Chamber Orchestra - Level 4 - Digital Download

SKU: A0.532832

Composed by Therese Brenet. Contemporary. Score and parts. 29 pages. Musik Fabrik Music Publishing #45039. Published by Musik Fabrik Music Publishing (A0.532832).

This work uses wordless-vocalize (singing on Ah, Oh or with the mouth closed, ad libitum). The vocal part is generally quite free, allowing the singer to express herself freely. The orchestration is for tymp/perc/vibra/hp/cel/harps/strings(minimum : 44222) Like a supple vine, the voice seems to unfold across the orchestra, with the warm expressive themes and shining strings, with the support of the harpsichord, the vibraphone and other percussion. Certainly, there is a coloristic note in the orchestral palette, but also a wish to combine the colors of the voice and the orchestra in different manners. Through this osmosis and through the tempo rubato suggested several times, by the absence of metronomic movements, the composer has tried to create music which breathes through freedom, suppleness and poetry, in the infinite spirals of beauty and love, outside of space and time.. The orchestral version of the work was recorded in 2014 with Isaure Equilez, mezzo-soprano and the National Polish Radio Orchestra under the direction of Paul Wehage The orchestral parts are available from the publisher on rental.

Chamber Orchestra - Level 5 - Digital Download

SKU: A0.533591

Composed by Carson Cooman. Contemporary. Score and parts. 66 pages. Musik Fabrik Music Publishing #3029399. Published by Musik Fabrik Music Publishing (A0.533591).

Cerulean: Double Percussion Concerto (2004) for two solo percussionists and ensemble
was commissioned by the Carnegie Mellon School of Music for percussionists Cory Cousins,
Mike Perdue, and the Carnegie Mellon Contemporary Ensemble, Walter Morales, director.
The work is dedicated to them and to Howard Stokar. The work is inspired by the ocean,
particularly its greatest depths.
The work is in two movements, played without break. The two movements explore the same
musical material (a specific collection of twelve pitches) in two very different ways. In the
first movement, the material is presented often in row forms -- and harmonies derived from it.
In the second movement, a more free approach is used to the material and it becomes more
motivic and gestural.
The first movement, Different Purposes, is inspired by the vast diversity of deep-sea life.
Musical objects interact with each other and ideas transform each other. Many of these deepsea
creatures live in very isolated and solitary environments at the ocean's lowest points.
They each exist and pursue their own purposes without any awareness of what else is
happening around them. However, despite this, they are all existing within a common
environmental system and are thus achieving goals together on a larger level.
The second movement, Different Porpoises, is inspired by porpoises and other sea-creatures
who surface, thus providing a link to human land-bound life. The marimba establishes a
rhythmic ostinato which (although passed around) remains steady throughout most of the
movement.

Instrumentation
Flute
Oboe
Clarinet in Bb
Bass Clarinet in Bb
Bassoon
Horn in F
Piano
2 Solo Percussion:
I: marimba, crotales, suspended cymbal, 2 spokes/bells
II: vibraphone (with motor), tubular bells, 3 bowls (indef. pitches),
medium-size water gong (i.e., gong with bucket of water),
3 roto-toms, conga, bass drum
(each percussionist needs two bows)
Violin I
Violin II
Viola
Cello
(All players except for the two solo percussion also play
oracle rods in addition to their instruments.)

The solo parts plus the full score are available for sale.  The parts are on rental from the publisher

Chamber Orchestra - Level 5 - Digital Download

SKU: A0.533592

Composed by Carson Cooman. Contemporary,Standards. Score and parts. 87 pages. Musik Fabrik Music Publishing #3029401. Published by Musik Fabrik Music Publishing (A0.533592).

Cerulean: Double Percussion Concerto (2004) for two solo percussionists and ensemble
was commissioned by the Carnegie Mellon School of Music for percussionists Cory Cousins,
Mike Perdue, and the Carnegie Mellon Contemporary Ensemble, Walter Morales, director.
The work is dedicated to them and to Howard Stokar. The work is inspired by the ocean,
particularly its greatest depths.
The work is in two movements, played without break. The two movements explore the same
musical material (a specific collection of twelve pitches) in two very different ways. In the
first movement, the material is presented often in row forms -- and harmonies derived from it.
In the second movement, a more free approach is used to the material and it becomes more
motivic and gestural.
The first movement, Different Purposes, is inspired by the vast diversity of deep-sea life.
Musical objects interact with each other and ideas transform each other. Many of these deepsea
creatures live in very isolated and solitary environments at the ocean's lowest points.
They each exist and pursue their own purposes without any awareness of what else is
happening around them. However, despite this, they are all existing within a common
environmental system and are thus achieving goals together on a larger level.
The second movement, Different Porpoises, is inspired by porpoises and other sea-creatures
who surface, thus providing a link to human land-bound life. The marimba establishes a
rhythmic ostinato which (although passed around) remains steady throughout most of the
movement.

Instrumentation
Flute
Oboe
Clarinet in Bb
Bass Clarinet in Bb
Bassoon
Horn in F
Piano
2 Solo Percussion:
I: marimba, crotales, suspended cymbal, 2 spokes/bells
II: vibraphone (with motor), tubular bells, 3 bowls (indef. pitches),
medium-size water gong (i.e., gong with bucket of water),
3 roto-toms, conga, bass drum
(each percussionist needs two bows)
Violin I
Violin II
Viola
Cello
(All players except for the two solo percussion also play
oracle rods in addition to their instruments.)

The full score without the solo parts is also available for sale.. The parts are on rental from the publisher

Chamber Orchestra - Digital Download

SKU: A0.944032

Composed by Ofer Ben-Amots. Contemporary,Jewish,World. Score and parts. 118 pages. The Composer's Own Press #4610029. Published by The Composer's Own Press (A0.944032).

CONCERTINO, for Clarinet, Mandolin, and Orchestra

CONCERTINO was officially commissioned in 2011 by the Geneva Chamber Orchestra. The composition explores the sound combination of two, seemingly opposing, instruments and sound characters: the clarinet and the mandolin. Thus, the three-movement work is a short double-concerto for clarinet and mandolin, accompanied by a chamber orchestra. The first movement, titled Psalm 148 and is a mixture of a coronation fanfare and a wild improvisatory-like dance. The music is based on the structure and ideas expressed in the 148th Psalm. For the transformation of this Psalmodic text into music I was concerned with two elements: first, the linguistic pulse of the ancient Biblical Hebrew gives the music its ever-changing meters and vibrant rhythms. The second element was the poetic concept presented in the text: Heaven vs. Earth, Universe vs. Planet, or Heights vs. Depths. The contrasting nature of these elements is described in the following verses:

Hallelujah, Praise ye the LORD from the heavens; praise Him in the heights. (Psalm 148, verse 1)

Praise the LORD from the earth, ye sea-monsters, and all deeps. (Psalm 148, verse 7)

Finally, both Heaven and Earth join in praise together: Let them praise the name of the LORD, for His name alone is exalted; His glory is above the earth and heaven. (Psalm 148, verse 13)

The musical expression of these contraries is reflected and the use of high-range and soprano instruments (flutes, clarinet, trumpets, violins) versus low-range instruments (trombone, bassoons, cellos and basses.)

The second movement, Romacero Viejo (and old love song) is a slow, lyrical dirge-like melody in a Sephardic Judeo-spanish style. In this movement the mandolin plays in the manner of an Oud – a traditional pear-shaped Arabic lute. The harmony sits mostly on a single pedal note while the clarinet imitates the chant with rhythmically free ornatmental patterns.

The third and final movement, Allegro con brio, is a festive klezmer dance with a traditional Bulgar (or Freylech) rhythm, where the regular 8/8 meter is constantly divided into the irregular count of: 3+3+2. In the middle of this movement the two soloists play a cadenza, which allows them to present their contrasting yet complementary instrumental characters. The movement is titled The Geneva Bulgar in honor of the City of Geneva and the wonderful memories I have been carrying with me ever since my time there as a young student at the Conservatoire de Musique.

Total duration: ca. 23 min.

Performance material by rental only! For demo recording, questions, or any additional information please e-mail Ofer Ben-Amots at: thecomposerspress@gmail.com

Chamber Orchestra - Level 5 - Digital Download

SKU: A0.1145526

By Stefano Olcese. By Stefano Olcese. Arranged by Stefano Olcese. Chamber,Classical,Contemporary,Film/TV,Romantic Period. 28 pages. Stefano Olcese #745768. Published by Stefano Olcese (A0.1145526).

----> IMPORTANT <---- This PDF file is in A3 format. If you need a different format please let me know and I'll provide it to you free of charge. Same for the separate parts: if you need them I'll send them to you free of charge. My contacts are below :) A few years ago, during a road trip through Skåne, the Swedish southernmost region, I landed in a quite famous tourists’ destination: Ales Stenar, a sort of viking Stonehenge. It was cloudy, cold and windy, but somehow beautiful. And there, surrounded by those mysterious gray stones, walking on the cliffs above the Baltic Sea, a beautiful melody came to my mind. Just 8 bars. As it should be. I was happy and proud of that melody, on the spot. Once back home I immediately wrote a sketch for piano and a few days later I played it to a dear friend of mine, a very talented Swedish violinist, Anders Hjortvall. He was enthusiastic. “This is a violin melody Stefano! Think about it :) � he added. And he was damn right! Those 8 bars were the seed of the first movement, Skåne. Yet, I had the feeling that something was missing, that a continuation was needed. Also, I was not being fair to Ales Stenar, where everything began. So I later wrote four additional movements and entitled the whole composition Ales Stenar. I called it a suite for violin and chamber orchestra because to me it’s certainly a quite free-flowing music, deeply inspired by Swedish landscapes and nordic atmospheres, but still, all five movements have an inner coherence and a reciprocal connection. The (minimum) instrumentation list includes a solo violin, 1 first violin, 1 second violin, 1 viola, 1 cello, 1 double bass, 1 oboe, 1 clarinet in B-flat, 1 bassoon. Upon request I can arrange the score for a bigger or different ensemble. I am a composer and opera singer based in Malmö, Sweden. Feel free to contact me to know more about my music, my singing and possible collaborations. http://www.stefano-olcese.com/ https://www.facebook.com/olcesestefano https://www.instagram.com/stefano_olcese.

Chamber Orchestra - Level 5 - Digital Download

SKU: A0.533672

Composed by Carson Cooman. Contemporary,Sacred. Score and parts. 54 pages. Musik Fabrik Music Publishing #3037097. Published by Musik Fabrik Music Publishing (A0.533672).

Symphony No. 3, “Ave Maris Stella� (2005) was written for the Duquesne Contemporary
Ensemble and is dedicated to composer David Stock. Throughout his career, Stock has been
a tireless and generous advocate on behalf of new music and living composers. This work is
dedicated to him in tribute – as both an important American composer and a significant
contributor to America’s contemporary musical life.
The work’s basic source material is the plainchant Ave maris stella (“Hail, star of the sea�) –
appropriate because of Duquesne’s standing and history as a Catholic university. When the
composition of this work first began, the original plan was for a celebratory and vibrant piece.
As the planning progressed, however, personal circumstances intervened and began to change
the work’s tone – becoming substantially bleaker and more obsessive.
The title of the first movement, Pentimento, is defined as “an underlying image in a painting,
as an earlier painting, that shows through when the top layer of paint has become transparent
with age.� The melodic and harmonic material for the movement is entirely drawn from the
plainchant source, although it is completely transformed and covered up – as in a pentimento.
At various points, one can begin to hear the original plainchant “peek out� in subtle ways.
The opening section of the movement obsesses again and again on what sounds like a
“beginning� – as though it is trying to begin again and again. After a brief bassoon cadenza, a
fast and driving section starts, marked “sinister.� After driving through a series of
transformations on the plainchant material, a bridge passage leads to further attempts at the
“beginning� again. Finally, these attempts are given up, and the plainchant material (the
underlying layer) begins to show through quietly – in preparation for the next movement.
In the second movement, Interrupted Motet, the plainchant theme is used in a more
straightforward fashion. After the opening declamatory statements, the following sections
move between more free developmental techniques, based on the first movement’s
transformations, and “motet� sections – using cantus firmus methods and textures from
Renaissance music. The tone and palate is, however, much darker and more obsessive.
There is a brooding ponderousness to these contrapuntal developments. The final motet
section ends in a rageful shout, the plainchant material is presented again in full force, and the
pent-up energy dissipates to the close.

Flute
Oboe
Clarinet in Bb
Bass Clarinet in Bb
Bassoon
Horn in F/Bb
Trumpet in C
Trombone
Percussion (1 player):
tubular bells, vibraphone
(Percussionist needs one rosined bow for vibraphone.)
Piano
Violin I
Violin II
Viola
Cello
Contrabass
(single strings)

This is the score only.  The complete parts and each seperate part are also available as seperate items.

Chamber Orchestra - Level 5 - Digital Download

SKU: A0.533698

Composed by Carson Cooman. Contemporary,Standards. Score and parts. 71 pages. Musik Fabrik Music Publishing #3038887. Published by Musik Fabrik Music Publishing (A0.533698).

Shining Space: Quintet for Horn and Strings (2006) was commissioned by and is dedicated
to Hazel Dean Davis and Stephen Hackbarth on the occasion of their marriage, June 24, 2006.
The work was premiered by James Sommerville, horn with Sarah Kapustin and Francesca
Anderegg, violins, Nathan Burke, viola, and Peter Lorenzo Anderegg, cello.
The basic musical material for the work is a set of intervals which is gradually “expanded
outward� – moving from close dissonance to luminous consonance. This could be seen to
represent a sense of freedom, growth, and a bright future.
The first movement, Bright Morning Sky, begins vibrantly with ecstatic ringing in the higher
strings. The cello presents the work’s basic pitch material in dramatic gestures. The horn
then enters: first abortively and then affirmatively – changing the texture to focus on itself.
The horn continues lyrical melodic development while the strings react, dissipating their
initial energy. Nervous tremolos in the strings start to build back energy again, leading to a
wild climax. The music then relaxes into the next section marked “Slow, suspended.� The
horn and strings interact melodically, supported by luminous harmonies. The nervous
tremolos return, regaining energy towards the coda. The work ends with the ecstatic ringing
of the opening – but,this time, the harmonic material is open and bright.
The second movement, I Am the Vine, is serene and expressive – consisting of a series of
canons which develop, break-off, and start again. The canons are almost always in two
voices – representing two lives intertwining.
The third movement, Chasing Windflower, returns to the energy of the opening movement.
However, the harmonic language begins this time with the open sonorities. Darker colors
(from the first movement) continue to interject, but are always overwhelmed by a sense of
free-wheeling excitement. The work presses on to an ecstatic coda – with a sense of
unfettered joy.

Chamber Orchestra - Level 5 - Digital Download

SKU: A0.534697

Composed by Germaine Tailleferre. 20th Century. Score and parts. 63 pages. Musik Fabrik Music Publishing #6245161. Published by Musik Fabrik Music Publishing (A0.534697).

This Concerto, composed in the 60s for the French Radio, was never performed and it was rumoured that Tailleferre, always trusting with her performers, had given the score to a visiting Guitarist from South America in the hopes that it would be performed there. Tailleferre personally considered this work to be on of her strongest and regretted that it was never performed during her lifetime. Her description of the work motivated several musicologists and guitarists to spend many hours searching for the work in music archives and libraries. The missing score was finally located during the Fall of 2003. A musician visiting the French Radio was intrigued however by a new addition to the catalogue and it was quickly confirmed that this was indeed the missing manuscript that so manmusicologists and guitarists had been looking for all of these years.

The work is in four movements and is scored for 2011/1000 tymp/harp/celesta/strings and lasts aproximately 17 minutes. The work is more in the style of a concerto grosso than that of a virtuosic concerto, with the guitars frequently used in a solo group with the harp and celesta, which adds a very interesting orchestral colour. The writing is varied, ranging from a medieval cantilène style in the slow movement to free atonal sections in the second Scherzo movement and in the first movement. The work ends in a movement which sounds influenced by South American Popular music. Inspite of this apparent stylistic disparity, the composition remains extremely coherent and shows a great deal of energy and a kind of poetic strangeness.

This item is the full score. The parts are on rental from the publisher. A piano reduction and the solo parts are available for sale.

Chamber Orchestra - Level 3 - Digital Download

SKU: A0.1457320

Composed by Alan Bullard. Arranged by Alan Bullard. Classical,Multicultural,World. 120 pages. Colne Edition / BullardMusic #1036364. Published by Colne Edition / BullardMusic (A0.1457320).

These light-hearted dances for small orchestra comprise six movements: 
 
·      Three-quarter time 
·      Serenade 
·      Mambo 
·      Valse Française 
·      Smooth and Spanish 
·      Celebration! 
 
They are an orchestral arrangement of Alan Bullard's piano duets, 
'Six Dances for Four Hands' (which were themselves originally 
published as volume 3 of the series 'I Love Piano Duets'). 
 
Scoring:
2 Flutes, 1 Oboe, 2 Clarinets in B flat, 1 Bassoon
2 Horns in F, 1 Trumpet in B flat
Violins 1 and 2, Violas, Cellos, Double Basses
 
This download contains full score and all parts – feel free to print out as many string parts as you need for your orchestra.
 
This edition is copyright © Alan Bullard 2024. All Rights Reserved.
 
Published by www.colneedition.co.uk
 
For details of all Alan Bullard's music please visit www.alanbullard.co.uk.

Chamber Orchestra - Level 3 - Digital Download

SKU: A0.1356362

By Keith Terrett. By Keith Terrett. Arranged by Keith Terrett. 21st Century,Classical,Praise & Worship. 21 pages. Keith Terrett #941039. Published by Keith Terrett (A0.1356362).

My Pie Jesu, part of my Requiem for the Earth.

If you wish to perform this work, the first customer will get one other movement free of charge!