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Orchestral Music Baroque
Non classifié 11

Piano & claviers
Piano seul 3

Guitares

Voix
Chorale SSAA 1
Chorale SATB 1

Vents
Clarinette, Violon (duo) 1
Saxophone, Clarinette (duo) 1
Flûte traversière et Piano 1

Cuivres
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba 2
Quatuor de Cuivres : 2 trompettes, trombone, tuba 2

Cordes
Quatuor à cordes: 2 violons, alto, violoncelle 3
Violon et Piano 2
Violoncelle, Orchestre 1

Percussions & orchestre
Ensemble de cuivres 4
Orchestre de chambre 3
Orchestre 2

Orchestre à Cordes 1
Orchestre, Violon 1

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2 partitions trouvées

Violin Concerto No. 2 "Paganini's Revenge" Full Score and Individual Parts

Violin Concerto No. 2 "Paganini's Revenge" Full Score and Individual Parts #Orchestre #AVANCÉ #Contemporain #James Nathaniel Holland #Violin Concerto No. 2 "Pa #James Nathaniel Holland #SheetMusicPlus

Full Orchestra - Level 5 - SKU: A0.730522 Composed by James Nathaniel Holland. Contemporary. Score and parts. 210 pages. James Nathaniel Holland #620357...(+)

Full Orchestra - Level 5 - SKU: A0.730522 Composed by James Nathaniel Holland. Contemporary. Score and parts. 210 pages. James Nathaniel Holland #6203577. Published by James Nathaniel Holland (A0.730522). Full Score (Concert Pitch) and Individual Parts, including solo violin part. The second of American composer James Nathaniel Holland's original music violin concertos in two movements. Also known as Paganini's Revenge Here offered in reduced orchestral form for piano and individual violin and piano parts. Measure numbers line up with full orchestral score. This accessible 21st century musical piece contains two movements. The first is in a broody, virtuoso Paganini style with a contrasting second, joyous Baroque styled one where the violin flutters with trill above the orchestra. Great summer music piece or recital. Duration: 25 minutes. Orchestral instrumentation: Picc, Fl 12, Ob, EH, Cl 12, Bsn 12, Hrn 12, Tpt 12, Trmb12, B.Trmb or Tba., Timp., Perc, (Bass Drum, Cymbal with mallet, Crash Cym.) Glk, Hrp, Violin Soloist, Strings YouTube Video demo presentation: https://youtu.be/LGOmb48IyIw.

$25.95 ≈ 23.26€

Missa Solemnis, op. 27 - Score Only

Missa Solemnis, op. 27 - Score Only #Orchestre #AVANCÉ #Adrian Gagiu #Missa Solemnis, op. 27 - Score #Adrian Gagiu #SheetMusicPlus

Full Orchestra - Level 5 - SKU: A0.1277133 Composed by Adrian Gagiu. 21st Century,Christian,Classical,Latin. 128 pages. Adrian Gagiu #868819. Published ...(+)

Full Orchestra - Level 5 - SKU: A0.1277133 Composed by Adrian Gagiu. 21st Century,Christian,Classical,Latin. 128 pages. Adrian Gagiu #868819. Published by Adrian Gagiu (A0.1277133). Missa Solemnis in B major, op. 27 (conductor's score). Based on its Neo-classical style, this setting of the Roman Catholic mass text could possibly work as a festive mass (missa solemnis) with trumpets and timpani, and its duration would fit such a solemn service. However, its intense and sometimes dramatic treatment and universal addressability due to its well-known and rather concentrated text, yet also due to eliminating the â€žFilioqueâ€ (which would still fit the rhythm of the repeated â€žqui ex Patreâ€, should any Catholics ever wish to perform this as a mass) make it rather a â€žliturgical oratorio for all nationsâ€, more appropriate in the concert hall.Â The work has had a long gestation: imagined in 1984 after the composerâ€™s first contact with Beethovenâ€™s masterpiece, then sketched first in 1987-1989, and many of its themes date back from those years. Its working out is quite polyphonic, discretely modal and cyclical, and also full of centuries-old musical symbols traditionally associated with the setting of the mass text: e.g. unisons for the more dogmatical parts, Baroque dotted rhythms at the Nativity (the first coming of the Â King of Kings), â€žrex caelestisâ€ and also at his Passion (whose setting is discretely inspired by folkloric Romanian laments), the â€žanabasisâ€ gesture at â€žGloria in excelsis Deoâ€, â€žet ascendit in caelisâ€, â€žin remissionem peccatorumâ€ and the resurrection, a flute trill standing for the Holy Spirit who has come â€™like a doveâ€™ at â€žet incarnatus estâ€, a cross-shaped texture at â€žcrucifixusâ€, and some word-painting (hushed sonorities at â€žet invisibiliumâ€, anticipations between orchestra and chorus at â€žet exspectoâ€ etc.). Moreover, certain symbolic roles are assigned to the instrumental groups when alone (the organ represents God the Father and transcendence, the winds and/or solo voices represent God the Son and humanity, and the strings represent the Holy Spirit).Â â€žKyrieâ€ is restrained and soft, besides the powerful chords opening the respective sections of its tripartite, simple structure, and it leans towards Palestrinaâ€™s serene modality and counterpoint. â€žGloriaâ€ begins with a colorful orchestral introduction depicting discretely the shepherds who kept watch over their flocks right before the Nativity, and then gradually the bright revelation. â€žCredoâ€ has an orchestral introduction as well, but powerful, recurring and based on the beginning of the plainchant hymn â€žPange linguaâ€, made famous by Mozartâ€™s last symphony and by other Classical composers. Both â€žGloriaâ€ and â€žCredoâ€ end with extended, powerful and elaborate fugues (â€žin gloria Dei Patrisâ€ and â€žet vitam venturi saeculiâ€, respectively) with dramatic modulations and sometimes with enthusiastic syncopations at odds with the wordsâ€™ accents, a la Stravinsky. The same sections plus â€žAgnus Deiâ€ end with soft quartal harmonies suggesting transcendent appeasement (similar harmonies appear powerfully at the beginning of â€žSanctusâ€). â€žJudicareâ€ quotes the beginning of the well-known â€žDies iraeâ€ plainchant tune, and the Consecration between the â€žSanctusâ€ and â€žBenedictusâ€ sections is represented by a contemplative prelude for solo organ, quoting Lutheran chorales, too. Another long orchestral introduction, suggesting the Last Judgment and based on traditional Byzantine hymns, opens â€žAgnus Deiâ€, which includes another quotation (the famous â€™Dresden Amenâ€™ at â€žqui tollis peccata mundiâ€ and â€ždona nobis pacemâ€). In the final section, with its refined simplicity, the choral voices enter in descending order, and the â€žKyrie eleisonâ€ theme is briefly remembered, then it ends softly and peacefully.Â Total duration: 50 min. Performing Rights Organization: SOCAN. The mp3 audio clip is Kyrie.

$100.00 ≈ 89.62€

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