Partitions Numériques de Let's begin again pour Orchestre de chambre

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Let's begin again
Non classifié 11

Piano & claviers
Piano seul 11
Piano Facile 5
Instruments en Do 4
Piano, Voix 4
Orgue 2

2 Pianos, 4 mains 1
Piano grosses notes 1

+ 2 instrumentations

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Guitares
Guitare 2

Voix
Chorale SATB 8
Chorale TTBB 2
Chorale 3 parties 1

Vents
Flûte traversière et Piano 2
Cor anglais, Piano 1
Saxophone Alto et Piano 1
Quatuor de Flûtes : 4 flûtes 1
Clarinette et Piano 1

Saxophone Baryton, Piano 1
Clarinette 1

+ 2 instrumentations

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Cuivres
Cor 3
Quatuor de Cuivres : 2 trompettes, trombone, tuba 1
Cor et Piano 1
Cor anglais, Piano 1
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba 1

Ensemble de Trombones 1

+ 1 instrumentations

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Cordes
Quatuor à cordes: 2 violons, alto, violoncelle 10
Violon et Piano 2
Harpe 1
Violoncelle 1

Percussions & orchestre
Orchestre d'harmonie 5
Orchestre de chambre 3

Orchestre 3
Cloches 2
Ensemble de cuivres 2

Marimba 1
Ensemble Jazz 1

+ 2 instrumentations

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Let's begin again

Orchestre de chambre

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3 partitions trouvées

Carson Cooman: Symphony No. 3, “Ave Maris Stella” (2005) for chamber orchestra, score only

Carson Cooman: Symphony No. 3, “Ave Maris Stella” (2005) for chamber orchestra, score only #Orchestre de chambre #AVANCÉ #Christian contemporain #Musique Sacrée #Carson Cooman #Carson Cooman: Symphony No. 3, #Musik Fabrik Music Publishing #SheetMusicPlus

Chamber Orchestra - Level 5 - SKU: A0.533672 Composed by Carson Cooman. Contemporary,Sacred. Score and parts. 54 pages. Musik Fabrik Music Publishing #3...(+)

Chamber Orchestra - Level 5 - SKU: A0.533672 Composed by Carson Cooman. Contemporary,Sacred. Score and parts. 54 pages. Musik Fabrik Music Publishing #3037097. Published by Musik Fabrik Music Publishing (A0.533672). Symphony No. 3, â€œAve Maris Stellaâ€ (2005) was written for the Duquesne ContemporaryEnsemble and is dedicated to composer David Stock. Throughout his career, Stock has beena tireless and generous advocate on behalf of new music and living composers. This work isdedicated to him in tribute â€“ as both an important American composer and a significantcontributor to Americaâ€™s contemporary musical life.The workâ€™s basic source material is the plainchant Ave maris stella (â€œHail, star of the seaâ€) â€“appropriate because of Duquesneâ€™s standing and history as a Catholic university. When thecomposition of this work first began, the original plan was for a celebratory and vibrant piece.As the planning progressed, however, personal circumstances intervened and began to changethe workâ€™s tone â€“ becoming substantially bleaker and more obsessive.The title of the first movement, Pentimento, is defined as â€œan underlying image in a painting,as an earlier painting, that shows through when the top layer of paint has become transparentwith age.â€ The melodic and harmonic material for the movement is entirely drawn from theplainchant source, although it is completely transformed and covered up â€“ as in a pentimento.At various points, one can begin to hear the original plainchant â€œpeek outâ€ in subtle ways.The opening section of the movement obsesses again and again on what sounds like aâ€œbeginningâ€ â€“ as though it is trying to begin again and again. After a brief bassoon cadenza, afast and driving section starts, marked â€œsinister.â€ After driving through a series oftransformations on the plainchant material, a bridge passage leads to further attempts at theâ€œbeginningâ€ again. Finally, these attempts are given up, and the plainchant material (theunderlying layer) begins to show through quietly â€“ in preparation for the next movement.In the second movement, Interrupted Motet, the plainchant theme is used in a morestraightforward fashion. After the opening declamatory statements, the following sectionsmove between more free developmental techniques, based on the first movementâ€™stransformations, and â€œmotetâ€ sections â€“ using cantus firmus methods and textures fromRenaissance music. The tone and palate is, however, much darker and more obsessive.There is a brooding ponderousness to these contrapuntal developments. The final motetsection ends in a rageful shout, the plainchant material is presented again in full force, and thepent-up energy dissipates to the close.FluteOboeClarinet in BbBass Clarinet in BbBassoonHorn in F/BbTrumpet in CTrombonePercussion (1 player):tubular bells, vibraphone(Percussionist needs one rosined bow for vibraphone.)PianoViolin IViolin IIViolaCelloContrabass(single strings)ï»¿This is the score only. The complete parts and each seperate part are also available as seperate items.

$25.95 ≈ 23.26€

Legacy for Chamber Orchestra

Legacy for Chamber Orchestra #Orchestre de chambre #AVANCÉ #Sy Brandon #Legacy for Chamber Orchestra #Sy Brandon #SheetMusicPlus

Chamber Orchestra - Level 5 - SKU: A0.1453498 Composed by Sy Brandon. 21st Century,Contest,Festival. 235 pages. Sy Brandon #1032727. Published by Sy Bra...(+)

Chamber Orchestra - Level 5 - SKU: A0.1453498 Composed by Sy Brandon. 21st Century,Contest,Festival. 235 pages. Sy Brandon #1032727. Published by Sy Brandon (A0.1453498). Legacy is a three-movement composition for chamber orchestra that makes social commentary on the issue of global warming. It was commission in 2007 by the Washington Sinfonietta, Rufus Jones, conductor and rewritten for chamber orchestra in 2023. I. Conflicts - This movement begins with a cry from native cultures admonishing our neglect of the environment. The cry is interspersed with debate regarding the seriousness of global warming (woodwinds). The debate grows stronger as the cries grow weaker. The debate isquieted by a measure of repeated chords that could be the words, stop it! stop it now!” A weak cry in the English Horn brings the introduction to a close. An Allegro section follows with a rhythmic and primitive sounding section representing the underdeveloped nations that are destroying the rain forests for economic gain. This material evolves into a more harmonic and contrapuntal section representing industrialized nations reluctant to change, also for economic reasons. Things quiet down as the music takes the listener to another part of the globe, East Asia. Conflict is again present in this section. The music returns to a varied restatement of the industrialized nations music before traveling to India for a section influenced by Raga. This section builds in dissonance until we hear the repeated stop it now chords from the introduction. A brief reprise of the cries brings the movement to a close. II. Consequences - This movement evokes a somber mood that is reflective of living in a climate of extremes. The movement is in arch form as it begins and ends with open harmony reflective of barren lands that once were fertile. The middle section serves as a climax expressing the harshness of the climate. Colleen McCullough's book, A Creed for the Third Millennium was a source of inspiration for this movement. III. Sacrifice and Compromise - The movement begins with a strong section that suggests progress. It is followed by a quieter and intense section that alternates lyrical lines over a staccato ostinato creating a sense of urgency. The opening section returns and is followed by a development of the ostinato section. This section is symbolic of how ideas need to be adapted in order for progress to be made. The opening section returns once more before leading into the concluding section where there is coming together of the instruments on a long lyrical line representing more and more people working together for change. The movement ends with a sense of triumph over adversity. Score prints on legal size paper and parts on letter.

$40.00 ≈ 35.85€

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