Chamber Orchestra - Digital Download SKU: A0.1035224 Composed by Frederik François Chopin (1810-1949). Arranged by James Strauss. Romantic Period. Score and parts. 33 pages. James Strauss #5806027. Published by James Strauss (A0.1035224). Unless your name is Mozart, Mendelssohn or Korngold, the first compositional steps are always the hardest. Chopin was probably no older than 14 when he set to work on a set of variations for piano and flute. Already in love with opera, he decided on the happy- ending aria, Non più mesta (No longer sad) from Rossini’s opera Cinderella. As the curtain comes down, Cinderella gleefully warbles, No longer sad beside the fire shall I sit alone, singing; my long years of heartache were but a streak of lightning, a dream, a game. We are unsure what actually prompted Chopin to select this for his unique combination of flute and piano, but it was most likely written for the composer’s father who was a capable amateur flute player. In the end, the piece was probably dedicated to Józef Cichowski, a close friend of his fathers and an amateur flautist as well. We are indeed fortunate that this early piece of Chopin juvenilia has actually survived, as Jozef Nowakowski, one of the composer’s friends, kept the single manuscript copy as a memento. For one reason or another, the work did not appear in print until 1953. This charming and fluent set of variations presents the theme and four decorated versions of the original tune. Added triplet figuration enlivens the first variation, while the second relies on a florid bel canto style to embellish the theme. Rapid downward arpeggios propel variation three, and the concluding variant displays rapid staccato figuration. Stylistically, there is nothing in this composition to suggest Chopin’s hand. You certainly won’t hear Chopin’s fingerprint in the piano part, as all the interesting bits are given to the flute. In addition, it’s the only Chopin piano part that can comfortably be played by most amateurs. Clearly, the future poet of the piano had a long way to go! Here in a Flute and orchestra version.

SSA choir and piano or chamber orchestra - Medium - Digital Download SKU: MQ.56-0040-E Composed by Howard Goodall. 15 pages. MorningStar Music Publishers - Digital Sheet Music #56-0040-E. Published by MorningStar Music Publishers - Digital Sheet Music (MQ.56-0040-E). English.This George Herbert text is set for SSA voices and piano. The text is a veiled description of Herbert’s relationship to God as paramount and beyond price. The pearl is a symbol for something sought but not easily found. The poet describes key pursuits in life (learning, honor, pleasure) and concludes “Yet I love thee.� Again and again the comparison is made between earthly and heavenly things, and the author concludes that the ultimate goal is “to climbe to thee.� There are various solo and small group opportunities marked in the music as well as “tutti choirs� and “massed voices.� Yet the music is not complex and is suitable for a variety of situations and ensembles.

Chamber Orchestra - Digital Download SKU: A0.944036 Composed by Ofer Ben-Amots. Contemporary,Jewish,World. Score and parts. 124 pages. The Composer's Own Press #4627681. Published by The Composer's Own Press (A0.944036). Kantes del verdgel de granadas – Songs from the Pomegranate Garden A Judeo-Spanish song cycle for solo voice and chamber symphony orchestra Composer’s notes: Kantes del verdgel de granadas, or in its English translation: Songs from the Pomegranate Garden, is a cycle of five songs in the Judeo-Spanish dialect, also known as Ladino. The texts, based on folk-poetry, are magical, passionate, and encompass a wide range of human emotions and experiences. We can find in them love and longing, sorrow and death, lightheartedness and folly, as well as burning love and even sexual innuendo. The vocal part portrays different stories and a variety of human characters in each of the five songs. It, thus, ranges in expression from parlando secco to lirico espressivo. The role of the orchestra in this cycle is more than just an accompaniment; it converses with the voice, adds colors and ambience, and serves as a commentary over the sung text. Thus, the orchestral part is equal to, or at times even more predominant than the voice itself. The initiative to write this composition came in response to a specific cultural approach by which creativity based on traditional Judaic material should correspond to four stages in the artistic process: Exploration, Preservation, Interpretation, and Innovation (as translated by the Hebrew terms: חידוש – פירוש – שימור – חיפוש). The main idea behind this initiative was to conserve crucial elements within traditional Jewish folk music, and then, bring about their revival as art music through new contemporary interpretations. Thus, the musical arrangement is partially based on the traditional Ladino tunes and partially original. However, phrases based on old Ladino melodies are starkly modified and composed in such way to completely evoke personal imagery and interpretation. The songs I selected for the cycle were taken from the four-volume collection: Chants judéo-espagnols by Isaac Levy. My criteria for the selection was finding lesser-known melodies, yet most intriguing ones and with a strong Judeo-Spanish character. The five songs have various degrees of arrangement vs. original composition: songs 2 and 3, Mi korason and Entre las huertas, for example, are almost unchanged, while songs 1 and 4, Dos amantes and Malato ‘sta el hijo del rey, heavily combine the old Ladino romancero melodies with originally composed material. The concluding song (Nr. 5) is entirely original, but correspond stylistically to the Judeo-Spanish musical language. While all five songs are secular in nature, the ballad Malato ‘sta el hijo del rey (The King’s Son is Ill) has been traditionally sung - according to Isaac Levy - on the night of Tisha B’Av along the scroll of Eicha to bemoan the destruction of the Holy Temple in Jerusalem. The Judeo-Spanish text of the songs can be found below along with its English translation.   Duration: ca. 24 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 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 2 - Digital Download SKU: A0.624464 Composed by Traditional. Arranged by Stephen DeCesare. Christian,Praise & Worship,Sacred. Score and parts. 19 pages. Exultet Music #4775983. Published by Exultet Music (A0.624464). The traditional hymn that was written by the poet James Montgomery has now been freshly arranged for a String Quartet (Violin (2), Viola, Cello), C-Trumpet obbligato with Piano accompaniment. Accessible and appropriate for any church or concert setting. Can be used at many times throughout the liturgical year.  .

Chamber Orchestra - Level 4 - Digital Download SKU: A0.1455106 By Johnson Gao. By Johnson Gao. Arranged by Johnson Gao. 20th Century,Chamber,Classical,Multicultural,Wedding,World. 170 pages. Johnson Gao #1034182. Published by Johnson Gao (A0.1455106). This song contains 12 chapters. It plays 12 minutes based on 170 pages of music sheet. The melodies have an oriental flavor, because some of the songs were originally composed for ancient famous Chinese poems written by Tao Yuan-ming (Assay of Peach Land Spring), Bai Ju-yi (Pipa Marching Song), Liu Bang (Great Wind Song) and anonymous (Chi Le Song).?????12????? 170 ?????? 12 ??????????????????????????????????????????????????????????????????????????? )?.

Chamber Orchestra - Level 4 - Digital Download SKU: A0.1450927 By Johnson Gao. By Johnson Gao. Arranged by Johnson Gao. Praise & Worship,Traditional,Wedding. 93 pages. Johnson Gao #1030354. Published by Johnson Gao (A0.1450927). The song contains 8 chapters of 8 songs that were composed in different years, which include melodies composed for some top famous Chinese poems and re-arranged. It was completed in May 2024 for his 87th years birthday. It broadcasts for 10 minutes, music sheet is about 93 pages.

Chamber Orchestra - Level 3 - Digital Download SKU: A0.1102386 Composed by Mehdi D. Ardebili. 19th Century,Classical,Multicultural,Romantic Period,World. Score and Parts. 2 pages. Mehdi D. Ardebili #705795. Published by Mehdi D. Ardebili (A0.1102386). Dedicated in memory of the late contemporary Persian poet Houshang Ebtehaj. Miniature piece in Dashti E for oboe, violin solo, harp & strings out of a set of original preludes for piano solo. Composed and arranged by Mehdi D. Ardebili.SoundCloud Link: https://on.soundcloud.com/5Z1XH.

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 4 - Digital Download SKU: A0.533598 Composed by Carson Cooman. Contemporary. Score and parts. 34 pages. Musik Fabrik Music Publishing #3030255. Published by Musik Fabrik Music Publishing (A0.533598). Symphony No. 2, Litanies of Love and Rain (2004) for orchestra is a symphonic work in onemovement. It is dedicated to Marisa Green.The work is inspired by a poem (Desiring the Solicitude of Rain) by American poet Kathleen Wakefield. The landscape of rich imagery in Wakefield's poem drives the extra-musical inspiration of this work. Musical material from the earlier vocal work is re-imagined in a purely orchestral context.Wakefield's poem contains images and messages of love and journey amidst the desire for the coming of rain. It is these ideas which provided the poetic conception of the work. Throughout the piece, the winds and brass play an extensive lyric and melodic role. A strand of singing lyricism runs throughout. Instruments are always exploring and highlighting theresonances in melodic and contrapuntal lines of other instruments. The work is cast in three sections (slow-fast-slow) plus a coda. The opening section begins with a forceful gesture that returns throughout the work as a signal. A melodic idea (containing the basic material of the work) is presented in the clarinet and it is developed throughout the rest ofthe section. A faster section emerges in a burst of energy as instruments hocket off each other.The next section is marked slow, ritualistic. The strings create an otherworldly harmonic cloud of gradually shifting and overlapping harmonies. Through this cloud, bassoon, trumpet,and flute solos emerge. Finally, the opening music is recalled in the coda as the potential energy continues to build. The work ends with a surge of anticipation -- the rain is about to come and it can be imagined just beyond the horizon.Orchestration: 2222/2200/1perc/stringsParts on rental from the publisher.

Chamber Orchestra - Level 5 - Digital Download SKU: A0.534690 Composed by Thierry Pélicant. 20th Century,Contemporary. Score and parts. 96 pages. Musik Fabrik Music Publishing #6230969. Published by Musik Fabrik Music Publishing (A0.534690). A four-movement concerto for bassoon and orchestra (PIC22(CA)22/2100/Timp/2perc/strings) by the noted French composer. Duration is about 16 minutes. This file is the orchestral score only. The piano reduction and solo part. is also available for sale.   The parts are on rental from the publisher. 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 supporter 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, composed with 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 ..

Chamber Orchestra - Level 2 - Digital Download SKU: A0.1100189 By Stephen DeCesare. By Stephen DeCesare. Arranged by Stephen DeCesare. 20th Century,Classical,Jewish,Multicultural,World. Score and parts. 19 pages. Exultet Music #704072. Published by Exultet Music (A0.1100189). My God, My God, Why Have You Abandoned Me? These are the words the poet used to describe the horrors of those suffering in the concentration camps during World War II. Scored for Flute, Bb-Clarinet, Bassoon, Violin, Viola and Cello.

Chamber Orchestra - Digital Download SKU: A0.785093 Composed by R Schumann. Arranged by D Oppenheim. Romantic Period. Score and parts. 8 pages. Dan Oppenheim #4725. Published by Dan Oppenheim (A0.785093). R Schumann: Hör' ich das Liedchen klingen op. 48, No. 10 Arr. for String Quartet and optional Voice. After Heine's lieder-cycle Dichterliebe (The Poet's Love).Find more of my arrangements - search Dan Oppenheim

Chamber Orchestra - Level 4 - Digital Download SKU: A0.869215 Composed by Thomas Oboe Lee. 20th Century,Contemporary,Sacred. Score and parts. 94 pages. Thomas Oboe Lee #2016287. Published by Thomas Oboe Lee (A0.869215). During the spring of the Millennial year 2000, music director John Finney and the Boston College University Chorale premiered my Mass for the Holy Year 2000 for chorus and orchestra in Trinity Chapel at Boston College. It was a large work, close to an hour long in duration. It was a momentous occasion and I was extremely pleased with the performance by John and the BC University Chorale. Ten years later in anticipation of the 150th Anniversary of the founding of Boston College, I decided that I wanted to write another choral work for the BC Chorale. This time the subject would be something directly connected to the Jesuit identity of Boston College. I chose for text the poems of Gerard Manley Hopkins, S.J. (1844-1889). This Manley Hopkins project would come in two parts. Part One would be a private uttering of faith in God, and Part Two would be a public declamation of the same topic. The private utterance would be in a chamber setting. I decided on a song cycle setting for soprano and piano. The public declamation would be the choral work with orchestra for the Boston College University Chorale. 1. Part The First … THOU mastering me God! (2010) for soprano and piano The ten poems for this song cycle came from GMH's The Wreck of the Deutschland, Part the First. This 30-minute song cycle was premiered in Bapst Library on March 31, 2011. The performers were Megan Stapleton, soprano, and Diane Braun, piano. 2. God's Grandeur (2012) for SATB chorus and chamber orchestra. For this work I chose five poems by GMH. Pied Beauty God's Grandeur The Habit of Perfection Thou Art Indeed Just, Lord. Inversnaid Why did I choose GMH's work besides the fact that he was a Jesuit? I was very surprised and thrilled that his poems are so fanciful, imaginative and abstract in form and content for someone who lived in the 19th century. These abstract poetic qualities are the very things that a composer in the 20th and 21st centuries would find inspiring when they are seeking texts for musical settings. I did indeed find the sound and silences of GMH's words quite inspirational. Hearing music in those words came directly and quickly as I was working on the piece. I hope the audience will enjoy the work as much as I did when I was creating it.