VIOLIN - FIDDLE
Contemporary Not classified 31,075 Guitars
Voice
Strings String Quartet: 2 violins, viola, cello 6,687 Violin and Piano 2,981 Violin 2,451 Violin, Cello (duet) 965 String Trio: violin, viola, cello 803 2 Violins (duet) 447 Violin (band part) 325 String Quintet: 2 violins, viola, cello, bass 269 Violin, Viola (duet) 265 String Trio: 2 violins, cello 216 Double bass, Piano (duet) 186 Violin, Guitar (duet) 173 Piano Trio: Violin, Viola, Piano 150 String Trio: 3 violins 96 Harp, Violin (duet) 86 Cello, String Bass (duet) 58 String Trio: 2 violins, viola 35 String trio 28 String quartet: 4 violins 24 2 Violins, Piano 17 Violin, Organ 14 String Quintet: 2 violins, 2 violas, cello 11 String Quintet: 2 violins, viola, 2 cellos 7 Violin ensemble 7 Violin, Bassoon (duet) 7 Violin, Basso continuo 2 Harp, String quartet 1 2 Violins and Basso 1 Violin, Trumpet and Piano 1 Violin, Tuba (duet) 1
Others
FREE SHEET MUSIC
FOR VIOLIN - FIDDLE
SHEET MUSIC LIBRARY
FOR VIOLIN - FIDDLE
DIGITAL SHEET MUSIC
FOR VIOLIN - FIDDLE
MUSICAL INSTRUMENTS
FOR VIOLIN - FIDDLE
INSTRUMENTS :
STRINGS :
ACCESSSORIES :
GIFTS :
Digital sheet music, access after purchasing
Sheetmusic to print
1,078 sheet music found Requiem
Requiem # Chamber Orchestra # Harald Weiss # Requiem # Schott Music - Digital # SheetMusicPlus
Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra - Digital Download SKU: S9.Q7038 Teil I: Schwarz vor Augen... · Teil I...(+)
Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra - Digital Download SKU: S9.Q7038 Teil I: Schwarz vor Augen... · Teil II: ...und es ward Licht!. Composed by Harald Weiss. This edition: study score. Music Of Our Time. Downloadable, Study score. Duration 100' 0. Schott Music - Digital #Q7038. Published by Schott Music - Digital (S9.Q7038). Latin • German.On letting go(Concerning the selection of the texts) In the selection of the texts, I have allowed myself to be motivated and inspired by the concept of “letting goâ€. This appears to me to be one of the essential aspects of dying, but also of life itself. We humans cling far too strongly to successful achievements, whether they have to do with material or ideal values, or relationships of all kinds. We cannot and do not want to let go, almost as if our life depended on it. As we will have to practise the art of letting go at the latest during our hour of death, perhaps we could already make a start on this while we are still alive. Tagore describes this farewell with very simple but strikingly vivid imagery: “I will return the key of my doorâ€. I have set this text for tenor solo. Here I imagine, and have correspondingly noted in a certain passage of the score, that the protagonist finds himself as though “in an ocean†of voices in which he is however not drowning, but immersing himself in complete relaxation. The phenomenon of letting go is described even more simply and tersely in Psalm 90, verse 12: “So teach us to number our days, that we may apply our hearts unto wisdomâ€. This cannot be expressed more plainly.I have begun the requiem with a solo boy’s voice singing the beginning of this psalm on a single note, the note A. This in effect says it all. The work comes full circle at the culmination with a repeat of the psalm which subsequently leads into a resplendent “lux aeternaâ€. The intermediate texts of the Requiem which highlight the phenomenon of letting go in the widest spectrum of colours originate on the one hand from the Latin liturgy of the Messa da Requiem (In Paradisum, Libera me, Requiem aeternam, Mors stupebit) and on the other hand from poems by Joseph von Eichendorff, Hermann Hesse, Rabindranath Tagore and Rainer Maria Rilke.All texts have a distinctive positive element in common and view death as being an organic process within the great system of the universe, for example when Hermann Hesse writes: “Entreiß dich, Seele, nun der Zeit, entreiß dich deinen Sorgen und mache dich zum Flug bereit in den ersehnten Morgen†[“Tear yourself way , o soul, from time, tear yourself away from your sorrows and prepare yourself to fly away into the long-awaited morningâ€] and later: “Und die Seele unbewacht will in freien Flügen schweben, um im Zauberkreis der Nacht tief und tausendfach zu leben†[“And the unfettered soul strives to soar in free flight to live in the magic sphere of the night, deep and thousandfoldâ€]. Or Joseph von Eichendorff whose text evokes a distant song in his lines: “Und meine Seele spannte weit ihre Flügel aus. Flog durch die stillen Lande, als flöge sie nach Haus†[“And my soul spread its wings wide. Flew through the still country as if homeward bound.â€]Here a strong romantically tinged occidental resonance can be detected which is however also accompanied by a universal spirit going far beyond all cultures and religions. In the beginning was the sound Long before any sort of word or meaningful phrase was uttered by vocal chords, sounds, vibrations and tones already existed. This brings us back to the music. Both during my years of study and at subsequent periods, I had been an active participant in the world of contemporary music, both as percussionist and also as conductor and composer. My early scores had a somewhat adventurous appearance, filled with an abundance of small black dots: no rhythm could be too complicated, no register too extreme and no harmony too dissonant. I devoted myself intensely to the handling of different parameters which in serial music coexist in total equality: I also studied aleatory principles and so-called minimal music.I subsequently emigrated and took up residence in Spain from where I embarked on numerous travels over the years to India, Africa and South America. I spent repeated periods during this time as a resident in non-European countries. This meant that the currents of contemporary music swept past me vaguely and at a great distance. What I instead absorbed during this period were other completely new cultures in which I attempted to immerse myself as intensively as possible.I learned foreign languages and came into contact with musicians of all classes and styles who had a different cultural heritage than my own: I was intoxicated with the diversity of artistic potential.Nevertheless, the further I distanced myself from my own Western musical heritage, the more this returned insistently in my consciousness.The scene can be imagined of sitting somewhere in the middle of the Brazilian jungle surrounded by the wailing of Indians and out of the blue being provided with the opportunity to hear Beethoven’s late string quartets: this can be a heart-wrenching experience, akin to an identity crisis. This type of experience can also be described as cathartic. Whatever the circumstances, my “renewed†occupation with the “old†country would not permit me to return to the point at which I as an audacious young student had maltreated the musical parameters of so-called contemporary music. A completely different approach would be necessary: an extremely careful approach, inching my way gradually back into the Western world: an approach which would welcome tradition back into the fold, attempt to unfurl the petals and gently infuse this tradition with a breath of contemporary life.Although I am aware that I will not unleash a revolution or scandal with this approach, I am nevertheless confident as, with the musical vocabulary of this Requiem, I am travelling in an orbit in which no ballast or complex structures will be transported or intimated: on the contrary, I have attempted to form the message of the texts in music with the naivety of a “homecomerâ€. Harald WeissColonia de San PedroMarch 20091 (auch Altfl.) · 2 (2. auch Engl. Hr.) · 1 (auch Bassklar.) · 0 - 2 · Flhr. · 0 · 0 - P. S. (Glsp. · Röhrengl. · Gongs · Trgl. · Beck. · Tamt. · 2 Holzschlitztr. (oder Woodbl.) · Woodbl. · gr. Tr.) (3 Spieler) - Org. (Positiv) - Str. (4 · 4 · 4 · 4 · 2). 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 # Chamber Orchestra # ADVANCED # Christian contemporary # Sacred music # Carson Cooman # Carson Cooman: Symphony No. 3, # Musik Fabrik Music Publishing # SheetMusicPlus
Chamber Orchestra - Level 5 - Digital Download SKU: A0.533672 Composed by Carson Cooman. Contemporary,Sacred. Score and parts. 54 pages. Musik Fabrik Mus...(+)
Chamber Orchestra - Level 5 - Digital Download 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, “Ave Maris Stella†(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 – as both an important American composer and a significantcontributor to America’s contemporary musical life.The work’s basic source material is the plainchant Ave maris stella (“Hail, star of the seaâ€) –appropriate because of Duquesne’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 work’s tone – becoming substantially bleaker and more obsessive.The title of the first movement, Pentimento, is defined as “an underlying image in a painting,as an earlier painting, that shows through when the top layer of paint has become transparentwith age.†The melodic and harmonic material for the movement is entirely drawn from theplainchant source, although it is completely transformed and covered up – as in a pentimento.At various points, one can begin to hear the original plainchant “peek out†in subtle ways.The opening section of the movement obsesses again and again on what sounds like a“beginning†– as though it is trying to begin again and again. After a brief bassoon cadenza, afast and driving section starts, marked “sinister.†After driving through a series oftransformations on the plainchant material, a bridge passage leads to further attempts at the“beginning†again. Finally, these attempts are given up, and the plainchant material (theunderlying layer) begins to show through quietly – 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 movement’stransformations, and “motet†sections – 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)This is the score only. The complete parts and each seperate part are also available as seperate items. Sinfonia #32
Sinfonia #32 # Chamber Orchestra # INTERMEDIATE # Steven Kudlo # 2,1,0,0 # Sinfonia #32 # Steven Mark Kudlo # SheetMusicPlus
Chamber Orchestra - Level 3 - Digital Download SKU: A0.1413767 Composed by Steven Kudlo. 20th Century,21st Century,Classical,Contemporary. 92 pages. Stev...(+)
Chamber Orchestra - Level 3 - Digital Download SKU: A0.1413767 Composed by Steven Kudlo. 20th Century,21st Century,Classical,Contemporary. 92 pages. Steven Mark Kudlo #995549. Published by Steven Mark Kudlo (A0.1413767). The small symphony contains four movements, with an instrumentation of 1,1,1,1; 2,1,0,0; strings. It's all rather romantic and contemporary at the same time. About 17 minutes long. Starts with an oboe solo. Sinfonia #33
Sinfonia #33 # Chamber Orchestra # INTERMEDIATE # Steven Kudlo # 2,1,0,0 # Sinfonia #33 # Steven Mark Kudlo # SheetMusicPlus
Chamber Orchestra - Level 3 - Digital Download SKU: A0.1413768 Composed by Steven Kudlo. 20th Century,21st Century,Classical,Contemporary. 98 pages. Stev...(+)
Chamber Orchestra - Level 3 - Digital Download SKU: A0.1413768 Composed by Steven Kudlo. 20th Century,21st Century,Classical,Contemporary. 98 pages. Steven Mark Kudlo #995551. Published by Steven Mark Kudlo (A0.1413768). Romantic and contemporary at the same time! With an instrumentation of 1,1,1,1; 2,1,0,0; strings, this small symphony is about 15 minutes long. Sinfonia #35
Sinfonia #35 # Chamber Orchestra # INTERMEDIATE # Steven Kudlo # 2,1,0,0 # Sinfonia #35 # Steven Mark Kudlo # SheetMusicPlus
Chamber Orchestra - Level 3 - Digital Download SKU: A0.1413770 Composed by Steven Kudlo. 20th Century,21st Century,Classical,Contemporary. 101 pages. Ste...(+)
Chamber Orchestra - Level 3 - Digital Download SKU: A0.1413770 Composed by Steven Kudlo. 20th Century,21st Century,Classical,Contemporary. 101 pages. Steven Mark Kudlo #995556. Published by Steven Mark Kudlo (A0.1413770). This symphony of small proportions is intended as a concert work with romantic and contemporary feelings. Its instrumentation is 1,1,1,1; 2,1,0,0; strings, and is about 16 minutes long. Sinfonia #34
Sinfonia #34 # Chamber Orchestra # INTERMEDIATE # Steven Kudlo # Sinfonia #34 # Steven Mark Kudlo # SheetMusicPlus
Chamber Orchestra - Level 3 - Digital Download SKU: A0.1413769 Composed by Steven Kudlo. 20th Century,21st Century,Classical,Contemporary. 83 pages. Stev...(+)
Chamber Orchestra - Level 3 - Digital Download SKU: A0.1413769 Composed by Steven Kudlo. 20th Century,21st Century,Classical,Contemporary. 83 pages. Steven Mark Kudlo #995554. Published by Steven Mark Kudlo (A0.1413769). A small symphony of romantic and classically contemporary feelings; it has an instrumentation of 1,1,1,1; 2,1,0,0; strings. It's about 13 minutes long, with four short movements. Sinfonia #28
Sinfonia #28 # Chamber Orchestra # INTERMEDIATE # Steven Kudlo # 2,1,0,0 # Sinfonia #28 # Steven Mark Kudlo # SheetMusicPlus
Chamber Orchestra - Level 3 - Digital Download SKU: A0.1413756 Composed by Steven Kudlo. 20th Century,21st Century,Classical,Contemporary. 101 pages. Ste...(+)
Chamber Orchestra - Level 3 - Digital Download SKU: A0.1413756 Composed by Steven Kudlo. 20th Century,21st Century,Classical,Contemporary. 101 pages. Steven Mark Kudlo #995540. Published by Steven Mark Kudlo (A0.1413756). Starting with a bassoon solo, this small symphony is a mix of romantic and contemporary sentiment; the instrumentation is 1,1,1,1; 2,1,0,0; strings. About 20 minutes long. Sinfonia #31
Sinfonia #31 # Chamber Orchestra # INTERMEDIATE # Steven Kudlo # 2,1,0,0 # Sinfonia #31 # Steven Mark Kudlo # SheetMusicPlus
Chamber Orchestra - Level 3 - Digital Download SKU: A0.1413761 Composed by Steven Kudlo. 20th Century,21st Century,Classical,Contemporary. 76 pages. Stev...(+)
Chamber Orchestra - Level 3 - Digital Download SKU: A0.1413761 Composed by Steven Kudlo. 20th Century,21st Century,Classical,Contemporary. 76 pages. Steven Mark Kudlo #995545. Published by Steven Mark Kudlo (A0.1413761). This small symphony is about 13 minutes long; Rather mellow, with a somber trumpet solo at the beginning, the whole thing is a combination of romantic and contemporary sentiments. Instrumentation is 1,1,1,1; 2,1,0,0; strings.