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New March
Not classified 396

Piano & keyboards
Piano solo 464
Easy Piano 34
Piano, Voice 33
Piano, Vocal and Guitar 25
Organ 16

Piano Accompaniment 14
1 Piano, 4 hands 5
C Instruments 4
Piano Quintet: piano, 2 violins, viola, cello 4
Piano Quartet: piano, violin, viola, cello 3
Piano Trio: piano, violin, cello 3
Piano (band part) 2
Big Note Piano 2
Solo instrument and Organ 1
2 Pianos, 4 hands 1
Accordion, Voice 1
Accordion 1

+ 12 instrumentations

- Retract

Guitars
Electric Bass (band part) 22
Guitar notes and tablatures 15
Guitar 11
Guitar (band part) 4
Melody line, (Lyrics) and Chords 3

Banjo 1
Band Scores 1
Mandolin 1

+ 3 instrumentations

- Retract

Voice
Choral SATB 51
Choral 3-part 13
Choral TTBB 8
Choral 2-part 3
Vocal duet 2

Soprano voice, Piano 2
Choral Unison 2
Mezzo-Soprano voice, Piano 1
Choral SSAATTBB 1
High voice 1

+ 5 instrumentations

- Retract

Woodwind
Saxophone (band part) 95
Flute and Piano 63
Clarinet and Piano 46
Flute, Oboe, Clarinet, Bassoon 45
Clarinet (band part) 45

Alto Saxophone and Piano 40
Oboe, Piano (duet) 36
2 Saxophones (duet) 32
Flute (band part) 31
Saxophone Quintet: 5 Saxophones 31
Woodwind Quintet: flute, oboe, bassoon, clarinet, horn 31
Saxophone Quartet: 4 saxophones 30
Soprano Saxophone and Piano 29
2 Clarinets (duet) 20
Clarinet Quartet: 4 clarinets 19
Saxophone ensemble 17
Tenor Saxophone and Piano 16
2 Flutes (duet) 15
Flute 12
Alto Saxophone 12
English horn, Piano 12
Clarinet Ensemble 11
Baritone Saxophone, Piano 11
Flute Quartet: 4 flutes 10
Tenor Saxophone 9
Flute Quintet : 5 flutes 9
Bass Clarinet, Piano 7
Clarinet 7
3 Saxophones (trio) 7
Flute, Clarinet (duet) 7
2 Oboes (duet) 7
Clarinet Quintet: 5 clarinets 7
Flute ensemble 6
Clarinet, Trumpet (duet) 5
Clarinet, Violin (duet) 5
Saxophone, Clarinet (duet) 5
Oboe (band part) 5
3 Clarinets (trio) 4
Flute, Violin 4
Oboe, Bassoon (duet) 4
Oboe, Clarinet (duet) 4
Flute, Viola (duet) 3
Descant (Soprano) Recorder 3
Flute, Saxophone (duet) 3
Clarinet and Viola 3
2 Recorders (duet) 3
Recorder Quartet 3
English Horn 2
Clarinet, Guitar (duet) 2
Flute, Trumpet (duet) 2
Soprano Saxophone 2
Oboe, Clarinet, Bassoon (trio) 2
Clarinet, Bassoon (duet) 2
Flute Trio: 3 flutes 2
3 Recorders (trio) 2
2 Flutes, Piano 1
Descent (Soprano) Recorder, Piano 1
Flute, Oboe, Bassoon 1
Oboe, Violin (duet) 1
Flute and Guitar 1
Oboe, Flute 1
Oboe 1
Flute, Oboe (duet) 1
Treble (Alto) Recorder 1
Harmonica 1
2 Clarinets, Piano 1
Bass Clarinet 1
5 Recorders 1
Treble (Alto) Recorder, Piano 1
Piccolo 1

+ 65 instrumentations

- Retract

Woodbrass
Brass Quintet: 2 trumpets, horn, trombone, tuba 114
Trumpet (band part) 63
Brass quartet : 2 trumpets, trombone, tuba 46
Trumpet ensemble 44
French horn (band part) 40

Trombone (band part) 38
Trumpet, Piano 33
Tuba (band part) 28
Brass Quartet: 2 trumpets, horn, trombone 27
Trombone and Piano 22
French Horn and Piano 21
Trumpet 12
Brass Quartet: 4 trumpets 12
English horn, Piano 12
Brass Quartet: 4 trombones 11
Trumpet, Trombone (duet) 11
2 Trombones (duet) 10
Euphonium, Piano (duet) 9
Brass Quartet 9
2 Trumpets (duet) 8
Brass Quartet: 4 horns 7
French horn 7
Tuba and Piano 6
Trumpet, Saxophone (duet) 6
Trombone ensemble 6
Cornet 6
Trombone 6
Tuba 5
2 French horns (duet) 5
2 Euphoniums and 2 Tubas 4
Trumpet, Horn (duert) 3
Tuba or Euphonium or Saxhorn 3
English Horn 2
2 Euphoniums (duet) 2
3 Trumpets (trio) 2
4 Tubas 2
Bass Clef Instruments 1
2 Tubas (duet) 1
Trumpet, Euphonium (duet) 1
Trombone, Tuba (duet) 1
Brass Quartet: 2 trumpets, 2 trombones 1
Tuba and Organ 1
Trombone, Horn (duet) 1
Horn Ensemble 1
Euphonium, Tuba (duet) 1
Tuba ensemble 1
Trombone, Organ 1
3 Tubas (trio) 1

+ 43 instrumentations

- Retract

Strings
String Quartet: 2 violins, viola, cello 72
Violin and Piano 48
Cello, Piano 43
Viola, Piano 43
Violin 17

2 Violins (duet) 12
String Quintet: 2 violins, viola, cello, bass 11
Violin, Cello (duet) 10
Cello 9
2 Cellos (duet) 9
Double bass, Piano (duet) 8
String Trio: violin, viola, cello 8
Violin, Viola (duet) 6
Viola 5
Harp 5
4 Cellos 5
2 Violas (duet) 5
String Quartet : 4 violas 5
Doublebass (band part) 4
String Trio: 3 cellos 4
String Trio: 3 violins 3
String Trio: 2 violins, cello 3
Violin, Guitar (duet) 2
Viola (band part) 2
String quartet: 4 violins 2
Violin ensemble 2
Viola ensemble 2
Viola, Cello (duet) 2
Double Bass 2
String Trio: 3 violas 2
4 Double Basses 1
Cello Ensemble 1
2 Double basses (duet) 1

+ 28 instrumentations

- Retract

Percussion & orchestra
Concert band 396
Marching band 260
Drum (band part) 84
String Orchestra 32
Orchestra 30

Percussion (band part) 23
Brass ensemble 21
Percussion 12
Jazz combo 7
Drums 7
Jazz Ensemble 4
Snare drums 3
Chamber Orchestra 3

Handbells 3
Xylophone (band part) 2
Percussion Ensemble 2
Xylophone 2
Flexible Instrumentation 1
Timpani 1

+ 14 instrumentations

- Retract

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• Ides Of March [The]

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New March

Chamber Orchestra

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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 ≈ 50.51€

Claude Debussy: Sérénade for violin and 17 instrments, full score and solo part only (parts on ren

Claude Debussy: Sérénade for violin and 17 instrments, full score and solo part only (parts on ren #Chamber Orchestra #INTERMEDIATE/ADVANCED #Classical #Claude Debussy/Robert Orledge #Claude Debussy: Sérénade for #Musik Fabrik Music Publishing #SheetMusicPlus

Chamber Orchestra - Level 4 - Digital Download SKU: A0.1080705 Composed by Claude Debussy/Robert Orledge. 20th Century,Romantic Period,Standards. Score a...(+)

Chamber Orchestra - Level 4 - Digital Download SKU: A0.1080705 Composed by Claude Debussy/Robert Orledge. 20th Century,Romantic Period,Standards. Score and parts. 30 pages. Musik Fabrik Music Publishing #4727447. Published by Musik Fabrik Music Publishing (A0.1080705). Instrumentation2 flÃ»tes/2 flutescor anglais (doublant hautbois/doubling oboe)clarinette en La/clarinet in Abasson/bassooncor en Fa/horn in Fpercission (1 Ã©xecutant - timbales (3)/cymbale suspendue, tambour de basque)/percussion (1 performer - timpani (3)/suspended cymbal, tambourine)harpe/harp9 cordes/9 strings (2.2.2.2.1)durÃ©e/duration: 5 minutes 30 secconds (environ/approx.) Une versions pour violon et piano ainsi quâ€™une version pour violon et orchestre (31CA(hb)23/2100/timb/perc/hpe/cordes)est Ã©galement disponibile/A version for violin and piano as well as a version for violin and orchestra (31EH(ob)23/2100/timp/perc/strings) is also available.______________________PrmiÃ¨re: Edmond Agapian, violin with the Calagray (CA) Youth orchestra, cond. Gareth Jones, University of Calgary, 28 Janaury, 2011PremiÃ¨re of the version for violin and 17 instruments: FrÃ©dÃ©ric Moisan, violin Orchestre 21 cond. Paolo Bellomio, Unveristy of Montreal, Canada, 2 March 2012Preface:In the early 1890s, Debussy composed the opening of a lyrical piece in E major for violin and piano, perhaps as a shorter companion piece for the violin Nocturne he was planning for the Belgian violinist EugÃ¨ne YsaÃ¿e. After Debussyâ€™s death in 1918, his second wife Emma often gave away sketch pages to performers or composers as memorials to her beloved husband , and this particular page was given to the Cuban born pianist and composer Joaquin Nin (1879-1949). It came up for sale in the catalogue of the British antiquarian dealer Lisa Cox in 2010 and although it might possibly be an early song for contralto and piano, the more dynamic idea in bar 12 strongly suggests the violin, especially as it begins on an open D string. Moreover, there is no text and in pieces of this length, Debussy usually wrote at least one word in, if only to remind himself where he had got to in any song. So my starting point was a complete 12-bar melody gently undulating in the violinâ€™s lowest register over a sensual accompaniment, rising to a climax in bar 12 and giving me a contrasting idea that I could use as a link between sections and in the cadenza. As the B section (bars 14-26) derives directly from Debussyâ€™s opening theme by metamorphosis, my own additions were restricted to the central section (bars 27-57) - comprising a new scherzando idea (C) and the more lyrical D (bars 36-46). C returns at bar 47, followed by the opening sections in reverse order, so that the SÃ©rÃ©nade begins and ends with Debussyâ€™s material and is cast in arch form (ABCDCBA). Robert OrledgeBrighton, 19 June 2019Robert Orledge was born in Bath in 1948 and educated at Clare College, Cambridge, where he gained his doctorate for his study of the composer Charles KÅ“chlin in 1973. Between 1971 and 1991 He rose from Lecturer to Professor in the Music Department of the University of Liverpool, publishing books on Gabriel FaurÃ©, Claude Debussy, Charles KÅ“chlin and Erik Satie, as well as numerous articles, editions and reviews. As a historical musicologist, Professor Orledge specialized in the way composers composed, ,and since taking early retirement in 2004, he has concentrated on completing and orchestrating Debussyâ€™s unfinished works, and especially his theatre projects. His completion of Debussyâ€™s opera The Fall of the House of Usher (1908-17) was successfully premiered at the Bregenz Opera Festival in Austria in August 2006 and has since been performed in America, Portugal Germany and Holland, as well as being broadcast throughout Europe. A DVD of the Bregenz premier is available on Capriccio 93517, produced by Phylida Lloyd and conducted by Lawrence Foster. His completion of the Chinese ballet No-ja-li ou Le Palais du Silence (1914) was also premiered in 2006 in Los Angeles and ot.

$16.95 ≈ 15.29€

To Idleness for string quartet and guitar

To Idleness for string quartet and guitar #Chamber Orchestra #INTERMEDIATE #Contemporary #David Warin Solomons #To Idleness for string quartet #David Warin Solomons #SheetMusicPlus

Chamber Orchestra - Level 3 - Digital Download SKU: A0.576889 Composed by David Warin Solomons. 20th Century,Contemporary. Score and parts. 23 pages. Dav...(+)

Chamber Orchestra - Level 3 - Digital Download SKU: A0.576889 Composed by David Warin Solomons. 20th Century,Contemporary. Score and parts. 23 pages. David Warin Solomons #485761. Published by David Warin Solomons (A0.576889). Instrumental quintet based on my choral setting of Dave Dunning's poem To Idleness. The pdf file contains score and parts. The sound sample is an electronic preview. These are the words of the original poem: When autumn harvests are full grown and luscious fruits to me are shown, piled plump and rich till stomachs groan when autumn harvests are full grown ripe juices puddle on the tongue, and winter I forget in gurgling song. once when the fresh new spring was here I lavished though to sow the year oh dreaming seasons never interfere with worldly bounty, scorned the prudent song and prayed March winds to buffet time along Soon in the heat of summer haze I floundered on through deep green maize, where heavy herds lowed as they grazed, I saw that I would reap in thought among the rich; and time moved on with busy song, now in the heat of summer Now winter creeps between the sashes and rain upon the window lashes while wild wind moans round rafters dashes and I to annual poverty belong, yet know that spring flows richly on in song When autumn harvests are full grown and luscious fruits to me are shown, piled plump and rich till stomachs groan when autumn harvests are full grown ripe juices puddle on the tongue, and winter I forget in gurgling song.

$12.00 ≈ 10.82€