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Instrumental Solo,Piano - Level 4 - Digital Download SKU: A0.1101275 Composed by Juan Guerra González. Classical,Contemporary. Score and individual part. 60 pages. Juan Carlos Guerra Gonzalez #704662. Published by Juan Carlos Guerra Gonzalez (A0.1101275). 2 pianos Study Score of Tapayawi The following description is from the full score: Tapayawi - Concerto for Piano and Strings Orchestra in 3 movements.Estimated performance time: 19'45 Tapayawi†comes from Nahuatl and means “rain constantly.†Each one of the movements portrays a scene with rain in different environments. The work has 3 short movements and is dedicated to Dr. Esteban Barquero, a conductor and dear friend from Costa Rica. The first movement “Bajo la lluvia†(Under the Rain) represents the juvenile experience of doing different activities under the rain like playing, running, and dancing. I have memorable memories of my childhood under the intense rain. The experience of being in the rain can be funny or stressful depending on your perspective. The music pretends to be ambiguous, presenting the theme in different tonal centers and moving between different intensities until fading in the rain.“Rocio†(Dew) is the second movement of the piece. The slow music pretends to evoke a relaxing morning in the countryside enjoying the view of the dew on the green plains. The delicacy of the piano in combination with the warmth of the strings will help to create a relaxing experience for the listener. This movement is like an oasis to the noise of our daily lives.The third movement “Tempestad†(Tempest) is based on a Salvadoran Traditional Rhythm called “Xuc†As an interesting fact, while I was composing this movement I learned that Costa Rica had a traditional rhythm that is very similar called “Tambito.†The movement is full of energy, portraying a Thunderstorm. This movement is very demanding for the performers, especially for the soloist. Tapayawi received it's world premiere on August 12th, 2022Teatro de Bellas Artes, Universidad de Costa RicaRebeca Ordóñez, pianoEsteban Barquero, conductorOrchestra of the Encuentro de Pianistas Costa Rica 2022 Parts are available for sale and rental, please visit http://www.juancarlosguerra.com/tapayawi for more information. The full score can be found in this website, search for Tapayawi Full Score.
Tapayawi (2 pianos study score) Piano seul

$54.99 47.38 € Piano seul PDF SheetMusicPlus

Small Ensemble - Level 4 - Digital Download SKU: A0.1195919 Composed by Annemieke Lustenhouwer. Contemporary. Score and parts. 80 pages. Annemieke Lustenhouwer #795094. Published by Annemieke Lustenhouwer (A0.1195919). What happens when you close your eyes and you see yourself standing next to Mother Mary when Jesus dies? What do you see and what do you feel? That was what I’ve been asking myself for years when I read the text Stabat Mater. This composition tells about this experience and this questions. Sometimes a motif tells quite literally about this story, like the moment when Jesus is nailed down the cross: first the right hand, then the left hand and finaly with one nail both feet. In the first part of the composition, the viola tells with sforzato accents about this.This Stabat Mater is not only an expression of the pain of the Virgin Mother, but is also a tribute to JS Bach as well. Bach is by some seen as a fith evangelist. Nowadays there are still a lot of people who are affected by how his music tells about biblical stories, like I am. In this Stabat Mater I use the number 5 to express that: the first part is written in 5/4th and the last part Quando corpus et Amen is written with 5 parts in the choir. There can also be found a reworked choral in the choir passages of  O quam tristis et afflicta. It is the choral Wie nahe mir mein Ende from BWV 166.Polyfony is a returning presence in this Stabat Mater. I had an visual idea about this. When I was young I saw in an exhibition a tapestry with all kinds of colours and threads, and everything felt in motion. It was a kind of organized mess, but it was beautiful and felt perfect. I wondered if I could manage to express this idea in music as well. Under one of the polyphonic passages there is a Latin-American dance rhythm to express that motion. I heard that rhythm in my childhood in a rhythmbox of the keyboard of my dad. Another passage has the baroque sarabande-rhythme underneath in the double bass.A lullaby-feeling in some parts of the Stabat Mater tells about another story that got intertwined with this composition. It’s the story of a mother who rocks her terminal dying little son in her arms. I once read that story and it felt connected with the Stabat Mater text for a long time. I decided to express that as well.This composition is dedicated to the Dutch conductor Geert van den Dungen. However I saw many conductors, while playing the oboe and clarinet from a young age, there was nobody who let me think very deeply about music. Geert was the one who changed that for me. I started to study scores and developed a great interest in music analysis and music psychology. Many moments of inspiration and understanding for this Stabat Mater happened on choir rehearsals and concerts where Geert was working. I am very grateful for that.String parts only, see for conductors/ choir score Sheet Music plus and Sheet music direct.
Stabat Mater - string ensemble parts
$19.00 16.37 € PDF SheetMusicPlus

Choral Choir,Choral (SATB) - Level 4 - Digital Download SKU: A0.1247407 Composed by Nahum Situmorang. Arranged by Otniel Simangunsong. A Cappella,Contest,Festival,Folk,Romantic Period,Traditional. 17 pages. Otniel Simangunsong #842044. Published by Otniel Simangunsong (A0.1247407). Da Natinitip Sanggar is a folksong originated from North Sumatra, Indonesia. This song was composed by Nahum Situmorang (1908 - 1969). He is a composer and musician. In his entire life, Nahum never worked as an employee of the Dutch colonial government. During his youth, he had won many song competitions, including Sumatra Keroncong Concours in Medan (1936). Nahum's skill in creating his own songs as well as singing them made many people admire him. Nahum is able to play a variety of musical instruments and has his own band. Nahum also often creates songs when in the middle of a crowd. Nahum was most prolific in composing songs from 1950 to 1960. Historically, Nahum has never married in his entire life. However, from several sources, Nahum stated that he once loved a woman but he did not reveal it. This song tells about the romantic story of a man who seduces the woman he loves. He fell in love at the first sight and tried to find out about the woman's family. This song is a collection of rhymes called Umpasa in Batak language. The lyrics of this song are closely related to the culture of the Batak tribe, especially about the family tree known as Tarombo. Men and women are not allowed to marry if both are of them are from the same descendant ( one surname / one family tree). Based on this culture, the song Da Natinitip Sanggar shows a man's curiosity about a woman's surname and her biological mother's surname to find out whether they came from the same family tree because if a woman's family name is the same as the man's biological mother's name, it is considered a mate. Otniel Simangunsong is a conductor and composer from Indonesia. He was born in Tanjungbalai, North Sumatra on August 19, 1996. Currently he is a conductor of Benedicamus Chante Choir - Darma Cendika Catholic University Student Choir, Surabaya. He has also got some supports from another professional conductors and composers. This Da Natinitip Sanggar song is packaged as a A Capella choral score which is Soprano, Mezosoprano, Alto, Tenor, Bariton, and Bass. This arrangement features the style of Batak musical instruments such as Taganing, Ogung, and Sarune.
Da Natinitip Sanggar Chorale SATB

$4.20 3.62 € Chorale SATB PDF SheetMusicPlus

Concert Band - Level 2 - Digital Download SKU: A0.917396 Composed by Gregory Fritze. 20th Century,Classical,Contemporary. Score and parts. 125 pages. Musica Nova USA #4821537. Published by Musica Nova USA (A0.917396). Kristenmark Overture was commissioned and composed for the Symphonic Wind Ensemble of the University of Minnesota Duluth, Mark Whitlock conductor and the Symphony Band of the University of Wisconsin River Falls, Kristin Tjornehoj, conductor.The name Kristinmark are the first names of both conductors.It has been played many times in Europe, South America and the United States. It is often used in honor band festivals as it fits the level of difficulty (grade 4) for the average high school band festival and good duration for such events – seven minutes. The piece is in a clear Sonata Allegro form and includes short solos for trombone, horn, alto sax, trumpet, timpani, snare drum, tuba, oboe, crotales, flute, piccolo, bassoon, euphonium and clarinet. Non of the solos are very long or difficult. The solos are meant to feature as many musicians as possible. In some cases, alternate instruments have cues if particular instrumentalists are not strong performers . In 2017 Kristenmark Overture was submitted to The American Prize Composition Contest, Band Division. It placed as a Semi Finalist that year.Kristenmark Overture can be heard by the Brazilian Wind Orchestra, conducted by Dario Sotelo at: http://www.youtube.com/watch?v=bk-PvXTvxy8
Kristinmark Overture for Concert Band Orchestre d'harmonie

$60.00 51.69 € Orchestre d'harmonie PDF SheetMusicPlus

Choral Choir,Choral (SATB) - Level 4 - Digital Download SKU: A0.1247408 Composed by R. Amiruddin Tjitraprawira. Arranged by Otniel Simangunsong. 19th Century,A Cappella,Contest,Festival,Folk,Traditional. 14 pages. Otniel Simangunsong #842045. Published by Otniel Simangunsong (A0.1247408). Tondu' Majâng is a Madurese song composed by R. Amiruddin Tjitraprawira. R. Amiruddin Tjitraprawira, a figure who hails from Bangkalan Madura, is not widely known in his current condition. He was born on May 18, 1920 and died on December 17, 1975. A number of songs created by R. Amiruddin Tjitraprawira, circulated a lot like the song; Pangèran Trunodjojo, Madhurâ O Madhurâ, Asta Aermata, Kerrabhân Sape, Djoko Tole, Tera' Bulân, È Pasèsèr, Kè' Lèsap, Kembhângnga Naghârâ, Tondu' Majâng, Aèng Tantja 'Torowan, Orèng Matrol and others. This song is a regional Madurese song because it really describes the lives of the coastal communities of Madura who work as fishermen. The song Tondu' Majâng tells the life of a Madurese fisherman. Their life is described as very hard because they have to deal with many dangers at sea (atemmo bhâbhâjâ). They also have to risk their lives (abhândhâ nyabâ) to support their families who are left at home. Sometimes to catch a lot of fish they have to stay for days on the boat so they become used to the sea and rely on the waves as a pillow and the wind as their blanket (abhântal ombâ' sapo' angèn salanjhânga). Many write this song from Madura with Tanduk Majeng, even though the word tanduk or tandu' means horn in Indonesian. Meanwhile, when paired with the context and lyrics of this song, it is true that there is tondu' which means arrived. So it is appropriate to use tondu' instead of horns because what is told in this song is the arrival of the fishermen when they are looking for fish. Otniel Simangunsong is a conductor and composer from Indonesia. He was born in Tanjungbalai, North Sumatra on August 19, 1996. Currently he is a conductor of Benedicamus Chante Choir - Darma Cendika Catholic University Student Choir, Surabaya. He has also got some supports from another professional conductors and composers. Tondu' Majâng is arranged a capella with soprano, alto, tenor, baritone and bass voices. This arrangement shows the accompaniment of acoustic musical instruments such as guitar, bass and drums.
Tondu' Majâng Chorale SATB

$4.20 3.62 € Chorale SATB PDF SheetMusicPlus

Large Ensemble Bassoon,Clarinet,English Horn,Flute,Multi-Percussion,Oboe,Piano,Timpani,Trombone,Trumpet,Tuba - Level 5 - Digital Download SKU: A0.533711 Composed by Carson Cooman. Contemporary. Score and parts. 76 pages. Musik Fabrik Music Publishing #3041107. Published by Musik Fabrik Music Publishing (A0.533711). Enchanted Tracings (Piano Concerto No. 2) (2008) for solo piano and wind ensemble wascommissioned for a consortium of Donna Amato, piano, the Carnegie Mellon Wind Ensemble,Denis Colwell, conductor; Keith Kirchoff, piano, the Harvard Wind Ensemble, Thomas G. Everett,Mark Olson, conductors; and Nora Skuta, piano, the Slovak Radio Symphony Winds, Kirk Trevor,conductor. These three marvelous piano soloists served as the inspiration for the work. Theconcerto bears the dedication “for Walter Simmons, a hero for the cause of American music.â€Musicologist Walter Simmons has been an inspirational and passionate advocate for seriousAmerican concert music for nearly his entire life. Through his tireless efforts as author, critic, recordand concert producer, and lecturer, Walter has brought myriad composers and works to muchdeservedattention.The basic musical material for the entire work is presented near the outset, the pitches Eb – D – G –Ab – E. This cell is used throughout the rest of the concerto both motivically, in transformation, andas a harmonic structural device. Its harmonic identity creates the mix of tonal/modal and atonalconstructs that are a preoccupation of my music. The concerto’s title provided the poetic ideabehind the musical development. Though more or less equal with the ensemble in the firstmovement, the piano clearly takes over as leader in the second and third movements as the goaldirectedformal narrative of the movements becomes more obvious.The first movement, Murky Waters, is a free fantasy in which the piano and ensemble “unpack†themusical potential of the basic material. A number of melodic ideas emerge—some lyrical and somedisjunct. A brief coda prepares for the next movement.The second movement, The Forgotten, is a lament led by the piano. The harmonic colors of thepiano’s sustaining sounds interact with the more linear textures of the winds and brass.The third movement, Casting Infinity, is purposeful and structured as a march with trio. The spikymelodic material is treated in a variety of manners (including very tonally within the trio) before areturn of material from the first movement pushes the concerto towards its conclusion.InstrumentationPiccolo2 Flutes2 OboesEnglish Horn2 Clarinets in BbBass Clarinet in Bb2 BassoonsContrabassoon4 Horns in F3 Trumpets in C2 TrombonesTubaTimpaniPercussion (2 players)I: crotales, bass drum, tenor drumII: vibraphone (motor off), suspended cymbal(Percussion II needs one rosined bow.)Solo Piano(The above scoring is exact—with a single player on each part. Under no circumstances, should thework be performed with any substitutions, doublings, or increase of players on individual parts.)This item contains the complete wind ensemble parts.  The score plus solo part are for sale as another item.  Individual parts are also for sale.
Carson Cooman Enchanted Tracings (Piano Concerto No. 2) (2008) for solo piano and wind ensemble, com
$77.95 67.16 € PDF SheetMusicPlus

Large Ensemble Bassoon,Clarinet,English Horn,Flute,Multi-Percussion,Oboe,Piano,Timpani,Trombone,Trumpet,Tuba - Level 5 - Digital Download SKU: A0.533710 Composed by Carson Cooman. Contemporary. Score and parts. 83 pages. Musik Fabrik Music Publishing #3041105. Published by Musik Fabrik Music Publishing (A0.533710). I. Murky WatersII. The ForgottenIII. Casting InfinityEnchanted Tracings (Piano Concerto No. 2) (2008) for solo piano and wind ensemble was commissioned for a consortium of Donna Amato, piano, the Carnegie Mellon Wind Ensemble, Denis Colwell, conductor; Keith Kirchoff, piano, the Harvard Wind Ensemble, Thomas G. Everett,Mark Olson, conductors; and Nora Skuta, piano, the Slovak Radio Symphony Winds, Kirk Trevor, conductor. These three marvelous piano soloists served as the inspiration for the work. The concerto bears the dedication “for Walter Simmons, a hero for the cause of American music.†Musicologist Walter Simmons has been an inspirational and passionate advocate for seriousAmerican concert music for nearly his entire life. Through his tireless efforts as author, critic, recordand concert producer, and lecturer, Walter has brought myriad composers and works to muchdeserved attention. The basic musical material for the entire work is presented near the outset, the pitches Eb – D – G –Ab – E. This cell is used throughout the rest of the concerto both motivically, in transformation, and as a harmonic structural device. Its harmonic identity creates the mix of tonal/modal and atonal constructs that are a preoccupation of my music. The concerto’s title provided the poetic idea behind the musical development. Though more or less equal with the ensemble in the first movement, the piano clearly takes over as leader in the second and third movements as the goaldirected formal narrative of the movements becomes more obvious. The first movement, Murky Waters, is a free fantasy in which the piano and ensemble “unpack†the musical potential of the basic material. A number of melodic ideas emerge—some lyrical and some disjunct. A brief coda prepares for the next movement. The second movement, The Forgotten, is a lament led by the piano. The harmonic colors of thepiano’s sustaining sounds interact with the more linear textures of the winds and brass. The third movement, Casting Infinity, is purposeful and structured as a march with trio. The spiky melodic material is treated in a variety of manners (including very tonally within the trio) before areturn of material from the first movement pushes the concerto towards its conclusion.InstrumentationPiccolo2 Flutes2 OboesEnglish Horn2 Clarinets in BbBass Clarinet in Bb2 BassoonsContrabassoon4 Horns in F3 Trumpets in C2 TrombonesTubaTimpaniPercussion (2 players)I: crotales, bass drum, tenor drumII: vibraphone (motor off), suspended cymbal(Percussion II needs one rosined bow.)Solo Piano(The above scoring is exact—with a single player on each part. Under no circumstances, should the work be performed with any substitutions, doublings, or increase of players on individual parts.)This is the full score and the solo part.  The complete parts and seperate parts are available for sale on this site.
Carson Cooman: Enchanted Tracings (Piano Concerto No. 2) (2008) for solo piano and wind ensemble, sc
$29.95 25.8 € PDF SheetMusicPlus






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