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Spirit In The Night
Not classified 99

Piano & keyboards
Piano solo 85
Easy Piano 25
Piano, Vocal and Guitar 23
Piano, Voice 17
Organ 5

C Instruments 4
Piano Trio: piano, violin, cello 3
1 Piano, 4 hands 3
1 Piano, 6 hands 1

+ 4 instrumentations

- Retract

Guitars
Guitar 9
Guitar notes and tablatures 7
Bass guitar 2
Melody line, (Lyrics) and Chords 2
Mandolin 1

Ukulele 1
2 Guitars (duet) 1
4 Guitars (Quartet) 1

+ 3 instrumentations

- Retract

Voice
Choral SATB 45
Choral 3-part 22
Choral TTBB 9
Choral 2-part 5
Choral Unison 4

Vocal duet 4
Choral SSAA 3
High voice 2
Vocal duet, Piano 1
Baritone voice, Piano 1
Voice solo 1
Tenor voice, Piano 1
Soprano voice, Piano 1
Alto voice, Piano 1

+ 9 instrumentations

- Retract

Woodwind
Flute and Piano 16
Clarinet Quartet: 4 clarinets 8
Flute, Oboe, Clarinet, Bassoon 7
Clarinet and Piano 7
Oboe, Piano (duet) 7

Tenor Saxophone and Piano 6
Flute 6
Clarinet 6
2 Flutes (duet) 6
Saxophone Quartet: 4 saxophones 5
Saxophone (band part) 5
Alto Saxophone and Piano 5
Flute Quartet: 4 flutes 4
Saxophone Quintet: 5 Saxophones 4
Soprano Saxophone and Piano 3
Tenor Saxophone 3
Flute, Clarinet (duet) 3
Clarinet Quintet: 5 clarinets 3
Descant (Soprano) Recorder 3
Saxophone ensemble 3
Alto Saxophone 3
Woodwind Quintet: flute, oboe, bassoon, clarinet, horn 3
2 Clarinets (duet) 3
Oboe (band part) 2
2 Saxophones (duet) 2
Flute ensemble 2
Flute Trio: 3 flutes 2
3 Saxophones (trio) 1
Saxophone, Clarinet (duet) 1
Oboe, Cello 1
Flute Quintet : 5 flutes 1
Harmonica 1
English horn, Piano 1
Flute, harp and violin 1
Recorder Quartet 1
5 Recorders 1
3 Clarinets (trio) 1
Treble (Alto) Recorder 1
Bass Clarinet, Piano 1
Flute, Oboe, Clarinet (trio) 1
Clarinet, Guitar (duet) 1
Baritone Saxophone, Piano 1

+ 37 instrumentations

- Retract

Woodbrass
Brass Quartet 8
Brass Quintet: 2 trumpets, horn, trombone, tuba 7
Trombone 5
Brass Quartet: 4 horns 4
Trombone and Piano 4

Trumpet 4
Trumpet, Piano 4
Tuba 4
Brass quartet : 2 trumpets, trombone, tuba 3
2 French horns (duet) 2
Brass Quartet: 4 trumpets 2
3 Trumpets (trio) 2
2 Trumpets (duet) 2
Tuba and Piano 2
French horn 2
4 Tubas 1
Euphonium, Piano (duet) 1
English horn, Piano 1
2 Trombones (duet) 1
Trumpet (band part) 1
Brass Quartet: 4 trombones 1
French Horn and Piano 1
Brass Quartet: 2 trumpets, horn, trombone 1
French horn and Basson (duet) 1
Trumpet, Bassoon (duet) 1
Trumpet ensemble 1
Horn Ensemble 1

+ 22 instrumentations

- Retract

Strings
Violin and Piano 19
String Quartet: 2 violins, viola, cello 19
Harp 9
Cello 7
Violin 6

String Quintet: 2 violins, viola, cello, bass 5
Viola, Piano 5
Cello, Piano 5
2 Cellos (duet) 4
Viola 3
4 Cellos 3
Violin, Cello (duet) 3
String Trio: violin, viola, cello 3
2 Violins (duet) 2
Double Bass 2
Violin, Viola (duet) 2
2 Violas (duet) 1
Viola (band part) 1
String Quartet : 4 violas 1
Harp, Voice 1

+ 15 instrumentations

- Retract

Percussion & orchestra
Concert band 61
String Orchestra 7
Brass ensemble 7
Orchestra 6
Marching band 3

Chamber Orchestra 2

Jazz Ensemble 2
Handbells 2
Marimba 1
Percussion Ensemble 1
Jazz combo 1

+ 6 instrumentations

- Retract

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Spirit In The Night

Chamber Orchestra

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2 sheet music found

Charpentier: Messe de Menuit pour Noël (SSAA soli, SSAA choir, flutes, strings and continuo) - Full

Charpentier: Messe de Menuit pour Noël (SSAA soli, SSAA choir, flutes, strings and continuo) - Full #Chamber Orchestra #INTERMEDIATE #Marc-Antoine Charpentier #Roar Kvam #Charpentier: Messe de Menuit p #KVAMusic Edition #SheetMusicPlus

Chamber Orchestra - Level 3 - Digital Download SKU: A0.768506 Composed by Marc-Antoine Charpentier. Arranged by Roar Kvam. Baroque,Christmas. Score and p...(+)

Chamber Orchestra - Level 3 - Digital Download SKU: A0.768506 Composed by Marc-Antoine Charpentier. Arranged by Roar Kvam. Baroque,Christmas. Score and parts. 120 pages. KVAMusic Edition #4717673. Published by KVAMusic Edition (A0.768506). The Messe de Minuit was written around 1694 for the Jesuit church of Saint-Louis in Paris.What is remarkable about this mass is the use of ten French noÃ«ls (Christmas carols) in the composition. In the liturgy the birth of Christ is celebrated with three masses: the first during the night of December 24th, the second in the early morning of December 25th, and the third on the day itself. A special atmosphere surrounds the first of these masses on account of the midnight hour, and so CharpenÂtier gave special expression to the long observed practice in France of including popular Christmas carols in the Christmas liturgy by including them in the composition of his midnight mass. Although the Council of Trent had forbidden this kind of borrowing of secular melodies in masses in principle, long established customs were tolerated. Charpentierâ€™s justly famous Messe de Minuit represents a perfect synthesis between the secular and liturgical, and between the popular and learned. Adapting the vast majority of the Latin mass to French noÃ«ls, the Messe de Minuitâ€™s freshness and joyful spirit perfectly represent Advent. While Charpentier used ten different noÃ«lâ€™s through the course of the work, the most serious moment of the mass, the statements of Christâ€™s incarnation, his mortal existence, and his death under Pontius Pilate, is given wholly original, appropriately sober music.

$20.00 ≈ 18.16€

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 ≈ 50.83€