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1
Missa Solemnis, op. 27 - Score Only
Missa Solemnis, op. 27 - Score Only
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Orchestra
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ADVANCED
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Adrian Gagiu
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Missa Solemnis, op. 27 - Score
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Adrian Gagiu
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SheetMusicPlus
Full Orchestra - Level 5 - Digital Download SKU: A0.1277133 Composed by Adrian Gagiu. 21st Century,Christian,Classical,Latin. 128 pages. Adrian Gagiu #86...
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Full Orchestra - Level 5 - Digital Download 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 „Filioque†(which would still fit the rhythm of the repeated „qui ex Patreâ€, should any Catholics ever wish to perform this as a mass) make it rather a „liturgical oratorio for all nationsâ€, more appropriate in the concert hall. The work has had a long gestation: imagined in 1984 after the composer’s first contact with Beethoven’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  King of Kings), „rex caelestis†and also at his Passion (whose setting is discretely inspired by folkloric Romanian laments), the „anabasis†gesture at „Gloria in excelsis Deoâ€, „et ascendit in caelisâ€, „in remissionem peccatorum†and the resurrection, a flute trill standing for the Holy Spirit who has come ’like a dove’ at „et incarnatus estâ€, a cross-shaped texture at „crucifixusâ€, and some word-painting (hushed sonorities at „et invisibiliumâ€, anticipations between orchestra and chorus at „et exspecto†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). „Kyrie†is restrained and soft, besides the powerful chords opening the respective sections of its tripartite, simple structure, and it leans towards Palestrina’s serene modality and counterpoint. „Gloria†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. „Credo†has an orchestral introduction as well, but powerful, recurring and based on the beginning of the plainchant hymn „Pange linguaâ€, made famous by Mozart’s last symphony and by other Classical composers. Both „Gloria†and „Credo†end with extended, powerful and elaborate fugues („in gloria Dei Patris†and „et vitam venturi saeculiâ€, respectively) with dramatic modulations and sometimes with enthusiastic syncopations at odds with the words’ accents, a la Stravinsky. The same sections plus „Agnus Dei†end with soft quartal harmonies suggesting transcendent appeasement (similar harmonies appear powerfully at the beginning of „Sanctusâ€). „Judicare†quotes the beginning of the well-known „Dies irae†plainchant tune, and the Consecration between the „Sanctus†and „Benedictus†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 „Agnus Deiâ€, which includes another quotation (the famous ’Dresden Amen’ at „qui tollis peccata mundi†and „dona nobis pacemâ€). In the final section, with its refined simplicity, the choral voices enter in descending order, and the „Kyrie eleison†theme is briefly remembered, then it ends softly and peacefully. Total duration: 50 min. Performing Rights Organization: SOCAN. The mp3 audio clip is Kyrie.
$100.00 ≈
91.60€
Concerto for Bassoon and Orchestra (Orchestral Score)
Concerto for Bassoon and Orchestra (Orchestral Score)
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Orchestra
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ADVANCED
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Contemporary
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Antoine Trépanier
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Concerto for Bassoon and Orche
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TrepMusic
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SheetMusicPlus
Full Orchestra - Level 5 - Digital Download SKU: A0.1024476 Composed by Antoine Trépanier. Contemporary. Score and parts. 116 pages. TrepMusic #310801...
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Full Orchestra - Level 5 - Digital Download SKU: A0.1024476 Composed by Antoine Trépanier. Contemporary. Score and parts. 116 pages. TrepMusic #3108011. Published by TrepMusic (A0.1024476). Duration: 25 minutesRecording credits:Antoine Trépanier - BassoonGilles Auger - ConductorConservatoire de musique de Québec orchestraThis concerto was written for my personal use, for my studies in bassoon performance at the Conservatoire de musique de Québec. Despite its variety and its many technical difficulties, it is in many ways a very simple piece: it is a journey from dark to light, from atonality to a bright resonant G major. As such, it is very easy to listen to and has been a success at every one of its performances.
$12.99 ≈
11.90€
Chevalier De Sangreal
Chevalier De Sangreal
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Orchestra
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ADVANCED
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Hans Zimmer
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John Langley / Studio Orchestr
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Chevalier De Sangreal
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www.studio-orchestrations.com
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SheetMusicPlus
Full Orchestra - Level 5 - Digital Download SKU: A0.1430275 Composed by Hans Zimmer. Arranged by John Langley / Studio Orchestrations. Classical,Contempo...
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Full Orchestra - Level 5 - Digital Download SKU: A0.1430275 Composed by Hans Zimmer. Arranged by John Langley / Studio Orchestrations. Classical,Contemporary,Film/TV,Religious,Thriller. 102 pages. Www.studio-orchestrations.com #1010904. Published by www.studio-orchestrations.com (A0.1430275). From the 2006 Ron Howard film adaptation of Dan Brown's The Da Vinci Code, this track is taken from the soundtrack which underscores the final late night walk by Robert Langdon (played by Tom Hanks) through the streets of Paris to (possibly and hopefully) conclude his long and testing quest to seek the Holy Grail. No spoilers however. If you've not seen it, then add it to your playlist!The film's soundtrack evokes great emotion throughout and whatever criticisms there may have been over the years about the book, the story, the film etc.. this is definitely one of Hans Zimmer's finest emotional and thought provoking soundtrack scores, drawing from a huge range of musical influences, from the big symphonic oceanic sounscapes to the intimate vocal solo and choral plainchant that are peppered throughout the score. It is an example of how a soundtrack can really make a massive difference to what some might describe glibly as a popcorn movie.Very much like Time in Inception Zimmer takes a relatively simple harmonic and melodic trope and adds layers of melodic counter melody and rhythmic building to create an awe inspiring and (let's face it BIG!) climax, supporting the narrative of the film and story but also creating music that can be taken away from the cinematic experience and enjoyed for its own sake.This orchestration emulkates as closely as possible the soundtrack. Some licence has been taken with the addition of 2 Trumpets which build the climax with the upper strings. SATB choir is also scored as per the original soundtrack but optional as it is mostly covered by orchestral instruments and is also a very brief appearance but - at least for the sopranos - extremely challenging for anyone apart from a professional specialist choral ensemble. The synth section of the keyboard part in the opening pages can also be optional, adding some background sounds that Zimmer is so renowned for (this may be beyond the budget of some performing groups we appeciate). However the piano cues later in the piece are highly desirable as they add a percussive support to the strings.We commend this score to anyone buidling a program of film music for their orchestral event, particularly if you are wishing to include some more modern concert ideas, and in particular a Hans Zimmer classic.INSTRUMENTATON:2 Flutes2 Oboes2 Clarinets2 Bassoons1 Contra-Bassoon (Optional)4 Horns2 Trumpets3 Trombones1 TubaTimpani2 Percussion[Cymbals/Suspp.Cymbal/Bass Drum/Tubular Bells]KeyboardSATB Choir [Optional]Strings.
$150.00 ≈
137.40€
Concerto for Guitar and Orchestra
Concerto for Guitar and Orchestra
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Orchestra
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ADVANCED
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Contemporary
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Robert E
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Concerto for Guitar and Orches
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R. E. Proctor
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SheetMusicPlus
Full Orchestra - Level 5 - Digital Download SKU: A0.809837 Composed by Robert E. Proctor. Contemporary. Score and parts. 179 pages. R. E. Proctor #352687...
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Full Orchestra - Level 5 - Digital Download SKU: A0.809837 Composed by Robert E. Proctor. Contemporary. Score and parts. 179 pages. R. E. Proctor #3526877. Published by R. E. Proctor (A0.809837). Concerto for Guitar and Orchestra – Description and performance notes. The concerto provides a challenge for the performer and is delightful to the listener. It is written in the standard three movement concerto format: fast – slow – fast. A variety of musical colors, rhythms, and techniques are used. The first movement begins with an Adagio section which is marked Poco Rubato, followed by Allegro for the balance of the movement. The second movement is darker, and perhaps, a little sullen. The third movement is bright and harkens back to the guitar’s Spanish roots. The movement is happy and light, it has an abrupt and unexpected ending. Throughout the concerto the guitarist will use a wide range of techniques. The full sound spectrum of the guitar is utilized. The guitarist is asked to perform several rapid arpeggios (noted as Finger Roll) wherein the performer utilizes the thumb and fingers to rapidly play the notes in a chord. In other places, chords are to be played with three fingers playing up and the thumb to play down, using the nail (Flamenco style) – up and down referring to pitch. In the first movement, the thumb is used to tap the sound board. The guitar part is partially edited with suggested fingerings for clarity of intent. The balance is left for to the performer’s interpretation. In the second movement there is a completed tremolo section which requires the player to include the little or c finger. The inclusion of the c finger keeps the melodic line following without interruption. The second movement also has the melody played in artificial harmonics with the thumb playing simple a bass line. The third movement is the shortest. It has a challenging arpeggio pattern that uses the fingers strumming up and the thumb strumming down with rapid chord changes. The movements are in 4/4, 6/8, and 3/4 time respectively. Duration is approx. 13:18.
$19.95 ≈
18.27€
West Coast Suite
West Coast Suite
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Orchestra
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ADVANCED
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Contemporary
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Jim Hopson
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West Coast Suite
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Phonos Music
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SheetMusicPlus
Full Orchestra - Level 5 - Digital Download SKU: A0.932391 Composed by Jim Hopson. 20th Century,Contemporary. Score and parts. 154 pages. Phonos Music #5...
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Full Orchestra - Level 5 - Digital Download SKU: A0.932391 Composed by Jim Hopson. 20th Century,Contemporary. Score and parts. 154 pages. Phonos Music #5375681. Published by Phonos Music (A0.932391). For standard large orchestra: 2, 2, 2, 2 - 4, 3, 3, 1, timp, strDuration: ~11 minutes, 3 contiguous movementsJim Hopson's 'West Coast Suite' is a new, exciting orchestral piece inspired by the majestic geography of the Pacific Northwest. Featuring beautiful melodies that soar over driving, syncopated rhythms, this piece makes for an exciting overture for any Pops, Classics, or Canadian Content programme.From the composer: This Suite is written in three contiguous movements, named for Vancouver, BC’s most iconic features: ‘City’, ‘Sea’, and ‘Mountains’. ‘City’ opens with a flourish of harmonic architecture which morphs into a decidedly cosmopolitan syncopated groove, reflecting the city’s bustling energy. ‘Sea’ features a simple, plaintive melody supported by gently undulating waves of harmony which slowly build to a tempestuous climax and then recede into calmness. ‘Mountains’ begins as a gentle stroll through the North Shore’s idyllic peaks. The final movement gradually builds velocity, culminating in a breakneck sprint up North Vancouver’s infamous ‘Grouse Grind’.For more information about the composer: www.phonosmusic.com
$55.00 ≈
50.38€
Fantasia Concertante for Cello and Orchestra
Fantasia Concertante for Cello and Orchestra
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Orchestra
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ADVANCED
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Panagiotis Theodossiou
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Fantasia Concertante for Cello
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Panagiotis Theodossiou
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SheetMusicPlus
Full Orchestra - Level 5 - Digital Download SKU: A0.886725 Composed by Panagiotis Theodossiou. 20th Century,Concert,Contemporary,Standards. Score and par...
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Full Orchestra - Level 5 - Digital Download SKU: A0.886725 Composed by Panagiotis Theodossiou. 20th Century,Concert,Contemporary,Standards. Score and parts. 102 pages. Panagiotis Theodossiou #4822057. Published by Panagiotis Theodossiou (A0.886725). Fantasia Concertante, for cello and large orchestra op.27 (2004). The almost traditionally tonic idiom of the work is a turning point for the composer’s thinking to more simple forms and easy to comprehend musical language. The tempos (Maestoso con moto – Poco meno mosso – L’ istesso tempo ma espressivo e tranquillo – Lento – Tempo primo) and the overall character is one of a romantic concerto. It is dedicated to Manos Hatzidakis and composer believes that it has something from him and his music.
$40.00 ≈
36.64€
Rondo in D Dur Opus 17
Rondo in D Dur Opus 17
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Orchestra
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ADVANCED
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Classical
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Fabio Martins
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Rondo in D Dur Opus 17
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Fabio Dentello
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SheetMusicPlus
Full Orchestra - Level 5 - Digital Download SKU: A0.662460 Composed by Fabio Martins. Classical,Romantic Period. Score and parts. 68 pages. Fabio Dentell...
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Full Orchestra - Level 5 - Digital Download SKU: A0.662460 Composed by Fabio Martins. Classical,Romantic Period. Score and parts. 68 pages. Fabio Dentello #271523. Published by Fabio Dentello (A0.662460). This is a simple but challenging piece written in Rondo form for orchestra.
$40.00 ≈
36.64€
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