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You've selected:
Quand on est ensemble
Sheetmusic to print
8 sheet music found
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1
Michel Berger: Quand on est ensemble
Piano, Vocal and Guitar
4.99 €
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Piano, Vocal and Guitar
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Michel Berger: Quand on est ensemble
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Quand on est ensemble
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Quickpartitions
Stabat Mater - string ensemble parts
Small Ensemble - Level 4 - Digital Download SKU: A0.1195919 Composed by Annemieke L…
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Small Ensemble - Level 4 - Digital Download SKU: A0.1195919 Composed by Annemieke Lustenhouwer. Contemporary. Score and parts. 80 pages. Annemieke Lustenhouwer #795094. Published by Annemieke Lustenhouwer (A0.1195919). What happens when you close your eyes and you see yourself standing next to Mother Mary when Jesus dies? What do you see and what do you feel? That was what I’ve been asking myself for years when I read the text Stabat Mater. This composition tells about this experience and this questions. Sometimes a motif tells quite literally about this story, like the moment when Jesus is nailed down the cross: first the right hand, then the left hand and finaly with one nail both feet. In the first part of the composition, the viola tells with sforzato accents about this.This Stabat Mater is not only an expression of the pain of the Virgin Mother, but is also a tribute to JS Bach as well. Bach is by some seen as a fith evangelist. Nowadays there are still a lot of people who are affected by how his music tells about biblical stories, like I am. In this Stabat Mater I use the number 5 to express that: the first part is written in 5/4th and the last part Quando corpus et Amen is written with 5 parts in the choir. There can also be found a reworked choral in the choir passages of  O quam tristis et afflicta. It is the choral Wie nahe mir mein Ende from BWV 166.Polyfony is a returning presence in this Stabat Mater. I had an visual idea about this. When I was young I saw in an exhibition a tapestry with all kinds of colours and threads, and everything felt in motion. It was a kind of organized mess, but it was beautiful and felt perfect. I wondered if I could manage to express this idea in music as well. Under one of the polyphonic passages there is a Latin-American dance rhythm to express that motion. I heard that rhythm in my childhood in a rhythmbox of the keyboard of my dad. Another passage has the baroque sarabande-rhythme underneath in the double bass.A lullaby-feeling in some parts of the Stabat Mater tells about another story that got intertwined with this composition. It’s the story of a mother who rocks her terminal dying little son in her arms. I once read that story and it felt connected with the Stabat Mater text for a long time. I decided to express that as well.This composition is dedicated to the Dutch conductor Geert van den Dungen. However I saw many conductors, while playing the oboe and clarinet from a young age, there was nobody who let me think very deeply about music. Geert was the one who changed that for me. I started to study scores and developed a great interest in music analysis and music psychology. Many moments of inspiration and understanding for this Stabat Mater happened on choir rehearsals and concerts where Geert was working. I am very grateful for that.String parts only, see for conductors/ choir score Sheet Music plus and Sheet music direct.
$19.00
17.37 €
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Annemieke Lustenhouwer
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Stabat Mater - string ensemble parts
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Annemieke Lustenhouwer
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SheetMusicPlus
Leonardo Leo - Dixit Dominus a 2 cori, 1741, Quarto movimento (Quartetto)
Small Ensemble Cello,High Voice,Low Voice,Oboe,Viola,Violin - Level 3 - Digital Download
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Small Ensemble Cello,High Voice,Low Voice,Oboe,Viola,Violin - Level 3 - Digital Download SKU: A0.828718 Composed by Leonardo Leo. Arranged by Guido Menestrina. A Cappella. Score and parts. 22 pages. Guido Menestrina #516705. Published by Guido Menestrina (A0.828718). Leonardo Leo - Dixit Dominus a 2 cori, 1741, Quarto movimento Transcribed by Guido Menestrina Celebre compositore e capostipite della bella scuola napoletana del XVIII secolo, nacque a San Vito degli Schiavoni, presso Brindisi, in provincia di Terra d'Otranto. De Leo avrebbe compiuto i suoi studi musicali al conservatorio della Pietà dei Turchini, sotto la direzione di Nicola Fago, soprannominato il tarentino[1]. Girolamo Chigi, maestro di Cappella di San Giovanni in Laterano, allievo e amico di Pitoni, dice che de Leo si recò a Roma e che vi studiò il contrappunto sotto la guida di questo sapiente maestro. Di ritorno a Napoli, de Leo ottenne il posto di secondo maestro al conservatorio della Pietà . Nel 1716 fu nominato organista della cappella reale e l'anno successivo venne designato per occupare il posto di maestro di cappella della chiesa di Santa Maria della Solitaria, per la quale scrisse molta musica. Nel 1719 fece rappresentare la Sofonisba, sua prima opera seria che fu ben accolta e in cui il carattere espressivo del suo talento si faceva già notare. I biografi che sostengono abbia insegnato al conservatorio di Loreto s'ingannano, fu infatti prima al conservatorio della Pietà , poi a quello di Sant'Onofrio, dove ebbe per allievi alcuni dei compositori più illustri del XVIII secolo, come Jommelli e Piccinni. Non morì nel 1743, come dice lo stesso Piccinni, in una breve notizia biografica sul suo maestro, né nel 1742 come afferma Burney, ma nel 1744. Il marchese di Villarosa, riferisce che de Leo sarebbe stato colpito da apoplessia, mentre era intento a scrivere un'aria buffa de La finta frascatana che comincia con queste parole: Voi par che gite/di palo in frasca. Lo si trovò con la testa appoggiata sul suo clavicembalo e si credette, in un primo momento che dormisse, ma in realtà aveva già cessato di vivere. Leo era di taglia media, colorito bruno, occhio vivo e temperamento ardente. Sebbene fosse abitualmente piuttosto serioso, non mancava di urbanità e gentilezza. Infaticabile nella professione, passava spesso la maggior parte delle notti a comporre e si trovava sempre in vena- Amava le sue opere, ma rendeva giustizia al merito dei suoi rivali quando occorreva. Morì rimpianto da tutti, lasciando a lungo il ricordo di sé e delle sue opere, nonché della scuola di cui fu uno dei fondatori. Considerazioni sull'artista Leo condivide col suo predecessore Alessandro Scarlatti e i contemporanei Nicola Porpora, Francesco Durante e Francesco Feo, la gloria di aver fondato la scuola di Napoli, da cui sono usciti, durante tutto un secolo, una moltitudine di compositori drammatici di prim'ordine. Egli stesso fu non soltanto un grande professore, ma un artista dei più dotati. La sua musica da chiesa non ha meno maestà di quella di Durante, tocca il cuore e fa nascere degli slanci di tenera devozione. Il suo Miserere a due cori è una composizione tanto notevole per l'elevatezza dei sentimenti che l'hanno dettata, quanto per la purezza di stile in cui si riconoscono le tracce della scuola cantoria romana in cui studiò. Nella sua musica sacra nello stile accompagnato e concertato, de Leo conserva la semplicità e si fa ammirare per la bellezza dell'espressione, come l'Ave Maris Stella per voce di soprano e orchestra o il Credo a quattro. Egualmente notevole nel genere teatrale, de Leo è sempre nobile, spesso patetico e appassionato ed è con questi mezzi, molto semplici, che perviene a grandi effetti. Piccinni fa i più grandi elogi alle sue opere, e cita in particolare l'aria Misero pargoletto da Demoofonte come modello di espressione drammatica, quest'aria è, in effetti, della più grande bellezza, anche Arteaga è prodigo di elogi verso questo musicista Segui lo spartito qui/Follow the score here: https://youtu.be/qjcFrb638VI or listen to it on soundcloud: https://soundcloud.com/guido-menestrina/leonardo-leo-dixit-dominus-4a-parte-quartetto Score includes: - full score - strings part - oboi par.
$12.99
11.88 €
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Leonardo Leo
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Leonardo Leo - Dixit Dominus a 2 cori, 1741, Quarto movimento
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Guido Menestrina
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SheetMusicPlus
Un, Flambeau, Jeanette Isabella (Bring a Torch, Jeanette Isabella)
Choral 3-part
Choral Choir (SSA) - Level 3 - Digital Download SKU: A0.887268 Composed by Traditio…
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Choral Choir (SSA) - Level 3 - Digital Download SKU: A0.887268 Composed by Traditional. Arranged by Michelle Willis. Christmas,Contemporary,Renaissance,Sacred. Octavo. 4 pages. Teton Music #3138323. Published by Teton Music (A0.887268). Lucious harmonies make this familiar, 15th century Christmas carol fresh again. The piece begins with percussive 'dings' and 'dongs' as they mimic the ringing of church bells. The remainder of the piece splits into four part women's harmony with flowing, moving lines in each vocal part. Excellent selection for church, school or professional ensembles. May be sung in English or French.Duration: 2 minutes, 45 secondsEnglish LyricsBring a torch, Jeanette, Isabella!Bring a torch, to Bethlehem come!Christ is born. Tell the folk of the villageMary has laid him in a manger.Ah! Ah! beautiful is the Mother!Ah! Ah! beautiful is her child!Who is that, knocking on the door?Who is it, knocking like that?Open up, we've arranged on a platterLovely cakes that we have brought hereKnock! Knock! Knock! Open the door for us!Knock! Knock! Knock! Let's celebrate!It is wrong when the Baby is sleeping,It is wrong to speak so loud.Silence, now as you gather around,Lest your noise should waken Jesus.Hush! Hush! see how the Baby slumbers;Hush! Hush! see how the Baby sleeps!Softly now unto the stable,Softly for a moment come!Look and see how charming is Jesus,Look at him there, His cheeks are rosy!Hush! Hush! see how the Child is sleeping;Hush! Hush! see how he smiles in dreams!French LyricsUn flambeau, Jeannette, IsabelleUn flambeau, courons au berceau.C’est Jésus, bonnes gens du hameau,Le Christ est né, Marie appelleAh! Ah! Que la mère est belleAh! Ah! Que l’Enfant est beau.Qui vient là frappant de la sorteQui vient là frappant comme ça.Ouvrez donc j’ai posé sur un platDe bons gâteaux qu’ici j’apporte.Toc! Toc! Ouvrez-nous la porteToc! Toc! Faisons grand gala.C’est un tort quand l’Enfant sommeilleC’est un tort de crier si fort.Taisez-vous l’un et l’autre d’abord,Au moindre bruit Jésus s’éveilleChut! Chut! Il dort à merveilleChut! Chut! Voyez comme Il dort.Doucement dans l’étable closeDoucement venez un momentApprochez! Que Jésus est charmant,Comme Il est blanc, comme Il est roseDo! Do! Que l’Enfant reposeDo! Do! Qu’Il rie en dormant.
$2.49
2.28 €
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Choral 3-part
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Traditional
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Un, Flambeau, Jeanette Isabella
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Teton Music
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SheetMusicPlus
Renaissance Guitar Music for Fingerstyle Ukulele
Ukulele
Guitar - Intermediate - Digital Download SKU: M0.31089MEB Classical. Ebook and onli…
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Guitar - Intermediate - Digital Download SKU: M0.31089MEB Classical. Ebook and online audio. 77 pages. Mel Bay Publications - Digital Sheet Music #31089MEB. Published by Mel Bay Publications - Digital Sheet Music (M0.31089MEB). ISBN 9781513477619. 8.75X11.75 inches.This book presents 37 pieces of Renaissance guitar music transcribed for solo fingerstyle ukulele together with the author’s recordings of every transcription. Moreover, a generous introduction provides a brief history of the Renaissance guitar, tips on period ornamentation and musicianship, recommended recordings, and invaluable resources for further research of your own.Throughout Europe, the Renaissance guitar was a popular instrument in the middle of the sixteenth century. Its composers left us a treasure-trove of music, from rustic dances to chansons and elaborate fantasias. Five-hundred years later, this music fits beautifully on the Renaissance guitar’s musical descendant, the ukulele.The Renaissance guitar and the ukulele share an almost identical tuning. As the transcriptions in this book are written in standard notation and tablature, any type of ukulele, from soprano to baritone—as well as the top four strings of the guitar— can be used to play them. Most of the pieces are in standard gCEA or GCEA tuning; the seven pieces in the second section of the book, however, require low-G tuning to render the counterpoint as written. It’s also possible for guitar and baritone uke players to read the tablature provided. The music will sound a perfect 4th lower than the notation, but as there was no standard pitch in the time of the Renaissance guitar, modern players should feel no obligation to play this music at fixed pitch. If you wish to read from the tablature and sound in the same key as the notation for ensemble purposes, guitar and baritone uke players merely need to place a capo at the fifth fret. With a certain sense of historical irony, the music of the Renaissance guitar is here reborn on modern fretted instruments.
Song List
:
Branle
Allemande
Branle
Quand i’entens le perdu temps
Gaillarde
Tourdion
Bransle De Poictou
Branle
Bransle Haulbaroys
Chi dira mai
Villanesque
Bransle De Poictou
Almande tournée
Vous estes la personne
Branle
Pavane
Branle de Bourgogne I
Branle de Bourgogne III
Gaillarde
Almande le Pied de cheval
Branle gay
Le Branle precedent plus diminue
Gaillarde
Gaillarde
Pimontoyse
Lo, what it is to love
Il estoit une fillette en basse-dance
Ma bouche rit
Contreclare
La Seraphine
Prelude I
Prelude Ii
Fantasie V
Fantasia
Fantasie III
Canon
Fantasie I
$17.99
16.45 €
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Ukulele
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Renaissance Guitar Music for Fingerstyle Ukulele
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Mel Bay Publications - Digital Sheet Music
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SheetMusicPlus
El Grillo for clarinet quartet (mp3)
Clarinet Quartet: 4 clarinets
B-Flat Bass Clarinet,B-Flat Clarinet - Level 4 - Digital Download SKU: A0.1330458 B…
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B-Flat Bass Clarinet,B-Flat Clarinet - Level 4 - Digital Download SKU: A0.1330458 By Budapest Scoring Clarinet Ensemble. By Josquin des Prez. Arranged by David Warin Solomons. Renaissance. Full Performance. Duration 115. David Warin Solomons #918326. Published by David Warin Solomons (A0.1330458). There is a theory that El grillo refers to Carlo Frillo, a singer who worked for the same patron as Josquin, Cardinal Galeazzo Sforza, and that it was intended to remind the prelate that his musicians’ salaries were overdue. The Sforzas were apparently notoriously mean to their employees, in spite of (or possibly because of) the fact that one of them was happy to pay a large sum of money for a parrot that could recite the Creed. Certainly the words of this little piece, with their reference to the cricket who sings for love, seem to have a good deal more impact in this sardonic light. Although the piece is similar in form to many other frottole, it is really quite unlike most such works, especially the way the repeated notes are used for comic effect.  In this instrumental arrangement I have add several decorations and divisions, to illustrate the words behind it, and also just for fun.El grillo è buon cantoreche tiene lungo verso.Dalle beve grillo canta.Ma non fa come gli altri uccelli,come li han cantato un pocovan' de fatto in altro loco,  sempre el grillo sta pur saldoQuando la maggior è l' caldoalhor canta sol per amore.[suggested English paraphrase]The cricket is a good singerand he sings for a long timeGive him a drink so he can go on singingBut he doesn't do what the other birds doWho after singing a littleJust go elsewhere.  The cricket is always steadfastWhen the weather is hottest,   then he sings just for lovePerformed by The Budapest Scoring Clarinet Ensemble.
$5.00
4.57 €
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Clarinet Quartet: 4 clarinets
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Budapest Scoring Clarinet Ensemble
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El Grillo for clarinet quartet
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David Warin Solomons
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SheetMusicPlus
Historical Harp Volume 2
Harp
Harp - Intermediate - Digital Download Arranged by Nancy Hurrell. Early Music, Europe…
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Harp - Intermediate - Digital Download Arranged by Nancy Hurrell. Early Music, European, Recital. 82 pages. Published by Afghan Press Music for the Harp
Exquisite and historical arrangements of early music for harp. Easy to read with many historical notes and performance suggestions. Because of the notes on the composers, sources and history, this book could also be used for an interesting presentation of early music. Very fulfilling for harpists knowledgeable in historical music, and also makes for well rounded performances. Sometimes early music produces a change in the atmosphere creating a fine ambiance for many an occasion.<br> <br> England & Scotland:<br> The Canaries: Straloch Lute MS (c.1627-29), A Scots Tune: Jane Pickeringe Lute Book (c.1616-1650), Come Again, and <br> Walsingham: John Dowland (1563-1626), Why stays the bridegroom?: Ben Jonson’s Haddington Masque Alfonso Ferrabosco (1608) <br> <br> Ensemble for 3 harps: Browning Madame: Deuteromelia, Thomas Ravenscroft (1609) <br> <br> France: Tant que vivray: Claudin de Sermisy (1490-1562), Washerwoman’s Branle: Orchesography, Thoinot Arbeau (1589), Pease Branle: Orchesography, Thoinot Arbeau (1589), Hermit’s Branle: Orchesography, Thoinot Arbeau (1589), Branle d’Ecosse: Orchesography, Thoinot Arbeau (1589) <br> <br> Italy & the Low Countries: Pavane Ferrareze: Premier Livre de Danseries, Pierre Phalèse (1571),Galliarde Ferrareze: Premier Livre de Danseries, Pierre Phalèse (1571), Quando nascette Ninno: Neopolitan traditional, Pavane: Si par souffrir: Danserye, Tielman Susato (1551), Bergamasca: Bernardo Gianoncelli (1650) <br> <br> Germany & Spain: La Canarie: Anon., Terpsichore, Michael Praetorius (1612), Bransle de la Torche: Anon., Terpsichore, Michael Praetorius (1612), Canción del Emperador: Mille regretz (Josquin)-Luis de Narváez (1546), Zarambeques:Luz y Norte Musical, L.R. de Ribayaz (1677) <br> <br> Ensemble for 3 harps: Zarabandas: Luz y Norte Musical, L.R. de Ribayaz (1677)
$20.00
18.28 €
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Harp
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Historical Harp Volume 2
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SheetMusicPlus
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