Chamber Orchestra - Level 3 - Digital Download SKU: A0.828700 Composed by Karl Friedrich Abel. Arranged by Guido Menestrina. Classical. Score and parts. 16 pages. Guido Menestrina #122893. Published by Guido Menestrina (A0.828700). Karl Friedrich Abel - Sinfonia Op. 7 n. 1 - Secondo Movimento - Adagio Edited by Guido Menestrina - Full score and single parts for 2 oboe, 2 F Horns (originally cor de chasse, tacet on 2nd movement), 2 violins, viola and cello (originally basse de violon). Abel was born in Köthen, a small German city, where his father, Christian Ferdinand Abel, had worked for years as the principal viola da gamba and cello player in the court orchestra. In 1723 Abel senior became director of the orchestra, when the previous director, Johann Sebastian Bach moved to Leipzig. The young Abel later boarded at Leipzig's Thomasschule, where he was taught by Bach. On Bach's recommendation in 1743 he was able to join Johann Adolph Hasse's court orchestra at Dresden where he remained for fifteen years.[3][5] In 1759 (or 1758 according to Chambers),[1] he went to England and became chamber-musician to Queen Charlotte, in 1764.[3][5] He gave a concert of his own compositions in London, performing on various instruments, one of which was a five-string cello known as a pentachord, which had been recently invented by John Joseph Merlin.[6] In 1762, Johann Christian Bach, the eleventh son of J.S. Bach, joined him in London, and the friendship between him and Abel led, in 1764 or 1765, to the establishment of the famous Bach-Abel concerts, England's first subscription concerts. In those concerts, many celebrated guest artists appeared, and many works of Haydn received their first English performance. For ten years the concerts were organized by Mrs. Theresa Cornelys, a retired Venetian opera singer who owned a concert hall at Carlisle House in Soho Square, then the height of fashionable events. In 1775 the concerts became independent of her, to be continued by Abel and Bach until Bach's death in 1782. Abel still remained in great demand as a player on various instruments new and old. He traveled to Germany and France between 1782 and 1785, and upon his return to London, became a leading member of the Grand Professional Concerts at the Hanover Square Rooms in Soho. Throughout his life he had enjoyed excessive living, and his drinking probably hastened his death, which occurred in London on 20 June 1787. One of Abel's works became famous due to a misattribution: in the 19th century, a manuscript symphony in the hand of Wolfgang Amadeus Mozart, was catalogued as his Symphony no. 3 in E flat, K. 18, and was published as such in the first complete edition of Mozart's works by Breitkopf & Härtel. Later, it was discovered that this symphony was actually the work of Abel, copied by the boy Mozart-evidently for study purposes-while he was visiting London in 1764. That symphony was originally published as the concluding work in Abel's Six Symphonies, Op. 7. Follow the score on youtube: https://www.youtube.com/watch?v=_urGVpH7Pls.

Chamber Orchestra - Level 4 - Digital Download SKU: A0.876665 Composed by Dosia McKay. 20th Century,Contemporary,Renaissance. Score and parts. 81 pages. Gavia Music #57229. Published by Gavia Music (A0.876665). Three Laments of Heloise were inspired by the Letters of Abelard and Heloise, especially the character of Heloise, her crushing loss, self-denial, sacrifice, and forced conformity to the standards of medieval society. The first movement entitled Queens Envied Me My Joys is Heloise’s recollection of early days with Abelard. Every wife, every young girl desired you in absence and was on fire in your presence, writes Heloise. The pleasures of lovers which we shared have been too sweet… They are always there before my eyes, bringing with them awakened longings… The second movement If Not With You, My Heart Is Nowhere, expresses Heloise’s sense of abandonment by her lover. She writes to him: My heart was not in me but with you, and now, even more, if it is not with you it is nowhere; truly, without you I cannot exist. The third movement, My Most Wretched Soul, gives voice to Heloise’s continued struggle with her loss and the reality of the convent life. She does not see herself as a servant of God, but rather a hypocrite who remains pious on the outside and rages inwardly. Of all wretched women I am the most wretched, and amongst the unhappy I am unhappiest. How can it be called repentance for sins, however great the mortification of the flesh, if the mind still retains the will to sin and is on fire with its old desires? Modal scales and dance sequences give the Laments a Renaissance feel. Music theory students might appreciate the fact that the unifying element of the three movements is the interval of the 7th which appears very frequently in melodic and harmonic gestures and creates a feeling of ambiguity and of a lack of resolution. For chamber orchestra: Flute (or Piccolo), Oboe, Clarinet, Bassoon, Strings (Quintet, or 4,4,3,2,1, or larger), 2 Percussion: Frame Drum, Tambourine. Total duration 8:00. Possible transcriptions for period Renaissance instruments - please contact the composer. Composed in 2009. Copyright 2009 Dosia McKay / Gavia Music (ASCAP).

Chamber Orchestra - Level 4 - Digital Download SKU: A0.1080705 Composed by Claude Debussy/Robert Orledge. 20th Century,Romantic Period,Standards. Score and parts. 30 pages. Musik Fabrik Music Publishing #4727447. Published by Musik Fabrik Music Publishing (A0.1080705). Instrumentation2 flûtes/2 flutescor anglais (doublant hautbois/doubling oboe)clarinette en La/clarinet in Abasson/bassooncor en Fa/horn in Fpercission (1 éxecutant - timbales (3)/cymbale suspendue, tambour de basque)/percussion (1 performer - timpani (3)/suspended cymbal, tambourine)harpe/harp9 cordes/9 strings (2.2.2.2.1)durée/duration: 5 minutes 30 secconds (environ/approx.) Une versions pour violon et piano ainsi qu’une version pour violon et orchestre (31CA(hb)23/2100/timb/perc/hpe/cordes)est également disponibile/A version for violin and piano as well as a version for violin and orchestra (31EH(ob)23/2100/timp/perc/strings) is also available.______________________Prmière: Edmond Agapian, violin with the Calagray (CA) Youth orchestra, cond. Gareth Jones, University of Calgary, 28 Janaury, 2011Première of the version for violin and 17 instruments: Frédéric Moisan, violin Orchestre 21 cond. Paolo Bellomio, Unveristy of Montreal, Canada, 2 March 2012Preface:In the early 1890s, Debussy composed the opening of a lyrical piece in E major for violin and piano, perhaps as a shorter companion piece for the violin Nocturne he was planning for the Belgian violinist Eugène Ysaÿe. After Debussy’s death in 1918, his second wife Emma often gave away sketch pages to performers or composers as memorials to her beloved husband , and this particular page was given to the Cuban born pianist and composer Joaquin Nin (1879-1949). It came up for sale in the catalogue of the British antiquarian dealer Lisa Cox in 2010 and although it might possibly be an early song for contralto and piano, the more dynamic idea in bar 12 strongly suggests the violin, especially as it begins on an open D string. Moreover, there is no text and in pieces of this length, Debussy usually wrote at least one word in, if only to remind himself where he had got to in any song. So my starting point was a complete 12-bar melody gently undulating in the violin’s lowest register over a sensual accompaniment, rising to a climax in bar 12 and giving me a contrasting idea that I could use as a link between sections and in the cadenza. As the B section (bars 14-26) derives directly from Debussy’s opening theme by metamorphosis, my own additions were restricted to the central section (bars 27-57) - comprising a new scherzando idea (C) and the more lyrical D (bars 36-46). C returns at bar 47, followed by the opening sections in reverse order, so that the Sérénade begins and ends with Debussy’s material and is cast in arch form (ABCDCBA). Robert OrledgeBrighton, 19 June 2019Robert Orledge was born in Bath in 1948 and educated at Clare College, Cambridge, where he gained his doctorate for his study of the composer Charles KÅ“chlin in 1973.   Between 1971 and 1991 He rose from Lecturer to Professor in the Music Department of the University of Liverpool, publishing books on Gabriel Fauré, Claude Debussy, Charles KÅ“chlin and Erik Satie, as well as numerous articles, editions and reviews.   As a historical musicologist, Professor Orledge specialized in the way composers composed, ,and since taking early retirement in 2004, he has concentrated on completing and orchestrating Debussy’s unfinished works, and especially his theatre projects. His completion of Debussy’s opera The Fall of the House of Usher (1908-17) was successfully premiered at the Bregenz Opera Festival in Austria in August 2006 and has since been performed in America, Portugal Germany and Holland, as well as being broadcast throughout Europe. A DVD of the Bregenz premier is available on Capriccio 93517, produced by Phylida Lloyd and conducted by Lawrence Foster. His completion of the Chinese ballet No-ja-li ou Le Palais du Silence (1914) was also premiered in 2006 in Los Angeles and ot.

Chamber Orchestra - Level 3 - Digital Download SKU: A0.1197728 By Juan María Solare. By Juan María Solare. 20th Century,Classical,Contemporary. Score and parts. 74 pages. Juan Maria Solare #796909. Published by Juan Maria Solare (A0.1197728). Juan María Solare: Piano Concerto No. 1 - FIRST movement [score and parts]Please find the other two movements - also in this platformThe full score (of the three movements) is also available independently HERE:https://www.sheetmusicplus.com/title/piano-concerto-no-1-score-only-digital-sheet-music/22468631?aff_id=565049Video in YouTube (score follower)Aesthetic reflections on the piano concertoDuring the eras of classicism and romanticism, a concerto was often conceived as a confrontation between a soloist, symbolising the individual, and the orchestra, representing society. Seen in this way, a concert reflects a value system that pits the individual against the group and poses a struggle of I against you. Surely this vehemence could be explained in a Beethovenian era when the concepts of human rights and individual freedom were fragile ideals.However, it is a different scale of values that my piano concerto tries to reflect: the idea of cooperation, of teamwork and of an orchestra as a living organism whose organs are not superior to one another, more vital than others, but fulfil different functions, qualitatively speaking.Every soloist plays a leading role, but this does not imply either subordination to the rest or denigration or subjugation of the rest. The fact that the soloist is sometimes in the foreground does not imply a victory over the others. The very concept of victory is meaningless here.At times, the soloist will fulfil a leadership role, at others he or she will underpin from passivity what is happening in the orchestra, intentionally from the shadows, as a grey eminence. And at other times - why not - he will question what the majority is doing.It is not a rough relationship of me against you, but there is also a we.The composition and orchestration of this piano concerto was made possible by a grant from the Senator for Culture of the Free Hanseatic City of Bremen. This work was funded by an artist's grant as part of the Bremen-Corona-Hilfen programme.The premiere by the orchestra of the Bremer Orchestergemeinschaft is scheduled for the beginning of 2024. Duration: 17 to 20 minutes.

Chamber Orchestra - Level 3 - Digital Download SKU: A0.1197732 Composed by Juan María Solare. 20th Century,Classical,Contemporary. Score and parts. 53 pages. Juan Maria Solare #796913. Published by Juan Maria Solare (A0.1197732). Piano Concerto No. 1 - THIRD movement [score and parts]Please find the other two movements - also in this platformThe full score (of the three movements) is also available independently HEREavailable HERE:(https://www.sheetmusicplus.com/title/piano-concerto-no-1-score-only-digital-sheet-music/22468631?aff_id=565049).Video in YouTube (score follower)Aesthetic reflections on the piano concerto (by Juan María Solare)During the eras of classicism and romanticism, a concerto was often conceived as a confrontation between a soloist, symbolising the individual, and the orchestra, representing society. Seen in this way, a concert reflects a value system that pits the individual against the group and poses a struggle of I against you. Surely this vehemence could be explained in a Beethovenian era when the concepts of human rights and individual freedom were fragile ideals.However, it is a different scale of values that my piano concerto tries to reflect: the idea of cooperation, of teamwork and of an orchestra as a living organism whose organs are not superior to one another, more vital than others, but fulfil different functions, qualitatively speaking.Every soloist plays a leading role, but this does not imply either subordination to the rest or denigration or subjugation of the rest. The fact that the soloist is sometimes in the foreground does not imply a victory over the others. The very concept of victory is meaningless here.At times, the soloist will fulfil a leadership role, at others he or she will underpin from passivity what is happening in the orchestra, intentionally from the shadows, as a grey eminence. And at other times - why not - he will question what the majority is doing.It is not a rough relationship of me against you, but there is also a we.The composition and orchestration of this piano concerto was made possible by a grant from the Senator for Culture of the Free Hanseatic City of Bremen. This work was funded by an artist's grant as part of the Bremen-Corona-Hilfen programme.The premiere by the orchestra of the Bremer Orchestergemeinschaft is scheduled for the beginning of 2024. Duration: 17 to 20 minutes.Full score available here

Chamber Orchestra - Level 3 - Digital Download SKU: A0.1197730 By Juan María Solare. By Juan María Solare. Arranged by Juan María Solare. 20th Century,Classical,Contemporary. Score and parts. 64 pages. Juan Maria Solare #796911. Published by Juan Maria Solare (A0.1197730). Piano Concerto No. 1 - SECOND movement [score and parts]Please find the other two movements - also in this platformThe full score (of the three movements) is also available independently HERE:https://www.sheetmusicplus.com/title/piano-concerto-no-1-score-only-digital-sheet-music/22468631?aff_id=565049Video in YouTube (score follower)Aesthetic reflections on the piano concerto (by Juan María Solare)During the eras of classicism and romanticism, a concerto was often conceived as a confrontation between a soloist, symbolising the individual, and the orchestra, representing society. Seen in this way, a concert reflects a value system that pits the individual against the group and poses a struggle of I against you. Surely this vehemence could be explained in a Beethovenian era when the concepts of human rights and individual freedom were fragile ideals.However, it is a different scale of values that my piano concerto tries to reflect: the idea of cooperation, of teamwork and of an orchestra as a living organism whose organs are not superior to one another, more vital than others, but fulfil different functions, qualitatively speaking.Every soloist plays a leading role, but this does not imply either subordination to the rest or denigration or subjugation of the rest. The fact that the soloist is sometimes in the foreground does not imply a victory over the others. The very concept of victory is meaningless here.At times, the soloist will fulfil a leadership role, at others he or she will underpin from passivity what is happening in the orchestra, intentionally from the shadows, as a grey eminence. And at other times - why not - he will question what the majority is doing.It is not a rough relationship of me against you, but there is also a we.The composition and orchestration of this piano concerto was made possible by a grant from the Senator for Culture of the Free Hanseatic City of Bremen. This work was funded by an artist's grant as part of the Bremen-Corona-Hilfen programme.The premiere by the orchestra of the Bremer Orchestergemeinschaft is scheduled for the beginning of 2024. Duration: 17 to 20 minutes.

Chamber Orchestra - Level 4 - Digital Download SKU: A0.532372 Composed by Wolfgang Amadeus Mozart. Arranged by Klas Krantz. Classical,Concert. Score and parts. 31 pages. Amadeus Music #6053881. Published by Amadeus Music (A0.532372). Divertimento No. 2, KV 439bComplete score and parts, movements No. 1-5, trio for 3 C-instruments. (for example 2 violins and cello or 2 flutes/oboes and cello/contrabass).No:. 6 Allegro, 7 Menuetto, 8 Larghetto, 9 menuetto, 10 Rondo.

Chamber Orchestra - Level 3 - Digital Download SKU: A0.998482 Composed by John Field. Arranged by Scott Fields Davis. Romantic Period. Score and Parts. 71 pages. Scott Fields Davis #6098865. Published by Scott Fields Davis (A0.998482). The name John Field isn't as well-known as Mozart, Beethoven, or Chopin, but it should be. Field was born in Dublin, Ireland in 1782 and died in 1837. He was not only a phenomenal pianist, but a highly skilled composer. This is an orchestral arrangement of the first of four piano sonatas written by John Field. This download contains the conductor's score and all the parts to the second of the two movements of Field's first piano sonata.Instruments used: Oboes, B flat Clarinets, Bassoons, Violin I, Violin II, Viola, Cello, Double Bass. Approximate duration is 4 minutes and 10 seconds.   To download the other movement, please click the following link: John Field, Sonata I (Movement I) arranged for orchestra by Scott Fields Davis  

Chamber Orchestra - Level 4 - Digital Download SKU: A0.998503 Composed by John Field. Arranged by Scott Fields Davis. Romantic Period. Score and Parts. 91 pages. Scott Fields Davis #6252035. Published by Scott Fields Davis (A0.998503). The name John Field isn't as well-known as Mozart, Beethoven, or Chopin, but it should be. Field was born in Dublin, Ireland in 1782 and died in 1837. He was a phenomenal pianist and a highly skilled composer. This is an orchestral arrangement of the first movement of the third of four piano sonatas written by John Field arranged for orchestra by Scott Fields Davis. This download contains the conductor's score and all instrument parts.Instruments used: Flutes, Oboes, B flat Clarinets, Bassoons, Violin I, Violin II, Viola, Cello, Double Bass. Approximate duration is 6 minutes and 12 seconds.   To download the other movement, click the following link: John Field, Sonata III (Movement II) arranged for orchestra by Scott Fields Davis  

Chamber Orchestra - Level 3 - Digital Download SKU: A0.1036002 Composed by John Field. Arranged by Scott Fields Davis. Romantic Period. Score and Parts. 113 pages. Scott Fields Davis #641104. Published by Scott Fields Davis (A0.1036002). The name John Field isn't as well-known as Mozart, Beethoven, or Chopin, but it should be. Field was born in Dublin, Ireland in 1782 and died in 1837. He was a phenomenal pianist and a highly skilled composer. This is an orchestral arrangement of the second movement of the third of four piano sonatas written by John Field arranged for orchestra by Scott Fields Davis. This download contains the conductor's score and all instrument parts.Instruments used: Flutes, Oboes, B flat Clarinets, Bassoons, Violin I, Violin II, Viola, Cello, Double Bass. To download the other movement, click the following link: John Field, Sonata III (Movement I) arranged for orchestra by Scott Fields Davis.  

Chamber Orchestra - Level 3 - Digital Download SKU: A0.998515 Composed by John Field. Arranged by Scott Fields Davis. Romantic Period. Score and Parts. 64 pages. Scott Fields Davis #6473129. Published by Scott Fields Davis (A0.998515). The name John Field isn't as well-known as Mozart, Beethoven, or Chopin, but it should be. Field was born in Dublin, Ireland in 1782 and died in 1837. He was a phenomenal pianist and a highly skilled composer. This is an orchestral arrangement of the second movement of the second of four piano sonatas written by John Field and arranged for orchestra by Scott Fields Davis. This download contains the conductor's score and all instrument parts.Instruments used: Flutes, Oboes, B flat Clarinets, Bassoons, Violin I, Violin II, Viola, Cello, Double Bass. Approximate duration is 4 minutes and 35 seconds. To download the other movement, click the following link: John Field, Sonata II (Movement I) arranged for orchestra by Scott Fields Davis  

Chamber Orchestra - Level 2 - Digital Download SKU: A0.921852 Composed by Ludwig van Beethoven. Arranged by Joshua Feltman. Romantic Period. Score and parts. 36 pages. Ryan Blauvelt #3447671. Published by Ryan Blauvelt (A0.921852). One of the most highly recognized compositions in history, Beethoven's 5th Symphony is the epitome of classical music muscle. The famous four-note motive that opens the symphony is heard throughout the first movement. Here's an arrangement that's designed for the beginning program in mind - with a hybrid instrumentation meant to allow ensembles with unique instrumentation to perform this monumental piece. <p><a href=>https://arrangethatmusic.com/custom-sheet-music>Customize this music on our website</a></p>

Chamber Orchestra - Level 3 - Digital Download SKU: A0.1297899 Composed by Conrad Kocher, music and William Dix, words. Arranged by David Lantz. Christmas,Sacred. Score and Parts. 54 pages. Lantz Choral Publications #887872. Published by Lantz Choral Publications (A0.1297899). Chamber orchestration accompaniment for use with the SATB octavo arranged by David Lantz III and published by Lantz Choral Publications. (Score and parts included.)NOTE: The SATB Choir part and piano accompaniment are in the score for reference only, and not included as a separate part in this product! You are legally required to purchase enough copies of the octavo for your chorus. Octavo is available at Sheet Music Direct and Sheet Music Plus. Instrumentation:SATB (for reference only)Piano (for reference only)Flute IFlute IIOboeBb Clarinet IBb Clarinet IIBassoon IBassoon IIF Horn IF Horn IITimpani (one player)Glockenspiel (one player)Percussion (one or two players)Violin IViolin IIViolaCelloContrabassNOTE: Larger 8.5 x 14 score is available separately at Sheet Music Direct and Sheet Music Plus.For comments, questions, or special requests, please email me at davidlantziii@gmail.com.

Chamber Orchestra - Level 4 - Digital Download SKU: A0.799460 Composed by Drake Mabry. 20th Century,Contemporary,Jazz. Score and parts. 34 pages. Drake Mabry #1966931. Published by Drake Mabry (A0.799460). Au Moment… is for improviser(s) and chamber orchestra and was a commissioned from Gérard and Nicole Gouye for the multi-instrumental Resonance Duo. The work is dedicated to the conductor, Paul Méfano. The duration is about 20'. The part of the improviser(s) is entirely improvised while the orchestra plays from a written score which includes an open architecture that can be altered to create a different performing and listening experience each time. Any instrument may be used by the soloist(s). For the premiere of this piece, Resonance Duo played the following instruments: Drake Mabry – oboe with a small miniature saxophone mouthpiece, a wooden soprano saxophone and soprano to contrabass bamboo clarinets. Catherine Schneider played piano both on the keyboard and inside along with percussion instruments from Africa and the Middle East. The work, in three movements was premiered by Resonance Duo with the Ensemble 2e2m conducted by Paul Méfano at the Pompidou Center in Paris on January 29, 1996.

Chamber Orchestra - Level 4 - Digital Download SKU: A0.799459 Composed by Drake Mabry. 20th Century,Contemporary,Jazz. Score and parts. 48 pages. Drake Mabry #1966929. Published by Drake Mabry (A0.799459). Au Moment… is for improviser(s) and chamber orchestra and was a commissioned from Gérard and Nicole Gouye for the multi-instrumental Resonance Duo. The work is dedicated to the conductor, Paul Méfano. The duration is about 20'. The part of the improviser(s) is entirely improvised while the orchestra plays from a written score which includes an open architecture that can be altered to create a different performing and listening experience each time. Any instrument may be used by the soloist(s). For the premiere of this piece, Resonance Duo played the following instruments: Drake Mabry – oboe with a small miniature saxophone mouthpiece, a wooden soprano saxophone and soprano to contrabass bamboo clarinets. Catherine Schneider played piano both on the keyboard and inside along with percussion instruments from Africa and the Middle East. The work, in three movements was premiered by Resonance Duo with the Ensemble 2e2m conducted by Paul Méfano at the Pompidou Center in Paris on January 29, 1996.