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Choral de Bêtes
Not classified 4

Piano & keyboards
Piano solo 3

Guitars

Voice
Choral SATB 8
Choral SSAA 3
Choral TTBB 2
Choral Unison 1
Choral 2-part 1

Choral 3-part 1

+ 1 instrumentations

- Retract

Woodwind
Saxophone Quartet: 4 saxophones 9
Clarinet Quartet: 4 clarinets 6
Clarinet Ensemble 2
Woodwind Quintet: flute, oboe, bassoon, clarinet, horn 2
Flute ensemble 2

Flute, Oboe, Clarinet, Bassoon 1
Flute Quartet: 4 flutes 1

+ 2 instrumentations

- Retract

Woodbrass
Brass Quintet: 2 trumpets, horn, trombone, tuba 5
Brass quartet : 2 trumpets, trombone, tuba 4
Brass Quartet 4
Brass Quartet: 4 trombones 2
Brass Quartet: 4 trumpets 2

Brass Quartet: 2 trumpets, horn, trombone 2

+ 1 instrumentations

- Retract

Strings

Percussion & orchestra
Brass ensemble 7
Chamber Orchestra 2

Orchestra 1
Percussion Ensemble 1

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Choral de Bêtes

Chamber Orchestra

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Canticum Canticorum for Krzysztof Penderecki

Canticum Canticorum for Krzysztof Penderecki #Chamber Orchestra #ADVANCED #MohammadHadi Ayanbod #Canticum Canticorum for Krzysz #Rimorarte Edition #SheetMusicPlus

Chamber Orchestra - Level 5 - Digital Download SKU: A0.1027777 Composed by MohammadHadi Ayanbod. 20th Century,A Cappella,Contemporary,Sacred. Score and p...(+)

Chamber Orchestra - Level 5 - Digital Download SKU: A0.1027777 Composed by MohammadHadi Ayanbod. 20th Century,A Cappella,Contemporary,Sacred. Score and parts. 32 pages. Rimorarte Edition #5996921. Published by Rimorarte Edition (A0.1027777). Canticum Canticorum, for Grand String Orchestra & Mixed Choir, is a musical piece based on the old text with the same name from Vulgate. The Canticum Canticorum text also known as Song of Songs, the Song of Solomon, the Canticle of Canticles, (Old Greek: Î†ÏƒÎ¼Î± Î‘ÏƒÎ¼Î¬Ï„Ï‰Î½, same meaning as song of songs). As David Berlo once beautifully put this into words: Meanings are in people â€¦ not in the messages â€¦. The elements and structure of a language â€¦ are only symbols â€¦. Meanings are not transmittable â€¦ Only messages are transmittable, and meanings are not in the message, they are in the message-users! Therefore, I needed to understand and interpret the text itself, even before I wanted to try setting it to the music. However, in order to understand the text correctly, one should comprehend the origin of the text and get to know its author(s), at first. In the case of Canticum Canticorum, both the author and the origin of the text are obscure. Furthermore, even the approximate date/century/era of the birth and the cultural context in which the text was created, are far from clear. According to the scholars, the creation of the text ranges from the tenth century B.C.; the era of Solomon, up to the first century B.C., and the origin of it considers from Indian, Tamil, or Ethiopic literature to Palestinian one. Because of these vast spectra of dates and cultures, I had to read and understand the text, compare with other sources, find similarities in other languages and cultures, hermeneutically interpret it and search for those non-written or metaphorical clues that may lead to unfasten the mystery has been attached to the text. In order to achieve the most accurate and faithful interpretation of the text I also had to answer few questions regarding the style, structure, medium, architecture and techniques of the music in relation to the text. I have used string orchestra and mixed choir to render the ideas, since that is among highly versatile instrumentations capable of providing small and delicate whispers, heavenly voices, and intonation changes that is hardly-reproducible by other mediums as well as thunderous sounds. Although Canticum Canticorum is single-movement work, but still possible to distinguish three different sections: the beginning choral part that is a long fugue in 5 voices with the material of serial music which helps orchestra to enter and grow, the a-capella middle section consists of two contrasting but invisibly related atmospheres and the third section â€“ the recapitulation of the ideas already presented, in both the text and the music. The culmination of the work; 11-parts choral, takes place in the third section, somewhere near the end of the piece. Canticum Canticorum, for Grand String Orchestra & Mixed Choir, is dedicated to the genius composer of our time, Maestro Prof. dr. h.c. Krzysztof Penderecki.

$24.99 ≈ 22.70€

Homage to Sibelius

Homage to Sibelius #Chamber Orchestra #INTERMEDIATE/ADVANCED #Stanley M Hoffman #Homage to Sibelius #stanleymhoffman.com #SheetMusicPlus

Chamber Orchestra - Level 4 - Digital Download SKU: A0.1308171 Composed by Stanley M Hoffman. 21st Century,Classical. Score and Parts. 207 pages. Stanley...(+)

Chamber Orchestra - Level 4 - Digital Download SKU: A0.1308171 Composed by Stanley M Hoffman. 21st Century,Classical. Score and Parts. 207 pages. Stanleymhoffman.com #897424. Published by stanleymhoffman.com (A0.1308171). I have long wanted to compose an homage to Jean Sibelius. However, his music is copyright protected in the EU for another five years or so. Thus, I struggled with how to compose a work without any direct musical quotations, and yet which in some way captures the essence of his symphonic music.Â I had a breakthrough in recent weeks, and the result is an eleven-minute orchestral composition which manages to invoke his music without directly quoting it. The opening passage on which the piece is based invokes the opening of Symphony No. 6 without quoting it; also, my homage is in the key of A Minor whereas the symphony is in the key of D minor. The piece also invokes the orchestral colors of one of my other favorite pieces of Sibelius, The Swan of Tuonela. My composition is scored very closely to that one, but I ended up using two oboes; I never needed an English Horn, and I added two flutes to that scoring. Thus, the instrumentation is as follows: 2fl-2ob-1cl/bcl-2bn-4hn-3tbn-timp-bd-str; the duration is ca. 11:30. My homage also invokes the more youthful compositions of the great master, and of course features his biggest personal influence, the sounds of nature.Â Sibelius was a master of musical forms. He managed to create entirely original forms such as the one for Symphony No. 7. While I do not pretend to be in his league in any way, I did manage to compose a work in a four-part form, which is unusual, and not the least of which for me. The piece contains all kinds of indirect references to the music of Sibelius through the use of motifs, melodies, harmonies, ornamentation, and orchestration.While not the most original piece of music I have ever composed (that would be The City In the Sea: Choral Tone Poem), my Homage to Sibelius is among the most subtle of my works in that it contains a good deal of variation technique, and a lot of attention to detail. Like my Homage to Vaughan Williams for string orchestra, the idea was not to break new stylistic ground, but rather to pay homage to the ground broken by the master.Â More so than anything, my Homage to Sibelius invokes how the symphonic music of Sibelius makes me feel when I am listening to it. I hope you enjoy it.---HOMAGE TO SIBELIUS for Chamber OrchestraMusic by Â Stanley M. Hoffman (b. 1959 [BMI])Â Inspired by the Music of Jean Sibelius (1865â€“1957)NotePerformer 4 Audio and Scrolling Score Video Seeking Live PerformancesMusic:Â© Copyright 2023 by Stanley M. Hoffman. www(dot)stanleymhoffman(dot)comAll rights reserved. Â The sheet music is available from the composer and from Sheet Music Plus.

$103.50 ≈ 94.00€