51906 result(s) found
List results in: Detailed View | Thumbnail View
ÜskÜdar by Traditional. Arranged by Robert W. Smith. Orchestra. String Orchestra. Belwin Beginning String Orchestra. Contemporary. Grade 2. Conductor Score & Parts. 82 pages. Published by Belwin Publishing (AP.29647). The joyous melody of this popular Turkish song provides a fabulous experience of rich Middle Eastern cultural tradition for the young orchestra. A great piece to build rhythmic skills with simple percussion parts and great rhythms. (2:15)Concert/Contest.
By Gyorgy Ligeti (1923-). Schott. Book only. 40 pages. Schott Music #ED7428. Published by Schott Music
Instruments: Piano, Piano and Keyboard
Genres: 20th Century, Hungarian, Classical, World
with lilies white. (fantasy for orchestra with voices). By Matthias Pintscher. For large orchestra/4 s. Study score (paperbound). Composed 2001. 79 pages. Duration 20'. Published by Baerenreiter Verlag (BA.BA7718). ISBN 9790006530946. 41.5 x 29.5 cm inches.
Instruments: Voice, Vocal
vesperae solenne by Wolfgang Amadeus Mozart (1756-1791). Edited by Boris Bjorn Bagger. Instrumental part(s). 2 parts and score. Published by Edition Tonger (E4.T3560-0). ISBN M-005-35600-4. 2 Einzelstimmen, Partitur.
Genres: Classical, Classical Period
vergehn wie Rauch. (Mixed choir (SSAATTBB) and optional brass quartet based on texts by German Baroque poets). By Benjamin Schweitzer. For mixed choir (SSAATTBB), trumpet in Bb, horn in F, trombone and tuba. This edition: SKR 20066; Saddle-stitch. Choral Music. Schott Chamber Choir. The acerbic and bizarre opulence of Baroque lyrical poetry sets the tone for vergehn wie Rauch (vanish like smoke). The interlinked themes running through the poems, expressed with similar linguistic devices, enables the interlacing of the various texts. . Grade 5. Score (choral score). Text language: German. Composed 2010-2011. 72 pages. Duration 16 minutes. Published by Schott Music (SD.49019575). ISBN 9790001180955. With Text language: German. German baroque poetry has fascinated me for a long time. When arranging the libretto for my chamber opera Dafne (after Martin Opitz, written in 2005), I integrated several poems by Opitz into his play, and it was also the first time for me to compose extended choir passages. After completing this work, I felt the need to explore the combination of choir and baroque texts in a longer, independent choir composition. I selected poems by Christian Hoffmann von Hoffmannswaldau, Andreas Gryphius, Martin Opitz, Georg Philipp Harsdorffer, Barthold Hinrich Brockes und Friedrich von Logau. Apart from von Logau's aphoristic Trost, the texts have been shortened and re-arranged extensively. The similar topics, using also closely related manners of expression, and the tendency to redundant structures - often, one thought repeatedly phrased in many different ways - makes it even possible exchange lines between different poems. The way the texts are dealt with changes between coherent setting and using language as sound material and structural element. An important aspect is the technique of letting words or syllables rotate through the whole choir, which - supported by different dynamic levels and an often slightly imprecise unisono - creates a panorama-like effect. The at times harsh sound of the baroque language, rich with consonants, the weighty metaphors, but also the squiggly, sometimes weird expressions are mostly put into music rather unobtrusively. Especially, a duplication of the declamatory character is avoided, while some beautiful images are picked up and transformed into sounds. The choir sound as such remains mostly "intact" in a traditional sense; the pitch material is even handled very restrictively - only one passage (the beginning of the IIIrd movement) makes use of the full chromatic scale. The abstinence from spectacular effects draws the attention on comprehensible harmonic structures, dynamic nuances, a wide range of voice and register combinations and subtle variations of the texts in the individual parts. Formally, the whole cycle of seven pieces is grouped into larger sections of several movements. The motto-like beginning is being transformed in both text and harmony into the Gryphius movement in which the choir is gradually spread from a dull medium region to more contrasting registers until the sound fades away "wie Rauch" [like smoke] and turns into fine fizzling. A short interlude - the only section that features the brass quartet - leads to Opitz' Echo, that moves from a dark, weighty, dissonant sound of the male voices into a more and more lighter atmosphere, which is then taken over by the rather plain, melancholic autumn landscape of Harsdorffer. The following core piece of the cycle, based as well on autumnal poem by Brockes, contrasts heavily to the simplicity of the preceding movement. The picture of a rain shower of falling leaves, meditatively circling around itself, is transferred into an extended, complex "spiral" soundscape ceaselessly rotating in up to 16 individual parts, each of them exploring a slightly different version of the poem's text. While the choir expands to the widest range of registers and highest density of the piece, the expression, following the style of Brockes' language, remains rather unaffected. The last section resumes the motto of the beginning, exploring the two entwined Hofmannswaldau texts more thoroughly, and leads to the short epilogue which serves as an ironic comment on baroque world-weariness in form of a merry-go-round with the poem's syllables rotating wittily fast through the choir. The brass quartet's part supports, accompanies and partly complements the choir in an almost totally merging way. There is hardly a note that is not directly coupled with one of the choir's voices. However, using or ommitting the brass instruments also affects the charakter of the choir's performance - in this way, two equal versions of the piece are combined in one score, and vergehn wie Rauch may be performed 'a cappella' in both the original and today's sense of the term. - Benjamin Schweitzer.
Genres: Baroque Period, Classical
tempus fugit (1999) -Suite fur Orgel. (Klaus-Werner Held gewidmet). By Norbert Laufer. For organ. Classical. Grade 4 (Difficult). Score. 25 pages. Duration 18:00. Published by Verlag Dohr (VD.E.D.20768). ISBN M-2020-0768-6. Classical. 29.7 x 21 cm inches.
stabat mater by Giovanni Battista Pergolesi (1710-1736). Arranged by Hans Zellner. Brass quintet. For 2 flugelhorns, french horn, trombone, tuba. Baroque. Score and set of parts. Published by Brass Works Munich (BW.HBQ-164). ISBN M-50144-209-6. Baroque.
Instruments: Horn, Flugelhorn, Trombone, Tuba, Brass, Trumpet
Genres: Baroque Period, Classical
s kommt ein Vogel geflogen : ein deutsches Volkslied im Stile alterer und neuerer Meister fur grosse
s kommt ein Vogel geflogen : ein deutsches Volkslied im Stile alterer und neuerer Meister fur grosses Orchester by Siegfried Ochs. For large orchestra. Orchestral music. Score. Published by Noten Roehr (NR.19713). ISBN M-2021-0361-6.
petita simfonia per a cordes by Moises Bertran (1967-). For string orchestra. Score. Published by La Ma de Guido (MG.MG142). ISBN M-69208-142-5.
perchance to dream... (score) by Peter Boyer. For soprano voice and chamber orchestra. Vocal Music. Score. Duration 18 minutes. Published by Bill Holab Music (B9.301-FS). Soprano and Chamber Orchestra18'.
pas de trois (1995) -Trio fur Violine, Violoncello und Klavier. (Trio fur Violine, Violoncello und Klavier). By Norbert Laufer. For Violin, Cello, Piano. Classical. Grade 4 (Difficult). Score and Parts. 34 pages (score); 21 pages (parts). Duration 16:00. Published by Verlag Dohr (VD.E.D.95292). ISBN M-2020-0292-6. Classical. 29.7 x 21 cm inches.
paraules a Laura by Josep Baucells (1958-). For mixed choir, harp and orchestra. Score. Published by La Ma de Guido (MG.MG123). ISBN M-69208-123-4.
Instruments: Choir, Harp, Vocal, Strings
of comfort and joy (Holiday). By Musella. Arranged by Santa Cruz. For String Orchestra with Percussion (violin 1, violin 2, viola, cello, double bass, piano, vibraphone, chimes, percussion 1 (Low tom, Sleigh bells), percussion 2 (bass drum, tambourine, suspended cymbal, triangle)). String Music. Grade 4. Score and parts. Duration 4:00. Published by C. Alan Publications (CN.16540). This work fuses two well known traditional carols, God Rest Ye Merry Gentlemen and Carol of the Bells, into an intriguing tapestry of textures and colors. It is meant to allow the listener to consider the reflective and sometimes hectic and even tense nature of the holiday season. This work fuses two well known traditional carols, God Rest Ye Merry Gentlemen and Carol of the Bells, into an intriguing tapestry of textures and colors. It is meant to allow the listener to consider the reflective and sometimes hectic and even tense nature of the holiday season. The brooding, restless introduction gives way to a more buoyant treatment of God Rest with fragments of Carol of the Bells. The mood becomes turbulent and eventually Carol of the Bells becomes the main theme and God Rest in augmentation serves as the accompaniment. The work concludes with a fughetto built on a variant of the opening bass line sprinkled with thematic fragments from the two carols and subsides into a calm, peaceful conclusion. It was commissioned by Director's Choice Tour and Travel for the Tejeda Middle School Orchestra, San Antonio, Texas to commemorate their selection to perform at the 63rd annual Midwest Clinic in Chicago.
Instruments: Piano, Violin, Cello, Viola, Double Bass, Percussion, Vibraphone, Piano and Keyboard, Strings
nil admirari. (fur Orchestra). By Helmut Eder. Symphony. For orchestra ([1(Piccolo).1(English horn).1.1-188.8.131.52], Percussion, Xylophone, Vibraphone and Strings (soloist)). Study score. Composed (1966). Op. 46. Published by Doblinger Music Publishers (DB.STP-00184).
Instruments: English Horn, Percussion, Vibraphone, Xylophone, Woodwinds
mit wechselndem Schlussel by Jurg Baur. For baritone voice solo, Piano. Classical. CD. Duration 1:13. Published by Verlag Dohr (VD.DCD008). ISBN 4040406000088. Classical.
Genres: Classical, 20th Century
micro*phone for Amplified Orchestra by Gregory T. S. Walker. For Orchestra (Score). LKM Music. Hal Leonard #X077370. Published by Hal Leonard (HL.41122).
kommen - gehen fur Violoncello solo by Klaus Hochmann. For Cello Solo. Classical. Grade 3 (Medium). Score. Composed 1979. 10 pages. Published by Verlag Dohr (VD.E.D.22971). ISBN M-2020-0971-0. Classical. 29.7 x 21 cm inches.
jhapeta. (funeral music I). By Atsuhiko Gondai. For orchestra. This edition: SJ 1170. String Instruments. Study score. 48 pages. Duration 13 minutes. Published by Schott Music (SD.49017014). ISBN 9790650012201.
irish Fiddles by Traditional. Edited by J. Cameron Law. Arranged by John Beeman. For string orchestra. Grade 2. Score and set of parts. Duration 2 minutes, 38 seconds. Published by Grand Mesa Music (GC.GMMOR85-SET). The traditional Irish melody "Denis Murphy" is used as the basis for this rollicking "Irish Fiddle" tune that features melodies for all instruments. Other techniques explored in this very playable arrangement include slides and guitar style pizzicato. Careful; this great introduction to Irish Fiddling may be habit-forming!
Genres: Classical, Irish, St. Patrick's Day, World, Celebrations
ire in orbem. (Music for String Orchestra). By Paul Angerer. String Orchestra. For string orchestra. Study score. Composed (1975). Published by Doblinger Music Publishers (DB.STP-00516).
in between IV by Bernd Franke. For 2 Violins. Modern. 2 performance scores. Composed Composed: 2004/2007. Duration 12 minutes. Published by Edition Peters (PE.P11317). In January 2003 I stayed as Composer-in- Residence in Kaustinen, Finland and there got to know the Swedish-German violin duo Cecilia and Martin Gelland. I noticed immediately that here in every way were two unusual musicians. I sensed openness, extreme curiosity, courage, willingness to take risks and above all a high technical ability. I dedicate my composition to these two wonderful musicians!--Bernd FrankeTwo copies of the performance score provided.
Instruments: Violin, Strings
Genres: 20th Century, Classical
in between (I) by Bernd Franke. For Violin, Piano. Modern. Set of parts. Composed 2005. Published by Edition Peters (PE.P11239). Bernd Franke was born in Weissenfels, Germany, in 1959.Set of parts.
Instruments: Piano, Violin, Piano and Keyboard, Strings
Genres: 20th Century, Classical
iRock by Jeffrey E. Turner. Orchestra. For string w/ vln 3. Part(s); Score; String Orchestra. Belwin Beginning String Orchestra. Light Concert; Pop/Rock; Rock. Grade 2.5. 144 pages. Published by Belwin Music (AP.35899). Who said guitar players get to have all the fun? This piece lets your orchestra be as bad as they wanna be. With its powerful unisons, pulsating rhythms, and accented syncopations, this is a great introduction to playing contemporary music styles. Who rocks? iRock!
Instruments: Violin, Strings
Genres: Classical, Rock, Pop
he carla - ein Nachruf fur Flote, Oboe, Klarinette by Heinz-Albert Heindrichs. For Flute, Oboe, Clarinet. Classical. Score and Parts. Composed 2007. 7 pages. Published by Verlag Dohr (VD.E.D.27448). ISBN M-2020-1448-6. Classical. 29.7 x 21 cm inches.