 2. After a cryptic variation for choir a cappella, the full theme appears at last in the orchestra, setting a lyric, appeased mood and more diatonic harmonies, while it reconciles the introspection of the first movement and the emotional and vital aspects of the second, although occasional attempts are made to escape, striving more and more towards the ending (with four vocal soloists and chorus). The parenthetic structure of the finale is a holographic reflection of the general form of the whole symphony, alternating gentle, contemplative episodes with exuberant or majestic fugatos. Towards the ending, ecstatic, big, complex quartal chords suggest the limits of perception and language (on the final stanzas from Dante's Paradise), until the sonority becomes again more and more rarefied and the journey returns to its starting point from the first movement: the 'tuning' A's in the violins. Total duration: 54 min. Performing Rights Organization: SOCAN. The mp3 audio clip is the second movement.
$210.00
196.01 €
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Orchestra
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Adrian Gagiu
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Symphony No. 3 in A minor, op. 17
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Adrian Gagiu
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SheetMusicPlus
Missa Solemnis, op. 27 (parts)
Orchestra
Full Orchestra - Level 5 - Digital Download SKU: A0.1277141 Composed by Adrian Gagi…
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Full Orchestra - Level 5 - Digital Download SKU: A0.1277141 Composed by Adrian Gagiu. 21st Century,Christian,Classical,Latin. Score and Parts. 282 pages. Adrian Gagiu #868829. Published by Adrian Gagiu (A0.1277141). Missa Solemnis in B major, op. 27 (orchestral parts). Based on its Neo-classical style, this setting of the Roman Catholic mass text could possibly work as a festive mass (missa solemnis) with trumpets and timpani, and its duration would fit such a solemn service. However, its intense and sometimes dramatic treatment and universal addressability due to its well-known and rather concentrated text, yet also due to eliminating the „Filioque” (which would still fit the rhythm of the repeated „qui ex Patre”, should any Catholics ever wish to perform this as a mass) make it rather a „liturgical oratorio for all nations”, more appropriate in the concert hall. The work has had a long gestation: imagined in 1984 after the composer’s first contact with Beethoven’s masterpiece, then sketched first in 1987-1989, and many of its themes date back from those years. Its working out is quite polyphonic, discretely modal and cyclical, and also full of centuries-old musical symbols traditionally associated with the setting of the mass text: e.g. unisons for the more dogmatical parts, Baroque dotted rhythms at the Nativity (the first coming of the King of Kings), „rex caelestis” and also at his Passion (whose setting is discretely inspired by folkloric Romanian laments), the „anabasis” gesture at „Gloria in excelsis Deo”, „et ascendit in caelis”, „in remissionem peccatorum” and the resurrection, a flute trill standing for the Holy Spirit who has come ’like a dove’ at „et incarnatus est”, a cross-shaped texture at „crucifixus”, and some word-painting (hushed sonorities at „et invisibilium”, anticipations between orchestra and chorus at „et exspecto” etc.). Moreover, certain symbolic roles are assigned to the instrumental groups when alone (the organ represents God the Father and transcendence, the winds and/or solo voices represent God the Son and humanity, and the strings represent the Holy Spirit). „Kyrie” is restrained and soft, besides the powerful chords opening the respective sections of its tripartite, simple structure, and it leans towards Palestrina’s serene modality and counterpoint. „Gloria” begins with a colorful orchestral introduction depicting discretely the shepherds who kept watch over their flocks right before the Nativity, and then gradually the bright revelation. „Credo” has an orchestral introduction as well, but powerful, recurring and based on the beginning of the plainchant hymn „Pange lingua”, made famous by Mozart’s last symphony and by other Classical composers. Both „Gloria” and „Credo” end with extended, powerful and elaborate fugues („in gloria Dei Patris” and „et vitam venturi saeculi”, respectively) with dramatic modulations and sometimes with enthusiastic syncopations at odds with the words’ accents, a la Stravinsky. The same sections plus „Agnus Dei” end with soft quartal harmonies suggesting transcendent appeasement (similar harmonies appear powerfully at the beginning of „Sanctus”). „Judicare” quotes the beginning of the well-known „Dies irae” plainchant tune, and the Consecration between the „Sanctus” and „Benedictus” sections is represented by a contemplative prelude for solo organ, quoting Lutheran chorales, too. Another long orchestral introduction, suggesting the Last Judgment and based on traditional Byzantine hymns, opens „Agnus Dei”, which includes another quotation (the famous ’Dresden Amen’ at „qui tollis peccata mundi” and „dona nobis pacem”). In the final section, with its refined simplicity, the choral voices enter in descending order, and the „Kyrie eleison” theme is briefly remembered, then it ends softly and peacefully. Total duration: 50 min. Performing Rights Organization: SOCAN. The mp3 audio clip is Kyrie.
$160.00
149.34 €
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Orchestra
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Adrian Gagiu
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Missa Solemnis, op. 27
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Adrian Gagiu
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SheetMusicPlus
Missa Solemnis, op. 27 - Score Only
Orchestra
Full Orchestra - Level 5 - Digital Download SKU: A0.1277133 Composed by Adrian Gagi…
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Full Orchestra - Level 5 - Digital Download SKU: A0.1277133 Composed by Adrian Gagiu. 21st Century,Christian,Classical,Latin. 128 pages. Adrian Gagiu #868819. Published by Adrian Gagiu (A0.1277133). Missa Solemnis in B major, op. 27 (conductor's score). Based on its Neo-classical style, this setting of the Roman Catholic mass text could possibly work as a festive mass (missa solemnis) with trumpets and timpani, and its duration would fit such a solemn service. However, its intense and sometimes dramatic treatment and universal addressability due to its well-known and rather concentrated text, yet also due to eliminating the „Filioque” (which would still fit the rhythm of the repeated „qui ex Patre”, should any Catholics ever wish to perform this as a mass) make it rather a „liturgical oratorio for all nations”, more appropriate in the concert hall. The work has had a long gestation: imagined in 1984 after the composer’s first contact with Beethoven’s masterpiece, then sketched first in 1987-1989, and many of its themes date back from those years. Its working out is quite polyphonic, discretely modal and cyclical, and also full of centuries-old musical symbols traditionally associated with the setting of the mass text: e.g. unisons for the more dogmatical parts, Baroque dotted rhythms at the Nativity (the first coming of the King of Kings), „rex caelestis” and also at his Passion (whose setting is discretely inspired by folkloric Romanian laments), the „anabasis” gesture at „Gloria in excelsis Deo”, „et ascendit in caelis”, „in remissionem peccatorum” and the resurrection, a flute trill standing for the Holy Spirit who has come ’like a dove’ at „et incarnatus est”, a cross-shaped texture at „crucifixus”, and some word-painting (hushed sonorities at „et invisibilium”, anticipations between orchestra and chorus at „et exspecto” etc.). Moreover, certain symbolic roles are assigned to the instrumental groups when alone (the organ represents God the Father and transcendence, the winds and/or solo voices represent God the Son and humanity, and the strings represent the Holy Spirit). „Kyrie” is restrained and soft, besides the powerful chords opening the respective sections of its tripartite, simple structure, and it leans towards Palestrina’s serene modality and counterpoint. „Gloria” begins with a colorful orchestral introduction depicting discretely the shepherds who kept watch over their flocks right before the Nativity, and then gradually the bright revelation. „Credo” has an orchestral introduction as well, but powerful, recurring and based on the beginning of the plainchant hymn „Pange lingua”, made famous by Mozart’s last symphony and by other Classical composers. Both „Gloria” and „Credo” end with extended, powerful and elaborate fugues („in gloria Dei Patris” and „et vitam venturi saeculi”, respectively) with dramatic modulations and sometimes with enthusiastic syncopations at odds with the words’ accents, a la Stravinsky. The same sections plus „Agnus Dei” end with soft quartal harmonies suggesting transcendent appeasement (similar harmonies appear powerfully at the beginning of „Sanctus”). „Judicare” quotes the beginning of the well-known „Dies irae” plainchant tune, and the Consecration between the „Sanctus” and „Benedictus” sections is represented by a contemplative prelude for solo organ, quoting Lutheran chorales, too. Another long orchestral introduction, suggesting the Last Judgment and based on traditional Byzantine hymns, opens „Agnus Dei”, which includes another quotation (the famous ’Dresden Amen’ at „qui tollis peccata mundi” and „dona nobis pacem”). In the final section, with its refined simplicity, the choral voices enter in descending order, and the „Kyrie eleison” theme is briefly remembered, then it ends softly and peacefully. Total duration: 50 min. Performing Rights Organization: SOCAN. The mp3 audio clip is Kyrie.
$85.99
80.26 €
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Orchestra
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Adrian Gagiu
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Missa Solemnis, op. 27 - Score Only
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Adrian Gagiu
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SheetMusicPlus
Thierry Pélicant: Concerto for contrabass and orchestra, score only
Orchestra
Full Orchestra - Level 5 - Digital Download SKU: A0.534554 Composed by Thierry Pél…
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Full Orchestra - Level 5 - Digital Download SKU: A0.534554 Composed by Thierry Pélicant. 20th Century,Contemporary,Standards. Score and parts. 136 pages. Musik Fabrik Music Publishing #4283537. Published by Musik Fabrik Music Publishing (A0.534554). In 2004, the Orchestre Philharmonique de l’Oise commissioned its musical director, t Thierry Pélicant, this concerto for the late Claude Caens, the principal contrabass of this orchestra. This great artist, who was friends with everyone in this ensemble, wanted everyone to have a part in the festivities, not only the strings, but also the winds, the horns, the trumpets and the percussion, and also that they all should be heard ! Thierry Pélicant wrote therefore a concerto which is at once very symphonic – and for this reason, it is strongly advised that the contrabass be amplified – but also a piece which would express the friendship between the orchestra and the soloist. This concerto strives to be both warm and lyrical : it is not a virtuoso showpiece, inspite of the real technical that it offers to the soloist and which he would do well to try to hid them from the audience. It is also not a battle between the orchestra and this gentle giant : they stroll together, sometimes joyously, sometimes with nostalgia and go through the strong storms which do not fail to present themselves, smiling together and finding them to be envigorating.The work is scored for (2(Pic)2(EH)22/2200/Timp/2perc/strings) and lasts aproximately 23 minutes. The orchestral parts are on rental from the pubilsher. The piano reduction with the solo part is available for sale on this site.Thierry Pélicant was born in 1957 at Sainte-Adresse, France. After studying the organ and the horn, his meeting with Jean-Claude Hartemann, the Musical Director of the Opéra Comique in Paris lead him to decide to explore conducting. He was the student of Haremann for fifteen years. He is the Musical Director of the André Messager Orchestre and has also directed the Orchestre Philharmonique de l’Oise since 1980, one of the oldest French orchestras, since it was founded in 1750. A passionate ssupporter of French music, Pélicant reconstructed the Messe solennelle of L.V.A Boïeldieu and Te Deum of 1792 by Philidor and premièred and recorded the Suite Parnassienne, Massenet’s last work. At the same time, he has also served the music of our time in premièring or recording the works of Dazzi, Marchand, Braconnier, Bénard, Drouin, Preschez, etc. As a composer, musical grammar and stylistic debates only interest him from afar. As a true gourmet (since cooking is another of his passions), he strives to write the music that pleases him, that would be enjoyable to play and which would be enjoyable to hear, hopefully with real pleasure and in which he tries to express the emotions and the pleasant or surprising states of being which, to hime, these works are tied. Through this process, he has created concertos (for oboe, for bassoon, for organ, for contrabass), Escales & paysages, ma monumental literary concerto for narrator, piano and orchestra, written for his friend Dominique Preschez, Operas (Histoires comme ça, Ribouldingue, Élise et le fantôme) ; With the poet Luis Porquet, he wrote the song cycle Ombre légère (for soprano, harp and orchestre), Rhapsodie du Havre (for tenor and chamber orchestra, a commission from the Forum de Normandie to commemorate the 500 years of the founding of the city Le Havre), Et de toi, Bethleem, Christmas oratorio for baritone, chorus and orchestra and, finally, commissioned by the Orchestre de l’Oise in honor of the centennial of the First World War 14, fresque de la Grande Guerre, for the tenor Daniel Gàlvez-Vallejo, children’s chorus and orchestra. In the area of chamber music, he has written a sonata for horn and piano, for the Festival de Giverny, Borée (quintet for oboe and strings), Sextuor d’été, and Milonga (septet inspired by the World of Tango Music). Published in 2005, his novel Carnets de Walter Crane, explores the sufferings of a composer who has the obligation to write a string quartet ...
$38.95
36.35 €
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Orchestra
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Thierry Pélicant
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Thierry Pélicant: Concerto for contrabass and orchestra, score only
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Musik Fabrik Music Publishing
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SheetMusicPlus
Handel Hallelujah Chorus From Messiah
Orchestra
Full Orchestra - Level 2 - Digital Download SKU: A0.1385189 By Artyfile. By George …
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Full Orchestra - Level 2 - Digital Download SKU: A0.1385189 By Artyfile. By George Frideric Handel. Arranged by Paul Lorenz. Baroque,Christian,Classical,Praise and Worship,Religious. 74 pages. Paul Lorenz #969195. Published by Paul Lorenz (A0.1385189). Elevate Your Performance with Handel's Hallelujah Chorus Sheet Music A Timeless Masterpiece Awaits Dive into the magnificence of George Frideric Handel's most celebrated work, the Hallelujah Chorus from Messiah. At Paul Lorenz Music, we offer an unparalleled selection of the Hallelujah Chorus choral sheet music, crafted for choirs and musicians who aim for excellence. Our meticulously prepared editions ensure that every crescendo and every harmony of this baroque masterpiece resonates with audiences and performers alike. Accessible Excellence for Every Musician Whether you're a solo artist looking for Hallelujah Chorus from Messiah sheet music or an ensemble seeking to captivate with Handel's baroque splendor, our collection spans from Hallelujah chorus piano sheet music to full orchestral scores. Discover our Hallelujah Handel PDF and Hallelujah Chorus Handel PDF editions, offering crystal-clear notations for a seamless performance experience. Immerse in the Baroque Brilliance For organists, the Hallelujah Chorus organ PDF provides the foundation for a powerful and moving rendition, bringing Handel's vision to life with every note. Choirs can elevate their performance with our Hallelujah Chorus SATB sheet music, designed for soprano, alto, tenor, and bass voices to blend harmoniously in this epic chorus. Full Scores for Complete Mastery Achieve a deeper understanding and a more impactful performance with the Hallelujah Chorus full score PDF. This comprehensive resource is perfect for conductors and music directors aiming to explore Handel's intricate musical architecture, ensuring a performance that is both authentic and profound.
$99.99
93.33 €
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Orchestra
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Artyfile
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Handel Hallelujah Chorus From Messiah
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Paul Lorenz
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SheetMusicPlus
Ite Missa Est for orchestra (Score and Parts)
Orchestra
Full Orchestra - Level 4 - Digital Download SKU: A0.576916 Composed by David Warin …
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Full Orchestra - Level 4 - Digital Download SKU: A0.576916 Composed by David Warin Solomons. Christian,Contemporary. Score and parts. 48 pages. David Warin Solomons #519345. Published by David Warin Solomons (A0.576916). This is based on the Organ Voluntary that was originally written for the mass for men's voices and organ. It is intended as an optional finale for the Mass for choir and orchestra (also available on this site), but it can also be performed as a separate item. The themes of the choral setting of the mass are taken up by the orchestra, leading to a musical mix reminiscent in some places of film soundtracks. The congregation is blessed by the priest and leave the church in exuberant mood with the music of the Mass ringing in their ears in this orchestral extravaganza. The sound sample is an electronic preview but a professional live recording is expected soon. The pdf file contains score and parts. The score on its own is also available on this site. The Mass for choir and orchestra itself, and also the original versions for men's voices and organ and for sopranos, altos, men's voices and organ are also available on this site.
$15.00
14 €
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Orchestra
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David Warin Solomons
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Ite Missa Est for orchestra
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David Warin Solomons
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SheetMusicPlus
Ite Missa Est for orchestra (Score only)
Orchestra
Full Orchestra - Level 4 - Digital Download SKU: A0.576915 Composed by David Warin …
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Full Orchestra - Level 4 - Digital Download SKU: A0.576915 Composed by David Warin Solomons. Christian,Contemporary. Score and parts. 17 pages. David Warin Solomons #519341. Published by David Warin Solomons (A0.576915). This is based on the Organ Voluntary that was originally written for the mass for men's voices and organ. It is intended as an optional finale for the Mass for choir and orchestra (also available on this site), but it can also be performed as a separate item. The themes of the choral setting of the mass are taken up by the orchestra, leading to a musical mix reminiscent in some places of film soundtracks. The congregation is blessed by the priest and leave the church in exuberant mood with the music of the Mass ringing in their ears in this orchestral extravaganza. The sound sample is an electronic preview but a professional live recording is expected soon. The pdf file contains just the score. The score with parts is also available on this site. The Mass for choir and orchestra itself, and also the original versions for men's voices and organ and for sopranos, altos, men's voices and organ are also available on this site.
$7.00
6.53 €
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Orchestra
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David Warin Solomons
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Ite Missa Est for orchestra
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David Warin Solomons
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SheetMusicPlus
El Tango De Roxanne
Orchestra
Full Orchestra - Level 4 - Digital Download SKU: A0.1250907 Composed by Baz Luhrman…
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Full Orchestra - Level 4 - Digital Download SKU: A0.1250907 Composed by Baz Luhrmann, Craig Pearce, Gordon Sumner, and Mariano Mores. Arranged by John Langley. 21st Century,Broadway,Film/TV,Latin,Musical/Show,Pop. Score and Parts. 169 pages. Www.studio-orchestrations.com #845188. Published by www.studio-orchestrations.com (A0.1250907). This arrangement is a full symphonic 'filmic' transcription of this iconic modern classic song sung by Ewan MacGregor and the cast of the movie soundtrack uncut. There are some optional instruments (2nd guitar, 2nd keyboard, even SATB choir) but there is a feature guitar and violin solo part. In it’s fullest form this orchestration is very colourful and dramatic, but conductors and concert organisers would be able to omit some additional instruments to taste to fit their specific orchestral line-up needs without degrading the high impact of the song and this orchestrated version.With clear, concise typeset parts [with page turns all properly formatted for practical use by the individual players] this chart would make a stunning dramatic feature item in any concert with orchestra and soloist(s). Suitable for professional or advanced inetrmediate orchestrasThe instrumentation comprises:2 FlutesPiccoloOboe Cor Anglais2 ClarinetsBass Clarinet2 Bassoons4 French Horns3 Trumpets3 TrombonesTubaTimpani2 Percussion [Cymbals/Bass Drum]HarpPiano (keyboard 1)Keyboard 2 [Optional]2 Acoustic guitars [2nd Optional]Bass GuitarDrum Kit2 SoloistsSATB Chorus [Optional]StringsYou might also be interested in my orchestration of Come What May:https://www.sheetmusicplus.com/title/come-what-may-digital-sheet-music/22530128.
$120.00
112 €
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Orchestra
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Baz Luhrmann, Craig Pearce, Gordon Sumner, and Mariano Mores
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El Tango De Roxanne
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www.studio-orchestrations.com
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SheetMusicPlus
Concerto for Electric Guitar and Orchestra
Orchestra
Full Orchestra - Level 3 - Digital Download SKU: A0.809889 Composed by Robert E. Pr…
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Full Orchestra - Level 3 - Digital Download SKU: A0.809889 Composed by Robert E. Proctor. Blues,Contemporary. Score and parts. 270 pages. R. E. Proctor #4800403. Published by R. E. Proctor (A0.809889). This concerto is in the traditional three movement format with the first and third movements being fast and the middle movement slow. The second and third movements are most like a blues work. The first movement is a rondo format, is not particularly bluesy. A Les Paul™ guitar would play particularly well in this movement. The second movement switches between the soloist as the distorted guitar sound to the vocalist as the clean guitar sound. The final movement is happy, upbeat, and lively good time blues. In the second and third movements in particular, the basses (cello, double bass) should be easily heard. At the end of the third movement, the precisionist on the drum set should improvise a loud, untimed measure, solo utilizing all the drums and cymbals in the set ending with four moderately paced and slowing beats on the snare drum. A momentary pause, then the final chord. The guitarist will need at least one foot pedal for distortion enabling him/her to switch between a clean sound and a distorted sound. The guitar should be the equivalent of a Fender™ Stratocaster or Telecaster guitar; a Gibson™ Les Paul would do nicely also. The music is partially fingered leaving the player the opportunity to interpret the part. The work is after the fashion of Chicago style blues of the 1960’s. The conductor and guitarist may wish to listen to recordings by the Paul Butterfield Blues Band, John Lee Hooker, John Mayall and the Blues Breakers, B.B. King, etc. to get a feel for the music of the 1960’s blues bands. It would be highly desirable to use an organ, for the 3rd movement, that can produce a Hammond B3™ with Leslie sound, as that instrument was widely used in blues of that period. Although some of the notes notated as harmonics (h) in the score can be played as fretted notes, playing them as natural and artificial harmonics provides an interesting change of tonality. The orchestral part is not particularly challenging. The concerto is approx. 17 minutes in length.
$19.95
18.62 €
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Orchestra
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Robert E
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Concerto for Electric Guitar and Orchestra
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R. E. Proctor
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SheetMusicPlus
I Knew You Were Waiting
Orchestra
Full Orchestra - Level 3 - Digital Download SKU: A0.1388226 By George Michael & Are…
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Full Orchestra - Level 3 - Digital Download SKU: A0.1388226 By George Michael & Aretha Franklin. By Dennis Morgan and Simon Climie. Arranged by Mike Campbell. Pop,R & B. 44 pages. CapeMusic #971824. Published by CapeMusic (A0.1388226). This arrangement for full orchestra, rhythm section and duet soloists based on the George Michael / Aretha Franklin version can be performed with a single soloist if necessary. The vocal part should be interpreted freely according to the soloist's particular style and preference.
$65.00
60.67 €
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Orchestra
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George Michael & Aretha Franklin
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I Knew You Were Waiting
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CapeMusic
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SheetMusicPlus
TAPS A Rembrance
Orchestra
Full Orchestra - Level 3 - Digital Download SKU: A0.1226101 Composed by Traditional…
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Full Orchestra - Level 3 - Digital Download SKU: A0.1226101 Composed by Traditional. Arranged by Ken Litton. Historic,Patriotic,Standards,Traditional. Score and Parts. 28 pages. Artist of Note, Inc. #822125. Published by Artist of Note, Inc. (A0.1226101). TAPS A Remembrance Bb Solo Trumpet, Narrator, Piano/Organ/Orchestra, optional SATB Choir > 2:00TAPS - A Remembrance is ideal for the kinds of brief but important Memorial Day and/or Independence Day observances so often called for in our time.The poignant narration recalls the story of United States Army Sergeant Keith Clark playing the bugle call know today as Taps for the interment of President John F. Kennedy (November of 1963). As author William Manchester later wrote, “The 6th note of the 24 he played seemed like “a catch in your voice or a swiftly stifled sob” that the whole world heard, and that remains part of our national heritage.The background arrangement (optionally with chorus) heightens the emotion of the story until both give way to a regulation trumpet solo version that includes the grace note error and fades at the end. The orchestration is done in a 4 Part + format that lends itself to optional performance by any section of the orchestra (originally for brass alone).The choral octavo carries the complete narration (also see below) with accompaniment (playable by/adaptable to organ) and the solo trumpet part (all that’s really needed to perform the piece) along with permission to reproduce the octavo for optional choir/ensemble.The choral writing involves divisi only at two easily sung cadence points.And, it can be performed by just the brass and the narrator.For those who may not know the story:CBS News video of A Bugle Call Remembered Gathering 11/16/2013 [01:15] https://www.youtube.com/watch?v=E3u2qKWQ8io----NARRATOR: Since the mid 1800s the bugle call known today as Taps has heralded rest for the weary, as well as comfort and encouragement in times of deep personal and collective grief.** music beginsAt about 3:00 p.m. on November 24th 1963, as the nation mourned the assassination of President John F. Kennedy, United States Army Sergeant Keith Clark raised his bugle at Arlington National Cemetery [† with thoughts of I Corinthians 15:51 in mind, “The trumpet shall sound”].Clearly broadcast throughout the country and around the world, the 6th note of the 24 he played seemed like “a catch in your voice or a swiftly stifled sob” as author William Manchester put it. But, as another observer** noted: “Like the crack in the Liberty Bell, it remains part of our national heritage.”(Taps solo Trumpet with intentional error at m.14 continues)________† Optional text** Ed Hunter for www.TapsForever.com.
$29.99
27.99 €
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Orchestra
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Traditional
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TAPS A Rembrance
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Artist of Note, Inc.
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SheetMusicPlus
Symphony No. 2 - Finale
Orchestra
Full Orchestra - Level 3 - Digital Download SKU: A0.1366865 By Artyfile. By Gustav …
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Full Orchestra - Level 3 - Digital Download SKU: A0.1366865 By Artyfile. By Gustav Mahler. Arranged by Paul Lorenz. 20th Century,Classical,Film/TV,Praise and Worship,Romantic Period. 42 pages. Paul Lorenz #951198. Published by Paul Lorenz (A0.1366865). Paul Lorenz's Majestic Arrangement of Mahler's Symphony No. 2 Finale Rediscovering a Masterpiece: The Finale of Mahler's Symphony No. 2 Experience the grandeur of Gustav Mahler's Symphony No. 2 like never before with Paul Lorenz specially arranged concert version. Meticulously crafted for orchestras, soloists, and choirs, this edition brings the awe-inspiring 'Resurrection Symphony' to a wider audience. Its adaptability makes it perfect for a diverse range of ensembles, from full orchestras to chamber groups, ensuring that the magnificence of this monumental work is accessible to all. Elevating Performance Standards Paul Lorenz's expert arrangement encapsulates the essence of Mahler's vision, offering an exquisite balance between authenticity and practicality. The orchestration includes flutes, oboes, clarinets, horns, trumpets, trombones, timpani, organ, strings, and a four-part choir, creating a rich tapestry of sound. This version is ideal for smaller ensembles seeking to perform a large-scale work without compromising on quality. It's a testament to the timeless appeal of Mahler's symphony and a tribute to the innovative spirit of Paul Lorenz Music. A Symphony for the Ages The 'Resurrection Symphony' is renowned for its profound emotional depth and complexity. This arrangement not only encapsulates the essence of Mahler's masterpiece but also aligns with the contemporary cinematic narrative, as seen in the award-winning film 'Maestro' featuring Bradley Cooper as Leonard Bernstein. Paul Lorenz Music's version honors this legacy, providing musicians and audiences alike with an unforgettable experience. This arrangement is not just a score; it's an opportunity to connect with one of the greatest musical works of all time, brought to life through a contemporary lens. Find More About Paul Lorenz Music: - Homepage- Instagram- Facebook- YouTube
$156.00
145.6 €
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Orchestra
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Artyfile
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Symphony No. 2 - Finale
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Paul Lorenz
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SheetMusicPlus
Stabat Mater
Orchestra
Digital Download SKU: OX.9780193702981 Composed by Emanuele d'Astorga. Edited by Ro…
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Digital Download SKU: OX.9780193702981 Composed by Emanuele d'Astorga. Edited by Robert King. Classic Choral Works. Score. 51 pages. Oxford University Press Digital #9780193702981. Published by Oxford University Press Digital (OX.9780193702981). ISBN 9780193702981.For SATB soloists, SATB chorus, and string ensemble. Composed during the early 1700s, this was to become one of the most frequently performed choral works of the eighteenth century. Robert King has consulted eighteenth-century sources to prepare this edition, which includes an organ reduction for rehearsal purposes. About Classic Choral WorksThese truly versatile and user-friendly editions offer a practical approach for performers, informed by the very highest standard of scholarship. - Fresh editions by the very best scholars in their field - Clean and clear page layout - Compositions spanning the fourteenth to nineteenth centuries - Choral works with a wide range of scorings, from small chamber group to full orchestra - Informative prefaces included in most of the vocal scores - Playable keyboard reductions for rehearsal
$11.99
11.19 €
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Orchestra
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Emanuele d'Astorga
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Stabat Mater
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Oxford University Press Digital
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SheetMusicPlus
Crux Fidelis
Orchestra
Full Orchestra - Level 1 - Digital Download SKU: A0.1142768 Composed by Luis Cardos…
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Full Orchestra - Level 1 - Digital Download SKU: A0.1142768 Composed by Luis Cardoso. Children,Classical,Easter,Historic,Praise & Worship. Score and Parts. 271 pages. Luis Cardoso #743138. Published by Luis Cardoso (A0.1142768). Crux Fidelis is a sixteenth-century Latin religious text used in the creation and title of this cantata. It refers to Holy Week and the glorification of the Christian cross. The work has a simple and profound musical language, translating the text's message of redemption. The composition was made in 2022 for the various groups of students at the Conservatorio de Musica da Bairrada (Portugal). Includes Soprano singer soloist, Choir (Children's Choir - 2 voices, with optional 3 little choirs division), Guitar Ensemble in 4 voices, Percussion Ensemble with 2 lines, Orchestra - Flt12, Clrn, SaxATB, Trp, Trb, Timpani, Organ with Pedals, Strings. 32m. Very easy, for beginners or young musicians, but very powerful music.
$149.99
139.99 €
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Orchestra
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Luis Cardoso
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Crux Fidelis
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Luis Cardoso
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SheetMusicPlus
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