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Chamber Orchestra - Level 5 - Digital Download

SKU: A0.890767

Composed by Georg Philipp Telemann. Arranged by Sneakwood Editions. Baroque,Classical. Score and parts. 41 pages. Sneakwood Editions #4781035. Published by Sneakwood Editions (A0.890767).

Edition based on Ms. D MƜu, ms. 775

Score (20 pages) and Parts (friendly performance edition): Violino principale, Violin I, Violin II, Violin III, Viola, Violoncello and Harpsichord.

The Violin Concerto in A major (TWV 51:A4), which has come to light only fairly recently, does not take as its musical model the song of the nightingale (as in ā€˜La Bizarreā€™ [TWV 55:G2]) or of the goldfinch (Vivaldi), but the croaking of the common frog, also called ā€˜Relingā€™ in certain regions of Germany, whence the concertoā€™s subtitle. Nothing better could be expected of a composer who found inspiration even in crows and in the out-of-tune playing of village musicians! Although this concerto, which the manuscript attributes to Telemann, bears traces of his personal style, other features, such as the exceptionally high solo part, leave room for doubt. At a structurally important point in the first movement the soloist produces no more than a succession of repeated notes, ā€˜a-a, a-aā€™, which infect the other parts as well. Of course, this is the vowel that the frog croaks, given a distinctive tone-colour by use of the open A string and stopped D string. But worse is to come. In the second ritornello the orchestral violins ā€˜forgetā€™ the beginning of their theme, whilst the cello inappropriately pushes its way into the foreground. The setting of the second movement (Adagio), probably a moonlit stretch of shallow water, then audibly inspires a pair of courting frogs to make sweet music together. We are given the opportunity to rejoice in their croaking offspring in the concluding Menuet and its rapid Double. This movement entirely dispenses with concertante sounds of nature and thereby betrays its origins in the suite, where it always takes its accustomed place in Telemannā€™s music. If we knew that a satirist was at work in this ā€˜Relingeā€™ Concerto, someone who was deliberately exhibiting all these deviations from good taste, then we could infer with some certainty that the composer is indeed Telemann. Since his own concertos ā€˜smack of Franceā€™ (as he puts it in his autobiography of 1718), we may most likely credit him with permitting his not at all ā€˜sullen old heartā€™ a little joke at the expense of the relevant concertos of a certain Italian composerā€¦ ā€“ Peter Huth (trans. Charles Johnston)

www.snakewoodeditions.com

TELEMANN – VIOLIN CONCERTO IN A MAJOR "THE FROGS", TWV 51:A4 (Score and parts in PDF)
Orchestre de chambre

$18.00 16.71 € Orchestre de chambre PDF SheetMusicPlus

Chamber Orchestra - Level 5 - Digital Download

SKU: A0.533578

Composed by Carson Cooman. Christian,Contemporary,Spiritual. Score and parts. 189 pages. Musik Fabrik Music Publishing #3025409. Published by Musik Fabrik Music Publishing (A0.533578).

The Acts of the Apostles (2009), an oratorio for baritone, chorus, congregation/audience, and chamber orchestra (piano, organ, strings-suggested minimum of 3.3.3.2.1),
was commissioned by The Memorial Church at Harvard University. It is dedicated to Edward Elwyn Jones and the
Harvard University Choir.
The biblical books of Luke and Acts form a pair of documents from a single author and with a single audience (the
likely-metaphorical ā€œTheophilusā€), yet they are unusual for being composed in such contrasting genres. Lukeā€™s
gospel, using Mark as a primary source throughout, features a comparable literary style to that of the other
evangelists. Acts, by contrast, is a historical monograph that charts the birth of the Church with dramatic stories
aboutā€”and speeches fromā€”the apostles, painting a vivid, if not necessarily chronological, picture of their victories
and struggles. As such, it is a book that provides excellent source material for a dramatic choral libretto of this scale.
Although much of Acts is focused on the ministry of Saul/Paul, this oratorio draws most of its material from the
first third of the book, prior to and including the conversion of Saul. In the Prologue, Christā€™s ascension is narrated
andā€”following an orchestral Sinfoniaā€”the chorus sings words of Jesus from the Sermon on the Plain in Lukeā€™s
gospel that foreshadow many of the trials the apostles go on to face. The astounding account of Pentecost follows:
here, words from the book of Ruth, customarily read on the feast of Shavuot (Pentecost), are included, telling the
story of a Moabite woman who converted to the Israelite faithā€”a parallel to the expansion of the Christian message
to all nations by the gift of the Holy Spirit. The Prayer for Boldness, quoting Psalm 2, asks God for protection from
the threats of persecution that the apostles will now face.
Stephen, regarded as the proto-martyr of the Christian Church, offers one of the most developed speeches in Acts,
only a small portion of which is presented here. Full of scriptural references, including the quotation from Isaiah
ā€œHeaven is my throneā€¦ā€, the end of the narrative is remarkable for two reasons: firstly, Stephenā€™s final words
mirror those of Christ on the cross in Lukeā€™s gospelā€”where Jesus forgives his executioners and prays ā€œFather, into
your hands I commend my spiritā€ (Luke 23:46); secondly, Saul is specifically mentioned as one who approved of
Stephenā€™s stoning, indicative of the redemptive possibilities of the Christian message.
The account of the baptism of the Ethiopian eunuch here in the oratorio ends with the First Song of Isaiahā€”while
not quoted in Acts, it seems a fitting conclusion to the scene as Philip and the eunuch were reading Isaiah together,
and the canticle has often been associated by Christians with the rite of baptism. Similarly, the story of Saulā€™s
Conversion is followed here by a Christological poem found in Paulā€™s letter to the Philippians, though it is likely a
quotation from an earlier source. It is often regarded as the earliest extant Christian hymn.
The Acts of the Apostles concludes with Lukeā€™s realistic assessment that in spite of Paulā€™s energetic evangelism many
remained unconvinced by the Christian message. At the heart of both Lukeā€™s gospel and Acts is the tension between
the uniquely important role of the Jewish traditions that Jesus himself practiced and the expansion of the gospel to
gentiles, of whom Luke himself is one. It is appropriate, therefore, to follow Paulā€™s message of salvation to the
gentiles with the Magnificat: a canticle that emphasizes the promises of God to the people of Israel throughout
history.
Three traditional hymn texts are found in the oratorio, each set congregationally to a pre-existing tune. The first,
ā€œSpirit of mercy, truth, and loveā€ is an eighteenth century poem that e.

Carson Cooman: The Acts of the Apostles (2009), an oratorio for baritone, chorus, congregation/audie
Orchestre de chambre

$25.95 24.09 € Orchestre de chambre PDF SheetMusicPlus

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 ā€“ Songs from the Pomegranate Garden

A Judeo-Spanish song cycle for solo voice and chamber symphony orchestra

Composerā€™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 ā€“ פי×Øוש ā€“ שימו×Ø ā€“ 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 judĆ©o-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 ā€˜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 ā€˜sta el hijo del rey (The Kingā€™s Son is Ill) has been traditionally sung - according to Isaac Levy - on the night of Tisha Bā€™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


Songs from the Pomegranate Garden (Kantes del Verdjel de Granadas)
Orchestre de chambre

$54.00 50.13 € Orchestre de chambre PDF SheetMusicPlus

Chamber Orchestra - Level 5 - Digital Download

SKU: A0.1410415

Composed by Julian Harvey. 21st Century,Classical,Contemporary,Film/TV. 128 pages. Julian Harvey #992821. Published by Julian Harvey (A0.1410415).

Having read many of the novels of Patrick O'Brian about the British Navy during the Napoleonic Wars, I thought I would write music for a hypothetical film based on these novels. I started H.M.S. Surprise long before I learned that such a film, Master and Commander: The Far Side of the World was actually being made. I had neither seen the movie nor heard the music used in it.
H.M.S. Surprise consists of two movements for chamber orchestra. The first, In the Harbour, serves as an introducton. It portrays an existence which is peaceful and devoid of the difficulties to be encountered later. To be sure, there is some back-street intrigue and romantic entanglement, but life is generally pleasant.Ā 
The second movement, At Sea, immediately follows the first and is considerably longer and more programmatic. It begins with typical adventure at sea music and soon becomes an imitation of a sailor's hornpipe, begun by the flute. Next comes the storm or the battle or perhaps both at the same time. Calm returns and the sailors give thanks by singing a hymn. Thanksgiving turns to celebration as everyone on deck plays one tune or another, including even the Captain, Jack Aubrey, who plays the violin. Later Captain Aubrey and his friend, Steven Maturin, physician, spy and cellist, play a duet before the music comes to a rousing conclusion.

H.M.S. Surprise
Orchestre de chambre

$20.00 18.57 € Orchestre de chambre PDF SheetMusicPlus

Chamber Orchestra - Level 4 - Digital Download

SKU: A0.1024007

Composed by Ron Levy. 20th Century,Baroque,Contemporary. Score and parts. 70 pages. Thinkling Music #6208249. Published by Thinkling Music (A0.1024007).

Dance Symphony is a light and charming chamber symphony in three movements. Duration is approximately 14 minutes. The ļ¬rst movement is in arch form, with three highly contrasting themes. The second movement is dance-inspired, more a LƤndler than a Waltz. The Trio portrays a lone fiddler with a gathering crowd. The third movement begins with a fanfare and ends with whimper, with plenty of action in between. It was originally composed as a wedding processional. The mp3 is of the entire 3-movement work; Movement 2 begins at about 05:00, and Movement 3 at about 10:00.

DANCE SYMPHONY - Score Only
Orchestre de chambre

$25.00 23.21 € Orchestre de chambre PDF SheetMusicPlus

Chamber Orchestra - Level 5 - Digital Download

SKU: A0.742472

Composed by Jean Phillipe Rameau. Arranged by Arte Nova Music Lab. Baroque,Concert,Standards,World. Score and parts. 15 pages. Arte Nova Music Lab #4600759. Published by Arte Nova Music Lab (A0.742472).

Les Indes galantes (French: The Amorous Indies) OpĆ©ra-ballet with a prologue and two entrĆ©es. Choreography: Louis DuprĆ©. Music: Jean-Philippe Rameau. Libretto: Louis Fuzelier. Sets: Giovanni-NiccolĆ² Servandoni. First performance: 23 August 1735, ThĆ©Ć¢tre de l'AcadĆ©mie de Musique, Paris. Principals: David Dumoulin, Louis DuprĆ©, M. le Breton, M. Javellier, Marie SallĆ©.

The premiere, including only the prologue and the first two of its four entrƩes (acts), was staged by the AcadƩmie Royale de Musique at itstheatre in the Palais-Royal in Paris on 23 August 1735, starring the leading singers of the OpƩra, Marie Antier, Marie PƩlissier, Mlle ErrƩmans, Mlle Petitpas, Denis-FranƧois Tribou, Pierre JƩlyotte, and Claude-Louis-Dominique ChassƩ de Chinais, and the dancers Marie SallƩ and Louis DuprƩ. Michel Blondy provided the choreography. The ballet's Premier Menuet was used in the soundtrack of the 2006 film Marie Antoinette.

Prologue: The palace of Hebe in the background and her gardens in the wings

Hebe, goddess of youth, summons her followers to take part in a festival (Air: Vous, qui d'HƩbƩ suivez les lois). Young French, Spanish, Italians and Poles rush to celebrate with a series of dances, including a musette. The ballet is interrupted by the noise of drums and trumpets. It is Bellona, goddess of war, who arrives on the stage accompanied by warriors bearing flags. Bellona calls on the youths to seek out military glory (Air and chorus: La Gloire vous appelle). Hebe prays to Cupid (L'Amour) to use his power to hold them back. Cupid descends on a cloud with his followers. He decides to abandon Europe in favour of the Indies, where love is more welcome.

Taken from https://en.wikipedia.org/wiki/Les_Indes_galantes

Les Indes Galantes - Prologue (Overture)
Orchestre de chambre

$20.00 18.57 € Orchestre de chambre PDF SheetMusicPlus

Chamber Orchestra - Level 4 - Digital Download

SKU: A0.949008

Composed by BisdrƩ Santos. Concert,Contemporary,Film/TV,Standards. 82 pages. Soul - Musical Creations #6495721. Published by Soul - Musical Creations (A0.949008).

You can listen to the full soundtrack on soptfy, deezer, apple music and all streaming platforms. Pano de Boca premiered in July 2015 with Cia. Teatro do IncĆŖndio. Emblematic work by Fauzi Arap (1938-2013), written over 40 years ago, had its only staging in 1976. The play portrays the implosion of a theater group after its members crossed all boundaries between art and life. I wrote this soundtrack totally immersed in the work of Canadian cellist Julia Kent and in the essays that accompany the creation of each scene. The grandeur of Fauzi's text required a soundtrack that gave the audience the feeling of participating in the story, and various instrumentations were used. It was the company's only soundtrack that needed to be fully recorded. Good studies! BisdrĆ© Santos 

Pano de Boca - full original soundtrack
Orchestre de chambre

$20.00 18.57 € Orchestre de chambre PDF SheetMusicPlus

Chamber Orchestra - Level 4 - Digital Download

SKU: A0.869267

Composed by Thomas Oboe Lee. 20th Century,Christian,Classical,Contemporary,Romantic Period. Score and parts. 43 pages. Thomas Oboe Lee #30957. Published by Thomas Oboe Lee (A0.869267).

Program note.

First of all, my enormous gratitude to Deborah Leath Rentz for the source material: Songs and the Spirit: Hancock Shaker Village's Musical Legacy, Volume I. Transcriptions of Hancock Hymnal : 1850. In 1997, Mark Ludwig commissioned me to write a work based on a Shaker song. Ms. Rentz provided me with a lovely song, Grateful Remembrance, from her collection. The result was SEPTET: Variations on a Shaker Tune.

Hancock Shaker Village is in many ways also a set of variations. It begins with a Prelude of my own devising. For the rest of the work I chose five songs from Ms. Rentz's book which provide a glimpse of a typical day for the inhabitants of this religious community. The first song, Pillar of Fire, greets the dawn and the rising sun. The second song, Glean with Care, is about the orchards and the gardens. The third, Sweet Home, is about the religious life and home. The fourth, Quick, a lively dance number, prays for God's power and grace. The last song, Farewell Dear Crossbearers, is for the dearly departed. The work is played continuously without pause between movements and is dedicated to Mark Ludwig, Deborah Leath Rentz and the Hancock Shaker Village.

YouTube link:
https://youtu.be/GJowUC7pDfw

Hancock Shaker Village (2001) for mezzo-soprano and string quartet Orchestre de chambre

$9.99 9.27 € Orchestre de chambre PDF SheetMusicPlus






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