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P Intermediate
Not classified 243

Piano & keyboards
Piano solo 262
Piano, Vocal and Guitar 131
Easy Piano 45
Organ 11
Piano, Voice 11

1 Piano, 4 hands 8
Piano Trio: piano, violin, cello 7
Piano Accompaniment 4
2 Pianos, 4 hands 4
C Instruments 2
Piano Quartet: piano, violin, viola, cello 1
Piano Quartet: piano, 2 violins, cello 1

+ 7 instrumentations

- Retract

Guitars
Ukulele 19
Guitar notes and tablatures 15
Guitar 12
Baritone Ukulele 8
2 Guitars (duet) 6

Banjo 5
Melody line, (Lyrics) and Chords 2
Dulcimer 2
2 Ukuleles 1
Mandolin 1
4 Guitars (Quartet) 1

+ 6 instrumentations

- Retract

Voice
Choral SATB 21
Choral 3-part 9
Soprano voice, Piano 6
Choral 2-part 4
Choral SSAA 3

Choral TTBB 3
Tenor voice, Piano 3
Tenor voice 1
Choral 1
Vocal duet, Piano 1

+ 5 instrumentations

- Retract

Woodwind
Saxophone (band part) 56
Woodwind Quintet: flute, oboe, bassoon, clarinet, horn 51
Saxophone Quintet: 5 Saxophones 47
Clarinet 37
Flute 37

Flute and Piano 35
Oboe (band part) 26
Clarinet and Piano 25
Soprano Saxophone 17
Alto Saxophone and Piano 17
Tenor Saxophone and Piano 15
Oboe, Piano (duet) 15
Alto Saxophone 14
Flute, Oboe, Clarinet, Bassoon 12
2 Flutes (duet) 11
Saxophone 11
Tenor Saxophone 10
Clarinet Quartet: 4 clarinets 10
2 Clarinets (duet) 10
2 Saxophones (duet) 10
Clarinet Ensemble 7
Flute, Clarinet (duet) 7
Baritone Saxophone, Piano 6
Flute and Guitar 5
Recorder 5
Saxophone and Piano 4
Oboe 4
Soprano Saxophone and Piano 4
Flute Quintet : 5 flutes 4
Flute, Viola and Cello 3
Saxophone Quartet: 4 saxophones 3
Saxophone ensemble 3
Flute, Cello, Piano (trio) 3
Flute, Violin, Violoncello and Piano 2
Flute, Violin, Piano 2
Flute, Clarinet, Piano (trio) 2
Flute, Oboe, Clarinet (trio) 2
Baritone Saxophone 2
Flute Trio: 3 flutes 1
Saxophone and Guitar 1
2 Recorders (duet) 1
Clarinet, Bassoon (duet) 1
Descant (Soprano) Recorder 1
Clarinet Quintet: Clarinet, String Quartet 1
2 Oboes (duet) 1
3 Saxophones (trio) 1
Flute ensemble 1
Recorder, Piano 1
Flute (band part) 1

+ 44 instrumentations

- Retract

Woodbrass
Trumpet 40
Trombone 32
Tuba 28
French horn 25
Brass quartet : 2 trumpets, trombone, tuba 24

Euphonium 21
Trombone and Piano 15
Trumpet, Piano 12
French Horn and Piano 9
2 Trumpets (duet) 5
Brass Quintet: 2 trumpets, horn, trombone, tuba 5
Trombone ensemble 4
2 Trombones (duet) 4
Trumpet, Trombone (duet) 4
Trumpet ensemble 3
2 French horns (duet) 2
Euphonium, Piano (duet) 2
Brass Quartet: 2 trumpets, horn, trombone 2
Tuba and Piano 2
Trumpet, Cello, Piano 2
Trumpet, Horn (duert) 2
Trumpet (band part) 1
Brass Trio 1
Tuba ensemble 1

+ 19 instrumentations

- Retract

Strings
Violin and Piano 49
String Quartet: 2 violins, viola, cello 48
Violin 42
Cello, Piano 39
Cello 35

Harp 34
Double Bass 29
Viola, Piano 28
Viola 24
4 Cellos 24
Viola (band part) 14
Violin, Cello (duet) 8
2 Violas (duet) 7
String Quintet: 2 violins, viola, cello, bass 7
2 Violins (duet) 7
String Trio: violin, viola, cello 6
2 Cellos (duet) 6
Violin, Viola (duet) 6
Viola ensemble 5
Violin ensemble 5
Violin (band part) 4
Viola, Cello (duet) 4
String Trio: 3 violins 3
String Trio: 2 violins, cello 2
Double bass, Piano (duet) 2
Piano Trio: Violin, Viola, Piano 2
Violin, Guitar (duet) 1
Violin, Basso continuo 1
Cello, Guitar (duet) 1
Harp, Violin (duet) 1

+ 25 instrumentations

- Retract

Percussion & orchestra
String Orchestra 23
Brass ensemble 7
Orchestra 7
Marimba 6
Handbells 6

Jazz Ensemble 5
Concert band 4
Percussion Ensemble 3
Woodwind Quintet 2
Drums 2
Chamber Orchestra 2

Percussion 1

+ 7 instrumentations

- Retract

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P Intermediate

Chamber Orchestra

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2 sheet music found

Fantasia bucolica

Fantasia bucolica #Chamber Orchestra #INTERMEDIATE/ADVANCED #Bertold Hummel #Fantasia bucolica #Schott Music - Digital #SheetMusicPlus

1 Â· 1 Â· 2 Â· 1 - 1 Â· 1 Â· 0 Â· 0 - P. S. (Trgl. Â· 2 hg. Beck. Â· Gong Â· kl. Tr. Â· gr. Tr. m. Beck.) - Hfe. Â· Cel. - Str. viola and ...(+)

1 Â· 1 Â· 2 Â· 1 - 1 Â· 1 Â· 0 Â· 0 - P. S. (Trgl. Â· 2 hg. Beck. Â· Gong Â· kl. Tr. Â· gr. Tr. m. Beck.) - Hfe. Â· Cel. - Str. viola and chamber orchestra - intermediate to advanced - Digital Download SKU: S9.Q47336 For viola and chamber orchestra. Composed by Bertold Hummel. This edition: piano reduction with solo part. Viola Library. Downloadable, Piano reduction with solo part. Op. 13f. Duration 6 minutes. Schott Music - Digital #Q47336. Published by Schott Music - Digital (S9.Q47336). The Fantasia bucolica for viola and chamber orchestra Op. 13f (original title: Fantasy in D) was composed in 1956 in response to a commission from the Kleines Unterhaltungsorchester SÃ¼dwestfunk Baden-Baden and was featured in a recording produced for SWF in Freiburg in the same year, performed by this orchestra and the soloist Hans Hasselmann and conducted by Willi Stech. The brief concert piece begins with a dreamy introduction by the solo viola which leads into a virtuoso central section before concluding with intimations of the initial section. A striking feature of this early work is the diverse employment of the percussion section in the orchestral instrumentation. Martin Hummel.

$12.99 ≈ ¥91.17

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 ≈ ¥392.97