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Long Time Ago
Not classified 65

Piano & keyboards
Piano solo 56
Piano, Voice 49
Easy Piano 13
Piano, Vocal and Guitar 12
C Instruments 5

Organ 1
2 Pianos, 8 hands 1
1 Piano, 4 hands 1
2 Pianos, 4 hands 1

+ 4 instrumentations

- Retract

Guitars
Guitar notes and tablatures 5
Ukulele 5
Guitar 3
Lyrics and Chords 2
Bass guitar 1

Melody line, (Lyrics) and Chords 1
Guitar Ensemble 1
2 Guitars (duet) 1

+ 3 instrumentations

- Retract

Voice
Choral SATB 28
Choral 3-part 7
Choral TTBB 3
Choral 2-part 3
Voice solo 1

Medium voice, Piano 1
Choral Unison 1
Choral SSAA 1
High voice 1

+ 4 instrumentations

- Retract

Woodwind
Flute 2
Clarinet and Piano 2
Saxophone Quartet: 4 saxophones 2
Flute and Guitar 1
Woodwind Quintet: flute, oboe, bassoon, clarinet, horn 1

Flute Quintet : 5 flutes 1
Oboe (band part) 1
Flute, Oboe, Clarinet, Bassoon 1
Flute ensemble 1
Tenor Saxophone and Piano 1
2 Saxophones (duet) 1
Alto Saxophone 1
Flute and Piano 1
Soprano Saxophone and Piano 1
Alto Saxophone and Piano 1

+ 10 instrumentations

- Retract

Woodbrass
Brass Quintet: 2 trumpets, horn, trombone, tuba 4
Trombone 2
Trumpet, Piano 2
Brass quartet : 2 trumpets, trombone, tuba 2
Tuba (band part) 1

Tuba ensemble 1
Tuba 1
2 French horns (duet) 1
Trombone and Piano 1
Trumpet 1

+ 5 instrumentations

- Retract

Strings
String Quartet: 2 violins, viola, cello 7
Harp 3
Cello, Piano 2
Viola 2
Violin 2

Violin and Piano 2
Cello 1
String Trio: violin, viola, cello 1
2 Violins (duet) 1
Cello (band part) 1

+ 5 instrumentations

- Retract

Percussion & orchestra
Drums 50
Concert band 23
String Orchestra 7
Orchestra 6
Brass ensemble 3

Chamber Orchestra 3

Jazz Ensemble 1
Handbells 1

+ 3 instrumentations

- Retract

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Long Time Ago

Chamber Orchestra

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3 sheet music found

A Dream from the Past

A Dream from the Past #Chamber Orchestra #INTERMEDIATE #Classical #Arianna Cunningham #A Dream from the Past #Arianna Cunningham #SheetMusicPlus

Chamber Orchestra - Level 3 - Digital Download SKU: A0.1164132 Composed by Arianna Cunningham. Classical,Romantic Period. 55 pages. Arianna Cunningham #7...(+)

Chamber Orchestra - Level 3 - Digital Download SKU: A0.1164132 Composed by Arianna Cunningham. Classical,Romantic Period. 55 pages. Arianna Cunningham #764482. Published by Arianna Cunningham (A0.1164132). A couple or a few years ago during the Pandemic, there was a Discord Server vs Server Competition going on, and one of the online virtual group communities out of all the other servers took part in a theme called Dreams. When the event started, I immediately started composing this beautiful composition, and chose the instrumentation for Uncommon Woodwinds (Alto Flute, English Horn, and Sopranino Sax), Strings, Harp, and Crotales. However, my submission entry didn't make it to the final Dreams EP as expected. But the admins of the online orchestra group told me that I can still host it as a community project, and it just so happens that I actually did do that, and I've gotten a good amount of submissions from the members themselves, went through all the mixing and editing, etc, before releasing the final performance.This piece is meant to be described about dreaming to a wonderful place you might've remembered, and haven't forgotten in a long time, experiencing the deja vu moments of what you think might've happened long time ago, hence the title, of course.

$25.00 ≈ 23.07€

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... Â· Teil I...(+)

Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra - Digital Download SKU: S9.Q7038 Teil I: Schwarz vor Augen... Â· 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 â€¢ 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 â€œletting 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: â€œI 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 â€œin an oceanâ€ 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: â€œSo 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 boyâ€™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 â€œlux 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: â€œEntreiÃŸ dich, Seele, nun der Zeit, entreiÃŸ dich deinen Sorgen und mache dich zum Flug bereit in den ersehnten Morgenâ€ [â€œTear 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: â€œUnd die Seele unbewacht will in freien FlÃ¼gen schweben, um im Zauberkreis der Nacht tief und tausendfach zu lebenâ€ [â€œAnd 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: â€œUnd meine Seele spannte weit ihre FlÃ¼gel aus. Flog durch die stillen Lande, als flÃ¶ge sie nach Hausâ€ [â€œAnd 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 Beethovenâ€™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 â€œrenewedâ€ occupation with the â€œoldâ€ 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 â€œhomecomerâ€. Harald WeissColonia de San PedroMarch 20091 (auch Altfl.) Â· 2 (2. auch Engl. Hr.) Â· 1 (auch Bassklar.) Â· 0 - 2 Â· Flhr. Â· 0 Â· 0 - P. S. (Glsp. Â· RÃ¶hrengl. Â· Gongs Â· Trgl. Â· Beck. Â· Tamt. Â· 2 Holzschlitztr. (oder Woodbl.) Â· Woodbl. Â· gr. Tr.) (3 Spieler) - Org. (Positiv) - Str. (4 Â· 4 Â· 4 Â· 4 Â· 2).

$55.99 ≈ 51.68€

Louis Mayeur: Grande Fantaisie de Concert sur Rigoletto (de Verdi) for alto saxophone and orchestra

Louis Mayeur: Grande Fantaisie de Concert sur Rigoletto (de Verdi) for alto saxophone and orchestra #Chamber Orchestra #INTERMEDIATE/ADVANCED #1871, Mayeur was also named Sa #Louis Adolphe Mayeur #Louis Mayeur: Grande Fantaisie #Musik Fabrik Music Publishing #SheetMusicPlus

Chamber Orchestra - Level 4 - Digital Download SKU: A0.534136 Composed by Louis Adolphe Mayeur. Opera,Romantic Period,Standards. Score and parts. 49 page...(+)

Chamber Orchestra - Level 4 - Digital Download SKU: A0.534136 Composed by Louis Adolphe Mayeur. Opera,Romantic Period,Standards. Score and parts. 49 pages. Musik Fabrik Music Publishing #3133403. Published by Musik Fabrik Music Publishing (A0.534136). Louis Adolphe Mayeur (1837 - 1894), was a Belgium clarinetist, saxophonist, composer and conductor who spent most of his musical career in France; Entering the French Military in 1855, he was a clarinetist in the Second Régiment of the Cuirassiers (Mounted Calvary) of the Garde Impériale. A student of Klosé at the Paris Conservatory, he received his First Prize in Clarinet in 1860. One of the inner circle of Adolphe Sax (along with fellow Belgiums Jules Demersseman and Jean-Baptiste Singelée, whose â€œQuartet for Saxophonesâ€œ was premièred with Mayeur playing and Demersseman conducting), Mayeur took up the saxophone and was quickly engaged as the saxophone soloist in the Opera House of Brussels, La Monnaie (the Mint). Sax commissioned a number of works from Mayeur for the saxophone, which were published by his company and used in his class at the Paris Conservatory.By 1871, Mayeur was also named Saxophone Solo with the Paris Opera, performing in opears and ballets by Halévy, Meyerbeer, Thomas, Saint-Saens, Massenet, Délibes and Paladlihe. It would appear that sometime during this period, his relations with Sax became difficult, culminating in his publications of works by Buffet-Crampon, one of Saxâ€™s rival companies and one of the main protagonists in the series of lawsuits which led to Saxâ€™s bankrupcy. Mayeurâ€™s own declining health lead to his death in 1894.The Grande Fantaisie de Concert sur Rigoletto dates from 1877. The contrasting sections use motifs from arias and duets from Verdiâ€™s opera. Florid cadenzas seperate the various sections, but those passages should be played in the manner of â€œbel cantoâ€ ornamentation, always lyrical and songlike. This is the score and solo part for the orchestral version. Versions are available from Musik Fabrik for piano for Symhony Orchestra (on rental : 2222/2000/Timp/hp/strings) and for Concert Band (for sale). The score plus solo part for each of the versions is available for sale, as well as the individual parts for the concert band versionï»¿

$25.95 ≈ 23.95€