Chamber Orchestra - Level 2 - Digital Download SKU: A0.1298952 Composed by Tresor Otshudi. Christian,Classical,Contemporary. Score and Parts. 24 pages. Tresor Otshudi #888328. Published by Tresor Otshudi (A0.1298952). For 7 instruments Classical guitar Acoustic guitar Electric guitar Xylophone Vibraphone Bassoon 5 strings Electric bass The Sebene is a kind of instrumental bridge typically executed on the electric guitar and is a characteristic element of the Congolese rumba.Minimal music is a form of art music or other compositional practice that employs limited or minimal musical materials. Prominent features of minimalist music include repetitive patterns or pulses, steady drones, consonant harmony, and reiteration of musical phrases or smaller units.

Chamber Orchestra - Level 3 - Digital Download SKU: A0.868511 By Lee Greenwood. By Lee Greenwood. Arranged by Dean Mounts. Country. Score and parts. 25 pages. Mounts Mounts #3582783. Published by Mounts Mounts (A0.868511). Scored for small orchestra, This popular patriotic song is done for a male vocalist. suitable for any and all patriotic occasions. Playing time - 3:10.

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 theHarvard University Choir.The biblical books of Luke and Acts form a pair of documents from a single author and with a single audience (thelikely-metaphorical “Theophilus�), yet they are unusual for being composed in such contrasting genres. Luke’sgospel, using Mark as a primary source throughout, features a comparable literary style to that of the otherevangelists. Acts, by contrast, is a historical monograph that charts the birth of the Church with dramatic storiesabout—and speeches from—the apostles, painting a vivid, if not necessarily chronological, picture of their victoriesand 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 thefirst third of the book, prior to and including the conversion of Saul. In the Prologue, Christ’s ascension is narratedand—following an orchestral Sinfonia—the chorus sings words of Jesus from the Sermon on the Plain in Luke’sgospel 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 thestory of a Moabite woman who converted to the Israelite faith—a parallel to the expansion of the Christian messageto all nations by the gift of the Holy Spirit. The Prayer for Boldness, quoting Psalm 2, asks God for protection fromthe 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“Heaven is my throne…�, the end of the narrative is remarkable for two reasons: firstly, Stephen’s final wordsmirror those of Christ on the cross in Luke’s gospel—where Jesus forgives his executioners and prays “Father, intoyour hands I commend my spirit� (Luke 23:46); secondly, Saul is specifically mentioned as one who approved ofStephen’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 Isaiah—whilenot 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 Saul’sConversion is followed here by a Christological poem found in Paul’s letter to the Philippians, though it is likely aquotation from an earlier source. It is often regarded as the earliest extant Christian hymn.The Acts of the Apostles concludes with Luke’s realistic assessment that in spite of Paul’s energetic evangelism manyremained unconvinced by the Christian message. At the heart of both Luke’s gospel and Acts is the tension betweenthe uniquely important role of the Jewish traditions that Jesus himself practiced and the expansion of the gospel togentiles, of whom Luke himself is one. It is appropriate, therefore, to follow Paul’s message of salvation to thegentiles with the Magnificat: a canticle that emphasizes the promises of God to the people of Israel throughouthistory.Three traditional hymn texts are found in the oratorio, each set congregationally to a pre-existing tune. The first,“Spirit of mercy, truth, and love� is an eighteenth century poem that e.

Chamber Orchestra - Level 3 - Digital Download SKU: A0.953627 Composed by Adrienne Inglis (ASCAP). Contemporary. Score and parts. 51 pages. Adrienne Inglis (ASCAP) #6383557. Published by Adrienne Inglis (ASCAP) (A0.953627). Celebrate women scientists!Metamorphosis (2019) by Adrienne Inglis (ASCAP) for flute, harp, and string orchestra, commissioned by Balcones Community Orchestra, celebrates the life and work of Maria Sibylla Merian (1647-1717), pioneering entomologist, naturalist, and artist.Duration 5:30 minutes.Commissioned by the Balcones Community Orchestra of Austin, Texas, Metamorphosis (2019) by Adrienne Inglis for solo flute, solo harp, and string orchestra, honors the life and work of pioneering entomologist, naturalist, and artist Maria Sibylla Merian (1647-1717). As she carefully documented in illustrated detail the life cycle of so many insects, Metamorphosis musically follows a butterfly from adult, egg, larva, pupa, and adult. The piece opens with an ostinato pattern in the strings over which the flute and harp play fluttering modal melodies. The strings and harp represent the egg stage with minimalistic layers of a single pitch. To recognize Merian’s time in Suriname and her discovery of many insect species there, a cheerful tune fashioned after traditional Arawak folk songs informs the busy larvae in the caterpillar canon. A bit of contemplative dorian polyphony laced with metamorphic machinations demonstrate the remarkable transformation of the pupa as well as Merian’s time at a devout Labadist religious commune. The butterfly emerges from the pupa with a flute/harp cadenza and then the strings underscore the adult butterfly with a return of the ostinato. The piece ends with the same ostinato as the beginning such that the piece could loop seamlessly as in a true life cycle.This performance does not include the revisions made in this version of the music: https://youtu.be/GIjQpkXl6Uc

Chamber Orchestra - Level 4 - Digital Download SKU: A0.949008 Composed by Bisdré 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 Incêndio. 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! Bisdré Santos

1 (auch Picc.) · 1 · 2 (2. auch Bassklar.) · 1 - 1 · 1 · 0 · 0 - P. S. (Xyl. · Trgl. · hg. Beck. · 2 Tomt. · 2 kl. Tr. · Mil. Tr. · gr. Tr. · 2 Tempelbl.) (2 Spieler) - Hfe. · Str. chamber orchestra - Digital Download SKU: S9.Q16435 For chamber orchestra. Composed by Bertold Hummel. This edition: set of parts. Concertino. Downloadable, Set of parts. Op. 13c. Duration 8 minutes. Schott Music - Digital #Q16435. Published by Schott Music - Digital (S9.Q16435). Despite the Concertante Overture being almost 60 years old, the piece nevertheless captures listeners through its young and carefree freshness. The string orchestra is joined by solo winds and percussion. Hummel's music is so colourful, vivid and powerful that the listener can immediately imagine how the curtain rises upon a play while this music is played. The differentiated score, with its chamber music layout, can be mastered by good amateur ensembles and music students.

1 (auch Picc.) · 1 · 2 (2. auch Bassklar.) · 1 - 1 · 1 · 0 · 0 - P. S. (Xyl. · Trgl. · hg. Beck. · 2 Tomt. · 2 kl. Tr. · Mil. Tr. · gr. Tr. · 2 Tempelbl.) (2 Spieler) - Str. chamber orchestra - Digital Download SKU: S9.Q16434 For chamber orchestra. Composed by Bertold Hummel. This edition: score. Concertino. Downloadable, score. Op. 13c. Duration 8 minutes. Schott Music - Digital #Q16434. Published by Schott Music - Digital (S9.Q16434). Despite the Concertante Overture being almost 60 years old, the piece nevertheless captures listeners through its young and carefree freshness. The string orchestra is joined by solo winds and percussion. Hummel's music is so colourful, vivid and powerful that the listener can immediately imagine how the curtain rises upon a play while this music is played. The differentiated score, with its chamber music layout, can be mastered by good amateur ensembles and music students.

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.

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: A0.601816 Composed by Wolfgang Amadeus Mozart. Arranged by Flavio Regis Cunha. Classical,Concert,Opera. Score and parts. 83 pages. Flavio Regis Cunha #5314791. Published by Flavio Regis Cunha (A0.601816). Madamina, il catalogo è questo (also known as the Catalogue Aria) is a bass catalogue aria from Mozart's opera Don Giovanni to an Italian libretto by Lorenzo Da Ponte, and is one of Mozart's most famous and popular arias.It is sung by Don Giovanni's servant Leporello to Elvira during act 1 of the opera. Sung to a mostly light-hearted tune, it consists of a description and detailed count of his master's numerous conquests.The aria's two halves reverse the usual order of cavatina followed by cabaletta: in the first, a quick Allegro in 4/4, Leporello has a patter summarizing the number and occupations of Don Giovanni's lovers, while in the second, an Andante con moto in 3/4, in the style of a polonaise (with a melody similar to that of the Larghetto of Mozart's earlier Quintet for Piano and Winds), he describes his approaches and preferences, while Donna Elvira presumably listens in horror.Orquestration: 2.2.0.2 - 2.0.0.0 - Str - Solo Bass

Chamber Orchestra - Level 3 - Digital Download SKU: A0.1203737 Composed by Erik Satie. Arranged by Andrew Middleton. 19th Century,20th Century,Classical,Romantic Period. Score and Parts. 30 pages. Andrew Middleton #802300. Published by Andrew Middleton (A0.1203737). Saties Gnossienne were very controversial works when they were first composed in 1890, not only were the harmonies were modern for the time but he did not use time signatures or bar lines in the music to allow more freedom. This arrangement of Gnossienne No. 1 for chamber orchestra was inspired by Debussy’s arrangements of Satie’s Gymnopedies. The simplistic nature of the music means it is accessible to intermediate ensembles, and complimentary bar lines and time signatures have been included to facilitate ensemble performances. The download includes a full score and complete set of parts. For more updates on new arrangements follow my Facebook page on https://www.facebook.com/a.middletonmusic/ Or subscribe to my Youtube page at https://www.youtube.com/channel/UCClIYqddA2wMpdaxSq3BKEw?view_as=subscriber.

Chamber Orchestra - Level 3 - Digital Download SKU: A0.1418391 Composed by Erik Saite. Arranged by Andrew Middleton. 20th Century. 71 pages. Andrew Middleton #999957. Published by Andrew Middleton (A0.1418391). Saties Gnossienne were very controversial works when they were first composed in 1890, not only were the harmonies were modern for the time but he did not use time signatures or bar lines in the music to allow more freedom. This arrangement of Three Gnossiennes for Orchestra was inspired by Debussy’s arrangements of Satie’s Gymnopedies. The simplistic nature of the music means it is accessible to intermediate ensembles, and complimentary bar lines and time signatures have been included to facilitate ensemble performances. The download includes a full score and complete set of parts. For more updates on new arrangements follow my Facebook page on https://www.facebook.com/a.middletonmusic/ Or subscribe to my Youtube page at https://www.youtube.com/channel/UCClIYqddA2wMpdaxSq3BKEw?view_as=subscriber.

Chamber Orchestra - Level 4 - Digital Download SKU: A0.931071 Composed by Wolfgang Amadeus Mozart. Arranged by Roman Benedict. Classical. Score and parts. 36 pages. Roman Benedict #6759569. Published by Roman Benedict (A0.931071). Mozart’s overture to the Marriage of Figaro, arranged for viola ensemble (or, optionally, cello ensemble). Performed around the world by viola players at all levels, this arrangement is for viola ensemble in six parts, and can be performed by any number of musicians from 6 solo parts to a large ensemble of violists.

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 ..