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Piano seul [ 116914 ]
Chorale SATB [ 94846 ]
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Piano, Voix [ 35301 ]
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Fanfare [ 9917 ]
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CD Chorale [ 7664 ]
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Chorale TTBB [ 7172 ]
1 Piano, 4 mains [ 6734 ]
Trompette [ 5636 ]
Formation musicale - Solfège [ 4796 ]
Accordéon [ 4729 ]
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Trompette, Piano [ 4326 ]
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Trombone [ 3285 ]
Piano Facile [ 3091 ]
Saxophone [ 2875 ]
2 Pianos, 4 mains [ 2829 ]
Harpe [ 2705 ]
Saxophone Alto [ 2663 ]
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba [ 2605 ]
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Flûte à Bec [ 2383 ]
Hautbois [ 2212 ]
Partie séparée [ 2129 ]
Opéra [ 1732 ]
Piano Trio: piano, violon, violoncelle [ 1607 ]
Piano et Orchestre [ 1458 ]
4 Guitares (Quatuor) [ 1433 ]
Clavier [ 1414 ]
Big band [ 1383 ]
Conducteur de poche, d'étude [ 1370 ]
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Tous Les Instruments [ 629 ]
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Voix Baryton, Piano [ 568 ]
CD [ 513 ]
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Instrumentation Flexible [ 352 ]
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2 Violons et Basse continue [ 244 ]
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Chorale, Orchestre [ 230 ]
Voix et Orchestre [ 229 ]
Orgue et Orchestre [ 227 ]
2 Violons, Piano [ 224 ]
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Voix Mezzo-Soprano [ 220 ]
Instruments en Sib [ 216 ]
Alto et orchestre [ 215 ]
Flûte, Clarinette (duo) [ 208 ]
Trio à cordes [ 195 ]
Cor, Orchestre [ 193 ]
Ensemble de Trompettes [ 190 ]
Clarinette, Orchestre [ 183 ]
Piano Quintette: piano, 2 violons, alto, violoncelle [ 179 ]
Violoncelle , Guitare (duo) [ 177 ]
Trio à cordes: 3 violins [ 174 ]
Quatuor de cuivres: 4 trompettes [ 171 ]
Instruments en Mib [ 162 ]
Guitare, Orchestre [ 161 ]
Trio à Cordes: 2 violons, violoncelle [ 155 ]
Instruments Sib, Mib et Do [ 146 ]
Saxophone Baryton [ 137 ]
Quatuor de cuivres: 2 trompettes, 2 trombones [ 132 ]
Trompette, Orchestre [ 128 ]
Hautbois et Orchestre [ 127 ]
Trio de Cuivres [ 123 ]
Clarinette, Violoncelle, Piano (trio) [ 120 ]
Quatuor de Cuivres: 2 trompettes, Cor, trombone [ 119 ]
Orchestre à Plectres [ 117 ]
Batterie-Fanfare [ 114 ]
Mariachi [ 107 ]
Quintette à cordes: 2 violons, 2 altos, violoncelle [ 98 ]
Partitions De Groupes [ 95 ]
Basson, Orchestre [ 90 ]
Hautbois, Violin, Alto et Violoncelle (Quatuor) [ 89 ]
Accordéon et Orchestre [ 86 ]
Quatuor à cordes: 4 violons [ 84 ]
Trompette, Trombone (duo) [ 81 ]
Hautbois, Clarinette, Basson (trio d'anches) [ 76 ]
Quatuor de Flûtes : Flûte, Violon, Alto, Violoncelle [ 74 ]
Clarinette et Cordes [ 71 ]
Flûte, Clarinette et Basson [ 69 ]
Piano Quintette: piano, violon, alto, violoncelle, contre ba… [ 68 ]
4 Percussions [ 66 ]
Quatuor à cordes : 4 altos [ 63 ]
Quintette à cordes : 2 violons, alto et 2 violoncelles [ 61 ]
Quintette à cordes: 2 violons, alto, violoncelle, basse [ 57 ]
Clarinette, Violon, Violoncelle, Piano [ 54 ]
Ensemble de Violons [ 52 ]
Quatuor à Vent : 4 instruments à vents [ 50 ]
Trombone et orchestre [ 47 ]
3 Percussions [ 46 ]
Contrebasse, Orchestre [ 45 ]
Harpe, Orchestre [ 42 ]
Soli et Orchestre [ 42 ]
2 Hautbois et Cor anglais [ 40 ]
Flûte, Violon, Piano [ 40 ]
Piano, Violon, Bandoneon, Guitare, Contrebasse [ 38 ]
Violon, Cor et Piano [ 37 ]
Saxophone et Orchestre [ 36 ]
Ensemble d'Altos [ 35 ]
Cor et Orgue [ 33 ]
Quintette de Cuivres: 2 trompettes, Cor, 2 trombones [ 31 ]
Flûte, alto et harpe [ 30 ]
Quintette de Cuivres: autres combinaisons [ 29 ]
Tuba et Orchestre [ 28 ]
Flûte, Alto et Guitare [ 27 ]
Jazz combo [ 27 ]
Quatuor Instruments Mixtes [ 27 ]
2 Flûtes, Basse continue [ 27 ]
Ensemble de cuivres, Percussion [ 25 ]
Flûte et Trio à cordes [ 24 ]
Hautbois, Basson et Piano [ 24 ]
Voix d'Enfants, Instruments [ 24 ]
Flûte, Hautbois, Piano (trio) [ 23 ]
Trio à Vent: 3 instruments à vents [ 22 ]
Voix et Big Band [ 21 ]
2 Hautbois, 2 Clarinettes, 2 Cors et 2 Bassons [ 20 ]
Flûte, Alto (duo) [ 20 ]
Violon, Alto et Orchestre [ 20 ]
Hautbois, Violoncelle et Piano [ 19 ]
Voix Mezzo-Soprano, Orchestre [ 18 ]
Quintette à cordes : 2 Violons, Alto, Violoncelle, Contreba… [ 18 ]
Clarinette, trompette et piano [ 16 ]
Ensemble de cuivres, Orgue [ 16 ]
Piano Quatuor: piano, 2 violons, violoncelle [ 15 ]
Quatuor de percussions [ 15 ]
Trompette et Quatuor à Cordes [ 15 ]
Marimba et ensemble à vent [ 15 ]
Alto, Violoncelle et Contrebasse [ 14 ]
Guitare, Violon, Alto, Violoncelle [ 14 ]
Trompette, Cor et Piano [ 14 ]
Quatuor de cuivres: Cor, Trombone, Tuba, Trompette Sib [ 14 ]
Orchestre d'harmonie, Percussion [ 13 ]
2 Hautbois et Basson [ 12 ]
Clarinette, Alto et Violoncelle [ 12 ]
Orchestre à Cordes, Percussion [ 12 ]
Guitare, Violon, Alto [ 11 ]
3 Violes de Gambe [ 9 ]
Flûte, Violon, Violoncelle et Piano [ 9 ]
Marimba et Orchestre [ 9 ]
2 Guitares et Orchestre [ 7 ]
Quintet (other) [ 7 ]
Cornet et orchestre [ 6 ]
Guitare et Quintette à Cordes [ 6 ]
Violon, Violoncelle et Contrebasse [ 6 ]
Violon, Clarinette et Guitare [ 5 ]
Quintette : Hautbois, Clarinette, Cor, Basson et Piano [ 5 ]
Sextette: Quatuor à cordes, Clarinette, Piano [ 5 ]
Clarinette, Cor et Basson [ 4 ]
Cor et Harpe [ 4 ]
Harpe, Quatuor à cordes [ 4 ]
Orgue et Ensemble de cuivres [ 4 ]
Piano Quintette: Instruments de chambre mixtes [ 4 ]
Alto, Tuba et Piano [ 3 ]
Clarinette, Basson et Cor [ 3 ]
Guitare, Violon, Piano [ 3 ]
Hautbois, Basson et Basse continue [ 3 ]
Hautbois, Clarinette, Basson et Piano [ 3 ]
Saxophone, Bandoneon, Contrebasse, Piano [ 3 ]
Violon, Basson et Basse continue [ 3 ]
Voix, Quatuor à cordes, Piano [ 3 ]
2 Guitares, ensemble de cordes [ 3 ]
Contrebasse et Quatuor à cordes [ 2 ]
Guitare, Bandoneon, Cordes [ 2 ]
Quintette à cordes : Violon, 2 altos, 2 violoncellee [ 2 ]
2 Clarinettes, 2 Violons, Violoncelle, contrebasse et batter… [ 2 ]
Basson, Violoncelle et Piano [ 1 ]
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Franz Joseph Haydn: Symphony No. 100 In G: Orchestra: Miniature Score
14.50
Franz Joseph Haydn: Symphony No. 100 In G: Orchestra: Miniature Score
Orchestre
Eulenburg
London No. 12-Joseph Haydn's 'Eulenburg Pocket Score' is the result of his secon...
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London No. 12-Joseph Haydn's 'Eulenburg Pocket Score' is the result of his second trip to England in 1794. This work is one of the still popular from the series of the so-called '12 London Symphonies' (Hob. 1/93 - Hob. 104).The work characterized by musical finesse and various sonic stimuli has the following four movements: I. Adagio - Allegro - II. Allegretto (C major) - III. Menuet: Moderato - IV. Presto. The somewhat unusual epithet 'military symphony' refers essentially to the second and the fourth movement ('Allegretto' and 'Presto') in which the instrumentation is enriched by timpani triangle cymbals and bass drum and thereby the evokes the impression of amilitary band. A 'trumpet signal' especially set in the second movement led to such a characterization. On the value and importance of this G major Symphony the following article from the Allgemeine Musikalische Zeitung of April 1799 reveals: 'It is a little less learned and easier to grasp than some of the other's newest works but new ones Ideas just as rich as they. Perhaps the surprise in music can not be furthered than it is here by the sudden collapse of full Janissary music in the minor of the second movement-since until then one has no suspicion that these Turkish instruments are attached to the symphony. But here too not only the inventive but also the prudent artist shows. Nevertheless the Andante is nevertheless a whole: for in all the pleasing and easy things that the composer in order to infer from the idea of his coup deceitfully brought it into the first part of it it is nevertheless arranged and worked in a march.' The 'Military Symphony' was premiered on March 31 1799 in London.
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Rolling Stones Fantasy (JAGGER / K)
133.10
Rolling Stones Fantasy (JAGGER / K)
Orchestre d'harmonie
[Conducteur et Parties séparées]
-
Intermédiaire/avancé
De Haske Publications
Arr. Peter Kleine Schaars. Par JAGGER / K.RICHARDS. Millions of fans will be del...
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Arr. Peter Kleine Schaars. Par JAGGER / K.RICHARDS. Millions of fans will be delighted to hear that, after 40 years of collaboration and countless international tours, The Rolling Stones still have no intention of ending their career. The band’s songs have united fans everywhere, be they new fans, old fans, young or old. Their most popular songs are the ones they wrote during the 60’s and early 70’s and it is from this unforgettable era that Peter Kleine Schaars has picked their greatest hits to form this mind-blowing medley. / Niveau : 4 / Pop and rock / Date parution : 1905-07-01/ Recueil / Concert Band ou Harmonie
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Ernest Bloch: Sinfonia Breve: Orchestra: Score
29.99
Ernest Bloch: Sinfonia Breve: Orchestra: Score
Orchestre
Schirmer
Score-Of almost any of the works of Bloch's maturity the 'Sinfonia Breve' has t...
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Score-Of almost any of the works of Bloch's maturity the 'Sinfonia Breve' has the least amount of Jewish ‘flavour’. In 1952 when this piece was written Bloch was exploring some other vocabularies rather than the one that is most often identified with him. His flirtation with (twelve-tone techniques still sounds like Bloch. The title of the work indicates a more formal structure than many of his more poetic creations. It does follow the classical four movement pattern and Bloch links them by utilizing appropriately transformed thematic material. The first movement commences with an important thrusting theme. The second movement is meditative and quite beautiful. Thestring section dominates and Bloch exhibits the same mastery of counterpoint that one finds in his string quartets. The Scherzo begins with an off-beat major 7th figure. The first trio is a slower lyrical contrast. The second trio has the most exotic writing of the whole Sinfonia. The finale recalls much of the important material from the previous movements. This grand summation ends calmly.
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3 Onegin Dances (TCHAIKOVSKI PIOTR ILITCH)
172.53
3 Onegin Dances (TCHAIKOVSKI PIOTR ILITCH)
Orchestre d'harmonie
[Conducteur et Parties séparées]
-
Intermédiaire
De Haske Publications
Arr. Wil Van Der Beek. Par TCHAIKOVSKI PIOTR ILITCH. Tchaikovsky is best known f...
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Arr. Wil Van Der Beek. Par TCHAIKOVSKI PIOTR ILITCH. Tchaikovsky is best known for his purely instrumental compositions. However, we must not underestimate him as a composer of operas. Many of his operas such as ¬Pique Dame and Eugene Onegin are still performed regularly throughout the world. Eugene Onegin (also called Jevgeny Onegin), composed in 1877-1878, was not called an opera by Tchaikovsky himself, but “lyric scenes”. The work is entirely dominated by lyricism. However, there are two moments that contrast sharply with this lyricism: two ball scenes, for which Tchaikovsky wrote a waltz and a polonaise. After opening with a less well-known allegro dansant, this arrangement features the aforementioned waltz, which can beconsidered a beautiful Russian equivalent of the Faust Waltz by Charles Gounod. In the opera, this waltz is actually played by a military band. The arrangement concludes with the pompous polonaise (also mentioned above) which opens the last act: the ideal music to characterize high aristocracy in the salon of a palace in St. Petersburg. / Niveau : 3 / Répertoire / Concert Band
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3 Onegin Dances (TCHAIKOVSKI PIOTR ILITCH)
172.53
3 Onegin Dances (TCHAIKOVSKI PIOTR ILITCH)
Orchestre d'harmonie
[Conducteur et Parties séparées]
-
Intermédiaire
De Haske Publications
Arr. Wil Van Der Beek. Par TCHAIKOVSKI PIOTR ILITCH. Tchaikovsky is best known f...
(+)
Arr. Wil Van Der Beek. Par TCHAIKOVSKI PIOTR ILITCH. Tchaikovsky is best known for his purely instrumental compositions. However, we must not underestimate him as a composer of operas. Many of his operas such as ¬Pique Dame and Eugene Onegin are still performed regularly throughout the world. Eugene Onegin (also called Jevgeny Onegin), composed in 1877-1878, was not called an opera by Tchaikovsky himself, but “lyric scenes”. The work is entirely dominated by lyricism. However, there are two moments that contrast sharply with this lyricism: two ball scenes, for which Tchaikovsky wrote a waltz and a polonaise. After opening with a less well-known allegro dansant, this arrangement features the aforementioned waltz, which can beconsidered a beautiful Russian equivalent of the Faust Waltz by Charles Gounod. In the opera, this waltz is actually played by a military band. The arrangement concludes with the pompous polonaise (also mentioned above) which opens the last act: the ideal music to characterize high aristocracy in the salon of a palace in St. Petersburg. / Niveau : 3 / Répertoire / Concert Band ou Harmonie
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Jacob de Haan: Hymn of Cittaslow: Fanfare: Score
13.99
Jacob de Haan: Hymn of Cittaslow: Fanfare: Score
Fanfare
[Conducteur]
De Haske Publications
Cittaslow is an international network of more than 220 towns in 30 countries. It...
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Cittaslow is an international network of more than 220 towns in 30 countries. Its members are towns where people are still finding themselves reminiscing over the old times; towns that are rich in theatres, squares, cafés, restaurants and spiritual places; towns with untouched landscapes and charming craftsman where people are still able to recognize the slow course of the seasons, and respect their authentic products, true taste as well as their health. The Hymn of Cittaslow, which was commissioned by the organisation itself, is entirely inspired by their commitment to the preservation of the member towns. The tempo is naturally ?slow', and the themes somehow sound familiar. On the one hand, the music emanates peace and quiet, but it also sounds grand in its lyricism, thereby reflecting the beauty of the Cittaslow towns.
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Snehvides Spejl - Operatrailer: Orchestra: Score
Orchestre
[Partition]
Wilhelm Hansen
Composer's Program Note Repertoire operas occationally have orchestral suites: B...
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Composer's Program Note Repertoire operas occationally have orchestral suites: Bits and pieces of overture interlude etc. tied upin a bouquet of 'schönste Tränen'. Contemporary opera usually wither after the first season so the focusis on getting people to come and have a sniff before it's too late. Consequently it seemed obvious to meto start making orchestral excerpts from my operas that are meant to be played before the premiere (andafter please); I call them 'opera trailers' when they're substantial enough to be considered independent works and 'opera demos' when they're relatively short and moreappetizer-ish. SNOW WHITE'S MIRROR is a full scale two act dramatic opera written for the Danish National Opera. The opera is a modern re-telling for grown-ups of the brothers Grimm's fairy tale: Snow White is a self-centered teenage narcissist and the villain of the opera; she ends up loosing everyone but herself either because she kills them or because they decide they can't stand being around her anymore. But apparently she's o.k. with that...The music is intended for a large audience: it's basically pop music done with all the craftmanship of aclassical composer who's equally at home with large scale symphonic form avantgarde technique opera singing - and modern pop. The Trailer is in three movements. It contains three sections of the opera; the prelude an interlude close to the beginning of the second act and the final scene but one. It's a gloomy sort of trailer starting out in grand title sequence style moving on to a decidedly odd piece where Snow White find her way to the dwarfs (who're creepy junkies doing pornography to get money to buy dope) and ending in kind of an eerie rejection mood: Everyone still alive walks out on Snow White singing 'skin as white as snow hands red with blood soul as black as ivory'.(NM 2010)
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John Luther Adams: Untouched: String Ensemble: Score
13.99
John Luther Adams: Untouched: String Ensemble: Score
Orchestre à Cordes
Taiga Press
Player Score-John Luther Adams' Untouched for String Quartet. Player score. Over...
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Player Score-John Luther Adams' Untouched for String Quartet. Player score. Over the years my large ensemble works have sometimes included String Quartet. However I didn't write my first piece forString Quartet alone until I was fifty-nine. Now in my second String Quartet the fingers of the players still have yet to touch the fingerboard. This music contains no normal stopped tones. All the sounds areproduced either as natural harmonics or on open strings. The highest harmonic utilized is the 10th. Some of the harmonics may be more resonant when played as double harmonics. For example the 6th harmonic can beproduced by simultaneously touching the nodes for the 2nd and 3rd harmonics. Dynamics are free. But all the sounds in the air at any moment should be equally balanced. - John Luther Adams
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Gunther Schuller: Nature's Way: Concert Band: Score & Parts
74.99
Gunther Schuller: Nature's Way: Concert Band: Score & Parts
Orchestre d'harmonie
[Conducteur et Parties séparées]
American Composers Forum
From the composer: “Nature's Way for intermediate level band was commissio...
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From the composer: “Nature's Way for intermediate level band was commissioned by BandQuest a project initiated by the American Composers Forum. Their mission is for major composers of national reputation to writeworks of high quality that take into consideration the (still comparatively limited) levels of musical development--both technical and conceptual--typical of such ensembles. I eagerly accepted the commission and the challengesimplied thereby--that is to reign in my creative imagination to some extent and limit the technical/conceptual demands to a more moderate level than is to be found in my previous compositions for band. Nonetheless since theprocess of rehearsing studying and performing a work created specifically for the school student market is--and must be in my view--primarily educational it was very clear to me that my work would (and should) challenge theplayers at least to their top levels and even a little beyond that. Thus Nature's Way in no way represents a compromise of my personal style nor my long held concepts of form continuity texture and instrumentation. Ihave known for a long time that young inquisitive minds are eager to learn from new experiences from previously never encountered challenges that is to say to be pushed--gently--to rise above their present levels ofachievement. That's what education is all about.”
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Das Dornröschen (PAUSET BRICE)
65.00
Das Dornröschen (PAUSET BRICE)
En Français
Quatuor à Cordes et Orchestre
[Partition]
Lemoine, Henry
Par PAUSET BRICE. 'Sleeping Beauty', one of the most famous of the Grimm Brother...
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Par PAUSET BRICE. 'Sleeping Beauty', one of the most famous of the Grimm Brothers' fairy tales, has been the object of numerous analyses, commentaries, and renditions of all sorts. Its motifs, typical of the genre (pact, numeral symbolism, destiny, curses, enclosed space) abound in the crude and concise text from the 1812 version, the one I chose from among the seven versions spanning 1812 to 1857. The themes of suspended temporality (the entire castle deeply asleep) and fragile beauty are less common, but musically very inspiring. The instrumentation being used (string quartet, double-choir and orchestra) is treated as a composite derived from opera. The principle theme is distilled in the solo string quartet, the double-choir is assigned the narration, while the orchestra is entrusted with numerous descriptive elements designed to transpose the real action: ascending the stairway, spinning, etc. Of course, specific situations will put this lovely construction into peril. In the context of my work on 'critical exegesis' with regards to the stage, this project is an attempt to create music that in itself satisfies a large number of the demands normally present in the operatic setting: characters, action, movement, singing, dramaturgy, scenography, décor, lighting, etc. It is not a question of inventing new metaphors, but rather, of managing to transcribe the phenomena used in the Grimm Brothers' fairly tale with purely musical classifications and objects, rich with associative images: thus a music of situations and phenomena, more than of representation. Two sections of the piece were already composed for double-choir in a preparatory form (Zwei Studien über Dornröschen composed in 2007). The whole, amounting to about 25 minutes, is divided into 9 'scenes' equivalent to the interpretations of transitional moments in the Grimm Brothers' story: 1. '...keine Kinder...' 2. die Feen 3. '...alle Spindeln abschaffen...' 4. '...ein Wunder von Schönheit...' 5. Der alte Turm 6. '...Eine alte Frau... 7. Stich und Schlaf 8. Dornen und Kuss 9. Die hohe Zeit / contemporain / Répertoire / Quatuor à Cordes et Orchestre
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Robert Russell Bennett: Autobiography Part 1: Concert Band: Score
12.99
Robert Russell Bennett: Autobiography Part 1: Concert Band: Score
Orchestre d'harmonie
[Partition]
Schirmer
Score-The suggestion that I write my autobiography was made at a time when anyon...
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Score-The suggestion that I write my autobiography was made at a time when anyone who did not write one risked being called eccentric. It became and still is a major sport among the oldsters. Some of the contemporary books are goodreading indeed. One of the best of them is the result of an enormous research job as is brought out in the introduction to the work. Imagine spending long hours and traveling many miles to find out about oneself: I am sure Iwould be one of the first to be utterly bored by the subject. It was not so easy however to dismiss the whole idea as my friends presented it.The only answer I could think of with any degree of enthusiasm was this one written purely for whatever pleasure it could give. My own part of the pleasure is mostly in utilizing the musical language of the concert band with its apparently inexhaustible colors and its fabulous vitality.The form(if the term has any right being here) is seven short pictures each about two minutes long of my own personal seven ages. The two-minute idea may be the result of the loudspeakers spread all over the hotel in Arizona where thepiece was composed. There was no getting out of ear-shot of those two-minute gems - in the dining rooms around the swimming pools by the putting green everywhere-but I honestly do not believe any of them crept into what I waswriting. I do not believe I paid much more than passing attention to them.Part One:I. 1894: Cherry StreetII. 1899: South OmahaIII. 1900: Corn Cows and MusicThe three of my seven ages inPart One took us to the legal end of my youth. Gathering up my unspectacular belongings including my entire fortune of less than two hundred dollars I swooped down on New York for no more reason than that it was New York and hada street in it called Broadway. The music borrows two or three rhythms from the era but the only note-for-note quote is what the bugler at Camp Funston played every morning while we put on our shoes. Later when we get to Paris
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R. R. Bennett: Autobiography For Pt2 Sc Band: Concert Band: Score
7.50
R. R. Bennett: Autobiography For Pt2 Sc Band: Concert Band: Score
Orchestre d'harmonie
[Partition]
Schirmer
Score-The suggestion that I write my autobiography was made at a time when anyon...
(+)
Score-The suggestion that I write my autobiography was made at a time when anyone who did not write one risked being called eccentric. It became and still is a major sport among the oldsters. Some of the contemporary books are goodreading indeed. One of the best of them is the result of an enormous research job as is brought out in the introduction to the work. Imagine spending long hours and traveling many miles to find out about oneself: I am sure Iwould be one of the first to be utterly bored by the subject. It was not so easy however to dismiss the whole idea as my friends presented it.The only answer I could think of with any degree of enthusiasm was this one written purely for whatever pleasure it could give. My own part of the pleasure is mostly in utilizing the musical language of the concert band with its apparently inexhaustible colors and its fabulous vitality.The form(if the term has any right being here) is seven short pictures each about two minutes long of my own personal seven ages. The two-minute idea may be the result of the loudspeakers spread all over the hotel in Arizona where thepiece was composed. There was no getting out of ear-shot of those two-minute gems - in the dining rooms around the swimming pools by the putting green everywhere-but I honestly do not believe any of them crept into what I waswriting. I do not believe I paid much more than passing attention to them.Part Two:IV. 1916: Mo. to N.Y.V. 1919: The Merrill MiracleVI. 1926: A Parisian in ParisVII. 1935: What Was theQuestion?The three of my seven ages in Part One took us to the legal end of my youth. Gathering up my unspectacular belongings including my entire fortune of less than two hundred dollars I swooped down on New Yorkfor no more reason than that it was New York and had a street in it called Broadway. The music borrows two or three rhythms from the era but the only note-for-note quote is what the bugler at Camp Funston played every morning
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The Rake's Progress HPS 739
111.00
The Rake's Progress HPS 739
Soli, choeur mixte et accompagnement
Soli, chœur mixte et orchestre
Boosey and Hawkes
Opera in three acts. Par STRAWINSKY IGOR. New edition of Stravinsky?s largest wo...
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Opera in three acts. Par STRAWINSKY IGOR. New edition of Stravinsky?s largest work, his only full-length work for the theatre, and his first major work in English. It also represents the culmination of his neoclassical years, after which he started to rethink his musical language. Inspired by an exhibition in Chicago in 1947 of a series of Hogarth prints, the depiction of the ironic progress of the spendthrift heir of a miser from wealth via debt to madness and death is, in essence, retained in the opera. Auden and Kallman's 'fable' wittily grafts onto Hogarth?s quest narrative aspects of, among other sources, Classical pastoral, the Faust legend, fairy tale, circus, the Bible and opera in many different manifestations. This is brilliantly matched by Stravinsky?s music, which takes as its source the whole of operatic history from Monteverdi to Verdi via Rossini and Donizetti and large doses of Mozart, yet it is neither parody nor pastiche. The Rake?s Progress can be appreciated on many levels, which might explain why it is still one of only a handful of 20th-century operas never to have been out of the repertoire. / Date parution : 2023-10-31/ Répertoire / Solistes, Choeur et Orchestre
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Esa-Pekka Salonen: Homunculus: String Quartet: Parts
19.99
Esa-Pekka Salonen: Homunculus: String Quartet: Parts
Quatuor à cordes: 2 violons, alto, violoncelle
[Partition]
Chester
Homunculus is a short (circa 12 minutes) work for string quartet which the comp...
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Homunculus is a short (circa 12 minutes) work for string quartet which the composer wrote during the Autumn months of 2007 for the Johannes Quartet.He wanted to compose a piece that would be very compact in form andduration but still contain many different characters and textures. In other words a little piece that behaves like a big piece.He has long been fascinated (and amused) by the arcane spermists’ theory who held the beliefthat the sperm was in fact a 'little man' (homunculus) that was placed inside a woman for growth into a child. This seemed to them to neatly explain many of the mysteries of conception. It was later pointed out that if the spermwas a homunculus identical in all but size to an adult then the homunculus may have sperm of its own. This led to a reductio ad absurdum with an endless chain of homunculi. This was not necessarily considered by spermists afatal objection however as it neatly explained how it was that 'in Adam' all had sinned: the whole of humanity was already contained in his loins.He decided to call my piece Homunculus despite the obvious weaknesses of thespermists’ thinking as he found the idea of a perfect little man strangely moving.
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Esa-Pekka Salonen: Homunculus: String Quartet: Score
17.99
Esa-Pekka Salonen: Homunculus: String Quartet: Score
Quatuor à cordes: 2 violons, alto, violoncelle
[Partition]
Chester
Homunculus is a short (circa 12 minutes) work for string quartet which the comp...
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Homunculus is a short (circa 12 minutes) work for string quartet which the composer wrote during the Autumn months of 2007 for the Johannes Quartet.He wanted to compose a piece that would be very compact in form andduration but still contain many different characters and textures. In other words a little piece that behaves like a big piece.He has long been fascinated (and amused) by the arcane spermists’ theory who held the beliefthat the sperm was in fact a 'little man' (homunculus) that was placed inside a woman for growth into a child. This seemed to them to neatly explain many of the mysteries of conception. It was later pointed out that if the spermwas a homunculus identical in all but size to an adult then the homunculus may have sperm of its own. This led to a reductio ad absurdum with an endless chain of homunculi. This was not necessarily considered by spermists afatal objection however as it neatly explained how it was that 'in Adam' all had sinned: the whole of humanity was already contained in his loins.He decided to call my piece Homunculus despite the obvious weaknesses of thespermists’ thinking as he found the idea of a perfect little man strangely moving.
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Thea Musgrave: Green for twelve strings (Full Score): String Ensemble: Score
15.99
Thea Musgrave: Green for twelve strings (Full Score): String Ensemble: Score
Orchestre à Cordes
[Partition]
Novello & Co Ltd.
Commissioned by the Scottish Ensemble first performed on 15th December 2008 at Q...
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Commissioned by the Scottish Ensemble first performed on 15th December 2008 at Queen’s Cross Church Aberdeen. Programme note 'This short work is about conflict – expressed here by the clash of opposing musical forces. One ‘force’ an ‘arioso’ is based around the harmonic field of E and is melodic tonal straightforward and at times emotional. It is mainly led by the first violin. The other ‘force’ led by the double bass is strongly discordant [at first a single note F latergradually growing to a giant cluster]. It is essentially chordal [non-melodic] static suffocating inexorable and impersonal. Its only contrast is getting louder or getting softer getting denser or less dense. The interruption of the opening ‘arioso’ by a single note F on the double bass is at first not very threatening and the reaction to it is one of surprise. Later as the threat increases so the reaction becomes stronger; at first one of irritation then anger. A passionate outburst on the violins follows which falls on deaf ears. Then a solo violin solo viola and solo cello all appeal in turn: still no response. Finally only fragments of the original ‘arioso’ are heard before dying away. Whereas near the
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Fantasy (JAGGER / K)
24.64
Fantasy (JAGGER / K)
Orchestre d'harmonie
[Conducteur]
-
Intermédiaire/avancé
De Haske Publications
Arr. Peter Kleine Schaars. Par JAGGER / K.RICHARDS. Millions of fans will be del...
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Arr. Peter Kleine Schaars. Par JAGGER / K.RICHARDS. Millions of fans will be delighted to hear that, after 40 years of collaboration and countless international tours, The Rolling Stones still have no intention of ending their career. The band’s songs have united fans everywhere, be they new fans, old fans, young or old. Their most popular songs are the ones they wrote during the 60’s and early 70’s and it is from this unforgettable era that Peter Kleine Schaars has picked their greatest hits to form this mind-blowing medley. / Niveau : 4 / Pop and rock / Date parution : 1905-07-01/ Recueil / Concert Band ou Harmonie
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Nonett (KAREL RUDOLF)
49.80
Nonett (KAREL RUDOLF)
Flûte Traversière, Hautbois, Clarinette, Basson, C
[Partition]
Carus Verlag
Par KAREL RUDOLF. Rudolf Karel, the last student of Dvorák, was able to compose...
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Par KAREL RUDOLF. Rudolf Karel, the last student of Dvorák, was able to compose the Nonett in short score before his death [1945] in the concentration camp in Theresienstadt. From this score, Václav Snítil, the longtime leader of the Czech Nonett, has been able to complete and instrumentate the work. In spite of death and suffering around him, Karel was still able to portray the belief in a place where beauty exists./ Répertoire / Flûte Traversière, Hautbois, Clarinette, Basson, C
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Nonett (KAREL RUDOLF)
56.50
Nonett (KAREL RUDOLF)
Flûte Traversière, Hautbois, Clarinette, Basson, C
Carus Verlag
Par KAREL RUDOLF. Rudolf Karel, the last student of Dvorák, was able to compose...
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Par KAREL RUDOLF. Rudolf Karel, the last student of Dvorák, was able to compose the Nonett in short score before his death [1945] in the concentration camp in Theresienstadt. From this score, Václav Snítil, the longtime leader of the Czech Nonett, has been able to complete and instrumentate the work. In spite of death and suffering around him, Karel was still able to portray the belief in a place where beauty exists./ Répertoire / Flûte Traversière, Hautbois, Clarinette, Basson, C
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Tara's Theme
93.66
Tara's Theme
Orchestre d'harmonie
[Conducteur et Parties séparées]
-
Intermédiaire
De Haske Publications
From Gone with the WInd. Max Steiner was born in Vienna in 1888, and grew up sur...
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From Gone with the WInd. Max Steiner was born in Vienna in 1888, and grew up surrounded by music. He was a student of the Imperial Academy of Music, having among his teachers Gustav Mahler. In 1936 he signed an agreement with Warner. Steiner, considered the father of symphonic music in Hollywood style. One of his most famous and popular masterworks is, without any doubt, Gone with the Wind (1939). The movie was an immediate success and won ten Academy Awards. In spite of the years passed, this movie still moves young audiences around the world. Lorenzo Bocci has chosen the song Tara’s Theme from this movie and turned the romantic music into an arrangement for concert band. / Niveau : 3 / Musique pour célébration / Répertoire / Concert Band ou Harmonie
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Kenneth Hesketh: Alchymist's Journal.: Brass Band: Score and Parts
85.00
Kenneth Hesketh: Alchymist's Journal.: Brass Band: Score and Parts
Ensemble de cuivres
[Conducteur et Parties séparées]
Faber Music Limited
'The Alchymist's Journal' gets its title from the book of the same name by Ameri...
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'The Alchymist's Journal' gets its title from the book of the same name by American author Evan S. Connell. The book fictionalises a number of famous Alchemist’s writings each one developing another's thoughts thus continuing one idea but changing it subtly to provide a new view point or way of thinking. This process is in fact alchemical as one idea transmutes into another. This idea is parallel to the processes at work within these variants. The whole work is constructed from 6 notes (C A B flat E flat F sharp E) and is presented in nine different sections each individual in mood but still based upon the original pitches. This is not a thematic set ofvariations as the themes are developed one at a time from small segments of the six notes. For example the opening theme is the complete number of pitches the second theme uses three notes transposed then repeated at the original level and so on. Harmonically the six notes can be divided into two triads A minor and E flat minor – each key beginning and ending the piece respectively. Whilst this is essentially abstract music with no programme there is an introduction menacing scherzo slow reflective section followed by a recap of the scherzo and final coda. 'The Alchymist’s Journal' was commissioned by the Brass Band Heritage Trust at the suggestion of Paul Hindmarsh to whom the work is dedicated.
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Kenneth Hesketh: Alchymist's Journal.: Brass Band: Score
35.00
Kenneth Hesketh: Alchymist's Journal.: Brass Band: Score
Ensemble de cuivres
[Conducteur]
Faber Music Limited
'The Alchymist's Journal' gets its title from the book of the same name by Ameri...
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'The Alchymist's Journal' gets its title from the book of the same name by American author Evan S. Connell. The book fictionalises a number of famous Alchemist’s writings each one developing another's thoughts thus continuing one idea but changing it subtly to provide a new view point or way of thinking. This process is in fact alchemical as one idea transmutes into another. This idea is parallel to the processes at work within these variants. The whole work is constructed from 6 notes (C A B flat E flat F sharp E) and is presented in nine different sections each individual in mood but still based upon the original pitches. This is not a thematic set ofvariations as the themes are developed one at a time from small segments of the six notes. For example the opening theme is the complete number of pitches the second theme uses three notes transposed then repeated at the original level and so on. Harmonically the six notes can be divided into two triads A minor and E flat minor – each key beginning and ending the piece respectively. Whilst this is essentially abstract music with no programme there is an introduction menacing scherzo slow reflective section followed by a recap of the scherzo and final coda. 'The Alchymist’s Journal' was commissioned by the Brass Band Heritage Trust at the suggestion of Paul Hindmarsh to whom the work is dedicated.
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Hans Abrahamsen: Four Pieces For Orchestra: Orchestra: Score
57.50
Hans Abrahamsen: Four Pieces For Orchestra: Orchestra: Score
Orchestre
Wilhelm Hansen
Four Pieces For Orchestra was composed by Hans Abrahamsen in 2000-2003. Programm...
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Four Pieces For Orchestra was composed by Hans Abrahamsen in 2000-2003. Programme note: In 1983 Hans Abrahamsen wrote the first seven of his Ten Studies for Piano. In the early eighties most composers who wrote for the piano were still making strenuous efforts to distance themselves from the instrument?s romantic past for example treating it as a percussion instrument rather than exploiting its expressive ?singing? potential. The piano?s modern identity as a mechanical rational emotionally cool instrument is reflected in Abrahamsen?s studies 5 7; but in the first four studies Abrahamsen allows the piano to?recollect? its past: especially what the composer calls ?the golden German romantic time full of expression night timelessness dream and the irrational?. Accordingly these first four studies were given German one might specifically say Schumanesque - titles: Traumlied (?Dreamsong?) Sturm (?Storm?) Arabeske (?Arabesque?) and Ende (?End?). While Abrahamsen was in no way dissatisfied with the first four Studies as piano music he soon felt the urge to expand them in both time and space. In their new identity as Four Pieces for Orchestra created between 2000-2003 the original studies nearly doubled in length while the forces required expanded from one soloist to an orchestra of Mahlerian/Straussian dimensions including instruments beloved by the late-romantics: Wagner tubas bass trumpet guitar mandolin and the hammer used so memorably in Mahler?s Sixth Symphony and Alban Berg?s Three Pieces for Orchestra. The results are not so much ?arrangements? of the four piano studies more recompositions. A helpful comparison might be made with certain painters: Cézanne portraying the same mountain from different angles; or Monet obsessively returning to Rouen Cathedral in different lights and weather conditions. Abrahamsen himself remembers an important visit to the Munch Museum in Oslo where he saw how Munch painted the same subject
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In The Shadow Of The Bat: Orchestra: Score
Orchestre
Wilhelm Hansen
In The Shadow Of The Bat - Concerto for Three Trombones and Orchestra by Niels M...
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In The Shadow Of The Bat - Concerto for Three Trombones and Orchestra by Niels Marthinsen (2009). Programme note: In the Shadow of the Bat is a triple concerto for three trombones and orchestra inspired by Batman and his enemies The Joker Two-Face and The Penguin. A central idea of modern versions of the Batman myth is that the batman is created by the fantastic villains that he fights and they are created by him - and that Batman is driven by revenge and hate barely held in check by an intense sense of justice. Batman represents 'the dark side' while the villains are hyper-imaginative colourful creative caracters who happen to be completely insane. The rivalry between soloists and orchestra is anything but friendly: The three soloists represent one villain each the orchestra 'is' the batman - and while the villains take centre stage during most of the concerto they are eventually overwhelmed by the sheer power of the orchestra and sent where they belong: The lunatic's asylum. The concerto begins with the creation of the batman: An eight year old boy persuades his parents to leave an opera performance before it is over; outside in an alley they are shot and killed by a criminal while the boy watches. And he decides that all criminals must be punished! Then follows the Villaineuos Fugue: a multi-part fugue-like exposition of villain motives and stylistic environments. It is the exposition of the joker (alto trombone) two-face (tenor trombone) and the penguin (bass trombone). And after a brief and very slow interlude where the three criminals form an alliance and make their plans the Toccata of Crime begins: Bright fast moving highly energetic expansive and colourful music still dominated by the soloists. But later the orchestra moves to centre stage with slow omnious swooping bat-music that climaxes as the soloists are defeated by the orchestra. In the Shadow of the Bat is commissioned
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Kees Vlak: La Cittadella: Concert Band: Score & Parts
Orchestre d'harmonie
[Conducteur et Parties séparées]
Edition DeHaDe
In La Cittadella Kees Vlak reflects the stark contrastsin the Italian mountain v...
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In La Cittadella Kees Vlak reflects the stark contrastsin the Italian mountain village Assisi. On the onehand there is the bustle of the hundreds ofthousands visitors who have come to admire thebeautiful San Francesco Basilica. On the otherhand within the city walls there is La Cittadella acomplex of buildings where severely handicappedpeople are taken care of by sisters. The dissonantmain theme in the solo trumpet depicts the isolationof these people. Still the loving care of the sistersprovides some light in the darkness. This beautifulpiece will bring a sense of spiritual love to any concert.
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Martin Dalby: Yet Still She Is The Moone: Brass Ensemble: Score
17.99
Martin Dalby: Yet Still She Is The Moone: Brass Ensemble: Score
Ensemble de cuivres
[Partition]
Novello & Co Ltd.
Yet Still She Is The Moone
17.99 GBP - vendu par Musicroom GB
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Crazy Music In The Air (DE HAAN JACOB)
73.93
Crazy Music In The Air (DE HAAN JACOB)
Ensemble de cuivres
[Conducteur et Parties séparées]
-
Intermédiaire
De Haske Publications
Par DE HAAN JACOB. This composition in two parts is one of the first successful ...
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Par DE HAAN JACOB. This composition in two parts is one of the first successful works Jacob de Haan published for brass band. Somewhat under the influence of Ted Huggen’s Choral and Rock Out which was an overwhelming success at the time, the still very young Jacob de Haan wrote this composition. The first part (Air) exists of a choral melody with baroque grace notes, supported by a pop rhythm in the drums. The second part (Crazy Music) is a swinging bossa nova, in which various instrument groups present themselves in the continuously varying themes. The famous Black Dycke Mills Band contributed to the success of Crazy Music in the Air by regularly putting the piece on its tour programmes. This composition in two parts is one of the first successful works Jacob de Haan published for Brass Band. Somewhat under the influence of Ted Huggen’s Choral and Rock Out which was an overwhelming success at the time, the still very young Jacob de Haan wrote this composition. The first part (Air) exists of a choral melody with baroque grace notes, supported by a pop rhythm in the drums. The second part (Crazy Music) is a swinging bossa nova, in which various instrument groups present themselves in the continuously varying themes. The famous Black Dycke Mills Band contributed to the success of Crazy Music in the Air by regularly puttingthe piece on its tour programmes. / Niveau : 3 / Musique légère originale / Répertoire / Brass Band
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Jazz Ensemble 1 Band 1
24.97
Jazz Ensemble 1 Band 1
Ensemble Flexible
[Conducteur]
Universal Edition
James Rae’s 'Jazz Ensemble' series was first published in the 1980s and quickl...
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James Rae’s 'Jazz Ensemble' series was first published in the 1980s and quickly proved very popular. There were six separate titles in the series written for a flexible mixed ensemble, with parts provided for C, Bb, Eb, Bass, Easy Bass and Drums with a supporting piano part in the score. It was and still is ideal for the practical part of GCSE studies, catering as it does for almost any imaginable combination of instruments at an intermediate stage. It has now been given a makeover, with three of the original titles being put into each of two separate volumes, creating great value for money. The parts are now provided as free downloads from our website so you can provide for as large an ensemble as you wish at no extra cost. Inside this volume: “Down by the Riverside”, “Joshua Fought the Battle of Jericho” and “Dry Bones”. Volume 2 contains the well-known titles “Oh when the Saints”, “Swing low, Sweet Chariot” and “The Camptown Races”./ Recueil / Ensemble Flexible
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Nocturne (TCHAIKOVSKI PIOTR ILITCH)
133.10
Nocturne (TCHAIKOVSKI PIOTR ILITCH)
Concert Band ou Harmonie et Clarinette
[Conducteur et Parties séparées]
-
Intermédiaire
De Haske Publications
Par TCHAIKOVSKI PIOTR ILITCH. Tchaikovsky is best known for his purely instrumen...
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Par TCHAIKOVSKI PIOTR ILITCH. Tchaikovsky is best known for his purely instrumental compositions. However, we must not underestimate him as a composer of operas. Many of his operas such as ¬Pique Dame and Eugene Onegin are still performed regularly throughout the world. Eugene Onegin (also called Jevgeny Onegin), composed in 1877-1878, was not called an opera by Tchaikovsky himself, but “lyric scenes”. The work is entirely dominated by lyricism. However, there are two moments that contrast sharply with this lyricism: two ball scenes, for which Tchaikovsky wrote a waltz and a polonaise. After opening with a less well-known allegro dansant, this arrangement features the aforementioned waltz, which can beconsidered a beautiful Russian equivalent of the Faust Waltz by Charles Gounod. In the opera, this waltz is actually played by a military band. The arrangement concludes with the pompous polonaise (also mentioned above) which opens the last act: the ideal music to characterize high aristocracy in the salon of a palace in St. Petersburg. / Niveau : 3 / Répertoire / Concert Band ou Harmonie et Clarinette
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Jazz Ensemble 2 Band 2
24.97
Jazz Ensemble 2 Band 2
Ensemble Flexible
[Conducteur]
Universal Edition
James Rae’s “Jazz Ensemble” series was first published in the 1980s and qu...
(+)
James Rae’s “Jazz Ensemble” series was first published in the 1980s and quickly proved very popular. There were six separate titles in the series written for a flexible mixed ensemble, with parts provided for C, Bb, Eb, Bass, Easy Bass and Drums with a supporting piano part in the score. It was and still is ideal for the practical part of GCSE studies, catering as it does for almost any imaginable combination of instruments at an intermediate stage. It has now been given a makeover, with three of the original titles being put into each of two separate volumes, creating great value for money. The parts are now provided as free downloads from our website so you can provide for as large an ensemble as you wish at no extra cost. Inside this volume: “Oh when the Saints”, “Swing low, Sweet Chariot” and “The Camptown Races”. Volume 1 contains the well-known titles “Down by the Riverside”, “Joshua Fought the Battle of Jericho” and “Dry Bones”../ Recueil / Ensemble Flexible
24.97 EUR - vendu par LMI-partitions
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