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Time over
Not classified 128

Piano & keyboards
Piano solo 157
Piano, Voice 7
Harpsichord 6
Piano, Vocal and Guitar 4
2 Pianos, 4 hands 3

C Instruments 3
Organ 3

Piano Quartet: piano, violin, viola, cello 1
Accordion 1
Piano Quintet: piano, 2 violins, viola, cello 1
1 Piano, 4 hands 1

+ 6 instrumentations

- Retract

Guitars
Guitar 5
Bass guitar 5
2 Guitars (duet) 2
Piano, Guitar (duet) 1
Melody line, (Lyrics) and Chords 1

Voice
Choral SATB 20
Soprano voice, Piano 6
Choral TTBB 2
Tenor voice, Piano 2
Choral SSAA 2

Medium voice, Piano 1
Baritone voice, Piano 1
Tenor voice 1
Alto voice, Piano 1

+ 4 instrumentations

- Retract

Woodwind
Saxophone 30
Clarinet 25
Saxophone Quartet: 4 saxophones 20
Saxophone ensemble 16
Flute 15

2 Flutes (duet) 13
Clarinet Ensemble 12
Oboe (band part) 9
Woodwind Quintet: flute, oboe, bassoon, clarinet, horn 9
Alto Saxophone and Piano 6
Clarinet Quartet: 4 clarinets 6
Flute and Piano 5
Soprano Saxophone and Piano 5
Flute, Oboe, Clarinet, Bassoon 5
Oboe 3
Clarinet Quintet: 5 clarinets 3
Oboe, Piano (duet) 3
Clarinet and Piano 3
Tenor Saxophone and Piano 2
Baritone Saxophone, Piano 2
Alto Saxophone 2
Saxophone Quintet: 5 Saxophones 1
Saxophone, Clarinet (duet) 1
Tenor Saxophone 1
Saxophone and Organ 1
2 Clarinets (duet) 1
Soprano Saxophone 1
2 Saxophones (duet) 1
Flute ensemble 1
Flute Quartet: 4 flutes 1

+ 25 instrumentations

- Retract

Woodbrass
Trumpet 21
Brass Quintet: 2 trumpets, horn, trombone, tuba 16
Trombone 16
Trombone and Piano 5
Trombone ensemble 4

Tuba and Piano 4
Brass Quartet: 4 trombones 3
Trumpet, Piano 3
French Horn and Piano 2
Brass quartet : 2 trumpets, trombone, tuba 2
French horn 2
Bass Trombone and Piano 1
2 Euphoniums and 2 Tubas 1
Brass Quartet: 2 trumpets, horn, trombone 1
3 Trombones (trio) 1
3 Euphoniums 1
Euphonium, Piano (duet) 1

+ 12 instrumentations

- Retract

Strings
String Quartet: 2 violins, viola, cello 30
Violin 13
Violin and Piano 10
2 Violins (duet) 8
Cello, Piano 5

Viola, Piano 5
Double bass, Piano (duet) 4
Double Bass 4
Harp 3
Viola 3
2 Cellos (duet) 2
2 Violas (duet) 2
4 Harps 1
Viola and Harp 1
Violin, Clarinet, Piano (trio) 1
Viola, Cello (duet) 1
String Trio: 2 violins, cello 1
4 Cellos 1
Harp, Flute (duet) 1
Cello 1

+ 15 instrumentations

- Retract

Percussion & orchestra
Orchestra 22
Concert band 21
String Orchestra 17
Drums 13
Jazz combo 12

Brass ensemble 10
Jazz Ensemble 8
Chamber Orchestra 5
Percussion Ensemble 4
Piano and Orchestra 1
Handbells 1

+ 6 instrumentations

- Retract

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3 sheet music found

Sagas Nos. 1-6

Sagas Nos. 1-6 #Organ #ADVANCED #Jean Guillou #Sagas Nos. 1-6 #Schott Music - Digital #SheetMusicPlus

Organ - advanced to difficult - Digital Download SKU: S9.Q6218 Composed by Jean Guillou. This edition: Sheet music. Downloadable. Op. 20. Duration 36 min...(+)

Organ - advanced to difficult - Digital Download SKU: S9.Q6218 Composed by Jean Guillou. This edition: Sheet music. Downloadable. Op. 20. Duration 36 minutes. Schott Music - Digital #Q6218. Published by Schott Music - Digital (S9.Q6218). This is the name given to the ancient tales and legends of Scandinavia, mostly drawn up in Iceland. The term itself is of Germanic origin, form the verb 'sagen' which means to say, to recount. The title also has to do with what is said, what is recounted, in a musical epic of today. Three of these pieces, Sagas 2, 4 and 6, have the particularity of being improvisations. In Saga 1, the instrument seems to awaken out of a dream of which the two opposing elements gradually become ordered. Pedal staccati soon take control and come to predominate as they build up while, in a spirit of contradiction, various solo steps, Cornet, Cromore, unfold their melismas. The dream then reestablishes itself, this time for good. The second Saga is a sombre, frenetic dance based on groups of five semiquaves. It dies away, then, after a long silence, a note emerges, and this lone note, on three different solo stops, beaten, hunted by its two neighbouring notes in increasingly animated accents, anacruses and appoggiaturas, disappears, giving way to the sombre dance which then broadens out. It is interrupted all of a sudden by the irritated, exasperated, fuming tone of that harshness that overdoes itself and vanishes. The sombre dance appears one last time, letting itself go into paroxym. The third Saga unfolds as a very ancient chant, the memory of an Ossianic chant of the earliest times. The fourth Saga develops the lyricism of a tale to be told. But in midway comes a sort of destructive outburst of which the ever tighter links give way for a moment to pure narrativity, which, after a few upsets, ends the piece with the memory of great danger overcome by candour. The fifth Saga is a kind of quiet walk, interspersed with a few controversies, interceptions and demonstrations that are rather more lively. The sixth Saga develops a kind of theme in runs, whose constantly rhythmic rebounding might bring out the idea of apologetic or exalted acclamation.Jean Guillou (*1930) gilt als einer der bedeutenden Organisten und Orgelkomponisten der Gegenwart. Sein kompositorisches Schaffen umfasst Ã¼ber 40 Orgelwerke, auÃŸerdem Symphonien, Klavier- und Orgelkonzerte und Kammermusik. Auch bereichert der DuprÃ©-SchÃ¼ler, der seit 1963 Titularorganist an St. Eustache in Paris ist, das gÃ¤ngige Orgelrepertoire durch eine Reihe auÃŸergewÃ¶hnlicher Transkriptionen von Orchesterwerken.

$22.99

Orgelsinfonie No. 16

Orgelsinfonie No. 16 #Organ #ADVANCED #Enjott Schneider #Orgelsinfonie No. 16 #Schott Music - Digital #SheetMusicPlus

Organ - advanced - Digital Download SKU: S9.Q45183 Martin Luther. Composed by Enjott Schneider. This edition: Sheet music. Downloadable. Duration ...(+)

Organ - advanced - Digital Download SKU: S9.Q45183 Martin Luther. Composed by Enjott Schneider. This edition: Sheet music. Downloadable. Duration 24 minutes. Schott Music - Digital #Q45183. Published by Schott Music - Digital (S9.Q45183). On the occasion of the quincentenary of Reformation Day in 2017, the composer Enjott Schneider thoroughly studied Martin Luther the individual and all his contradictions. The result is a brilliant, demanding organ symphony which is perfect for concerts on the subject of Reformation and Martin Luther. The composer describes the five movements of the symphony as follows: '1st movement: Wir glauben all an einen Gott with its quintuplet-like beginning is very Gregorian in style, outlining the range of Lutheran emotionalism between the Middle Ages and the modern era. The irrationality of faith ultimately has priority over any thought and evidence. At the beginning of the movement, sounds of knocking on wood remind of the nailing of the Ninety-Five Theses to the doors of churches in Wittenberg. The chorale melody sometimes hides with an almost rough medieval saltarello, referring to Luther's robustness and vitality with which he knew to carry away even common people. 2nd movement: In 1530, the electoral prince of Saxony presented to Luther at Coburg Castle the golden signet ring with the Luther rose which became the symbol of his theology of grace. A white heart with black cross is fixed on a five-petalled rose. To him, white is the colour of angels and ghosts, black stands for the pain of crucification: The just shall live by faith, but by faith in the Crucified. But the fact that the rose and the heart are the dominating symbols shows how Catholic Marian piety remained an ingredient of Luther's spirituality throughout his life. In line with the dominant five-petal structure of the rose, this movement was composed, to a large extent, in accordance with the floating, lyrical rhythm in 5/8 time. 3rd movement: The omnipresence of death and dying â€“ from the plague and war to the never-ending dangers of daily life â€“ was an essential part of the world view of that time. Fears ensued that might heighten into the grotesque, e.g. in the pictures of Hieronymus Bosch. The Danse macabre was a popular motif in those years. Luther's chorale Mitten wir im Leben sind / mit dem Tod umfangen from 1524 (Enchiridion from Erfurt) is based on the Gregorian chant Media vita in morte sumus created in France around 750 and, with its idea of transience, inspired a simplistic air. 4th movement: The famous confession delivered at the Diet of Worms in 1521, I stand here and can say no more. God help me. Amen, are not Luther's words but the version later used as text for a pamphlet. However, it represents quite plainly the straightforwardness and inevitability of his mission. Musically, it was made into a perpetuum mobile, i.e. a dogged, ostinato and never-ending musical air. 5th movement: The Mighty Fortress, on the other hand, is one of the great symbols of Martin Luther which, with its shining C major key, embodies the Protestant ideology and willful nature of the Reformation unlike any other song. Heinrich Heine called it the Marseille anthem of the Reformation, Friedrich Engels the Marseillaise of the Peasants' Wars. This disputability is not thought through to the end but rather interrupted: With a jubilant birdcall version of the melody, the finale shows a rather chamber-music-like side of the ideals of freedom of Christians.'.

$21.99

Scènes d'Enfant

Scènes d'Enfant #Organ #ADVANCED #Jean Guillou #Scènes d'Enfant #Schott Music - Digital #SheetMusicPlus

Organ - advanced to difficult - Digital Download SKU: S9.Q6221 D'aprÃ¨s The Turn of the Screw d'Henry James. Composed by Jean Guillou. This edit...(+)

Organ - advanced to difficult - Digital Download SKU: S9.Q6221 D'aprÃ¨s The Turn of the Screw d'Henry James. Composed by Jean Guillou. This edition: Sheet music. Downloadable. Op. 28. Duration 16 minutes. Schott Music - Digital #Q6221. Published by Schott Music - Digital (S9.Q6221). Though the work bearing this title is a portrait of childhood, it is a childhood quite different from the purely gameplaying and dreamlike childhood that is customarily represented. The childhood described here is carrying the seed, in all its purity, of all positive and negative qualities to be found the fully-grown men: a childhood both angelic and diabolical, and indeed very close to Henry James' The Turn of the Screw which was the direct inspiration for this monodrama. Its growth follows the innumerable sudden changes, turns and contrasts of the unsophisticated spirit. There is hardly any development at all, as each idea gives birth to the next or rejects the previons one, being object to every impulse, every tempest, every flux, every fear and delight. After a dreamlike introduction, in which two simple melodies stand out, comes a sudden awakening, Allegro, stamped all over with lavish and forever regenerating dynamism. A sudden halt leads a kind of outburst from the most simple folklore is singing, in regular, repeated notes. Again the question mark leads us to another melody, Tranquillo, of a sweet tempo, but brilliantly decorated with counter-point, its cursive traits leading this time to a kind of roguish march (Vigoroso). Yet soon there emerges a melancholic chant, Largo, in the Cromorne's timbre, and then, in the highest register of the Trumpet there reappears like a metamorphosed memory, the theme of the second movement. Passing other episodes, we come to Tempo giusto, insistent and glorious, interrupted by other passionate figures, cut off by unsettling silent moments and taken up again in always accelerating volleys.

$22.99