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Orchestre Symphonique
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Vous avez sélectionné:
Orchestre Symphonique
SheetMusicPlus
Partitions à imprimer
22 partitions trouvées
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1
Crépuscule, Poème Symphonique, Op. 39a
Crépuscule, Poème Symphonique, Op. 39a
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Orchestre de chambre
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INTERMÉDIAIRE/AVANCÉ
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Various
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Dico
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Crépuscule, Poèm
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Dico Ferreira
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SheetMusicPlus
Chamber Orchestra - Level 4 - SKU: A0.895627 By Various. By Zdenek Fibich. Arranged by Dico. Romantic Period,Wedding. Score and Parts. 18 pages. Dico Fe...
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Chamber Orchestra - Level 4 - SKU: A0.895627 By Various. By Zdenek Fibich. Arranged by Dico. Romantic Period,Wedding. Score and Parts. 18 pages. Dico Ferreira #501926. Published by Dico Ferreira (A0.895627). WEDDING SERIES - a set of popular songs and wedding standards that I have arranged for years. The formations are varied, from duos to orchestras with choir. The majority are mixed/flexible sextets in which some instruments can be replaced and the ensembles can be totally changed. Some arrangements have shortened versions. These options are provided in my catalogue.CRÉPUSCULE, POÈME SYMPHONIQUE in D-flat Major, Op. 39a for chamber orchestra.Score | Flute | Oboe | Trumpet | Percussion | Piano | Strings (-Viola)
$22.00
Madrigal Pavane / Timburibá
Madrigal Pavane / Timburibá
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Francisco Braga
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Luciano Lima
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Madrigal Pavane / Timburib&aac
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Les Productions d'OZ - Digital
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SheetMusicPlus
Guitar - Advanced - SKU: ZZ.DZ-4287 Composed by Francisco Braga. Arranged by Luciano Lima. Score. 13 pages. Les Productions d'OZ - Digital #DZ 4287. Pub...
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Guitar - Advanced - SKU: ZZ.DZ-4287 Composed by Francisco Braga. Arranged by Luciano Lima. Score. 13 pages. Les Productions d'OZ - Digital #DZ 4287. Published by Les Productions d'OZ - Digital (ZZ.DZ-4287). ISBN 9782898522048.Antônio Francisco Braga (1868-1945) belongs to the generation of Brazilian composers of the first republican period, aesthetically tied to romanticism, alongside Henrique Oswald (1852-1931), Leopoldo Miguez (1850-1902), Glauco Velásquez (1884-1914), and Barrozo Neto (1881-1941). Born in Rio de Janeiro, on April 15th, 1868, he began his musical studies at the Asilo dos Meninos Desvalidos, in 1876. In 1883, he enrolled at the Imperial Conservatório de Música where he studied harmony and counterpoint with Carlos de Mesquita – a former student of César Franck, Durand, and Massenet – and clarinet with Antônio Luís de Moura. Braga's first compositions date from this period: Sonho de Dante (1885), Dolce far niente (1886), the first Valse Romantique for piano (1886), among others.In 1887, he premiered his first symphonic work, Fantasia-Abertura. In 1890, being one of the finalists in a competition to choose the new Brazilian national anthem, Braga was awarded a scholarship to study in Europe, where he took classes with Jules Massenet at the Paris Conservatory. During this period, he wrote some of his most important symphonic works, Paysage, Cauchemar, Episódio Sinfônico, and Marabá (which was performed by Richard Strauss and the Vienna Philharmonic in 1920, in Brazil). His opera Jupyra is considered one of the greatest Brazilian compositions of that genre.Back in Brazil, he was appointed professor of counterpoint, fugue, and composition at the Instituto Nacional de Música, in 1902. There, some of the finest Brazilian composers studied with him, like Glauco Velásquez and Lorenzo Fernândez.Braga wrote operas, symphonic works, songs, sacred music, two Masses, music for piano, different chamber formations, band, and choir. He is the author of many patriotic hymns, the most popular of which is Hino à Bandeira (with lyrics by Olavo Bilac). He explored Brazilian nationalist elements in some of his works, as in Variações sobre um Tema Brasileiro and in the Trio for violin, cello and piano, whose third movement is based on a lundu (a musical genre and dance of Afro-Brazilian origin).In addition to being a composer, Braga was one of the most active conductors of his time, having been ahead of three orchestras in Rio de Janeiro: Instituto Nacional de Música, Sociedade de Concertos Sinfônicos, and Theatro Municipal. Braga conducted the Brazilian premiere of major symphonic works such as La Mer (Debussy), Pacific 231 (Honegger) besides other numerous Brazilian compositions.In 1938, he retired from Instituto Nacional de Música. He passed away on March 14th, 1945, in Rio de Janeiro.Unfortunately, Francisco Braga never wrote for the guitar. However, over a century ago his music had already been incorporated to its repertoire. According to information found in newspapers of the time, Spanish guitarist Josefina Robledo included transcriptions of pieces by Braga in her programs when she performed in Brazil: Gavota e Minuete (from the melodrama Contratador de Diamantes), in 1919, in São Paulo, and the waltz-caprice Corrupio, in 1921, in Rio de Janeiro.The piano score of Madrigal Pavane was dedicated to Alexina Leitão and published by Casa Vieira Machado, in 1901. According to the composer’s catalogue, there are two other versions of this piece: strings orchestra (1901) and quartet (which is still in manuscript). Dedicated to Braga’s childhood friend José de Souza Rocha, Timburibá (the name of a Brazilian tree) is a tango for piano from 1886, published by Narciso & Arthur Napoleão.Antônio Francisco Braga (1868-1945) appartient à la génération des compositeurs brésiliens de la première période républicaine, esthétiquement liés au romantisme, aux côtés de Henrique Oswald (1852-1931), Leopoldo Miguez (1850-1902), Glauco Velásquez (1884-1914) , et Barrozo Neto (1881-1941). Né à Rio de Janeiro, le 15 avril 1868, il commence ses études musicales à l'Asilo dos Meninos Desvalidos, en 1876. En 1883, il s'inscrit au Imperial Conservatório de Música où il étudie l'harmonie et le contrepoint avec Carlos de Mesquita – ancien élève de César Franck, Durand et Massenet – et clarinette avec Antônio Luís de Moura. De cette période datent les premières compositions de Braga : « Sonho de Dante » (1885), « Dolce far niente » (1886), la première « Valse Romantique » pour piano (1886), entre autres.En 1887, il crée sa première œuvre symphonique, « Fantasia-Abertura ». En 1890, étant l'un des finalistes d'un concours pour choisir le nouvel hymne national brésilien, Braga obtient une bourse pour étudier en Europe, où il suit les cours de Jules Massenet au Conservatoire de Paris. Durant cette période, il écrit certaines de ses œuvres symphoniques les plus importantes, « Paysage », « Cauchemar », « Episódio Sinfônico » et « Marabá » (interprétée par Richard Strauss et la Philharmonie de Vienne en 1920, au Brésil). Son opéra « Jupyra » est considéré comme l'une des plus grandes compositions brésiliennes de ce genre.De retour au Brésil, il fut nommé professeur de contrepoint, de fugue et de composition à l'Instituto Nacional de Música, en 1902. Là, certains des meilleurs compositeurs brésiliens étudièrent avec lui, comme Glauco Velásquez et Lorenzo Fernândez.Braga a écrit des opéras, des œuvres symphoniques, des chansons, de la musique sacrée, deux messes, de la musique pour piano, différentes formations de chambre, un orchestre et une chorale. Il est l'auteur de nombreux hymnes patriotiques, dont le plus populaire est « Hino à Bandeira » (avec des paroles d'Olavo Bilac). Il a exploré des éléments nationalistes brésiliens dans certaines de ses œuvres, comme dans « Variações sobre um Tema Brasileiro » et dans le Trio pour violon, violoncelle et piano, dont le troisième mouvement est basé sur un « lundu » (un genre musical et une danse afro-américaine). Origine brésilienne).En plus d'être compositeur, Braga a été l'un des chefs d'orchestre les plus actifs de son époque, ayant dirigé trois orchestres à Rio de Janeiro : « Instituto Nacional de Música », « Sociedade de Concertos Sinfônicos » et « Theatro Municipal ». Braga a dirigé la première brésilienne d'œuvres symphoniques majeures telles que « La Mer » (Debussy), « Pacific 231 » (Honegger) ainsi que de nombreuses autres compositions brésiliennes.En 1938, il prend sa retraite de l'Instituto Nacional de Música. Il est décédé le 14 mars 1945 à Rio de Janeiro.Malheureusement, Francisco Braga n’a jamais écrit pour la guitare. Cependant, il y a plus d'un siècle, sa musique était déjà incorporée à son répertoire. Selon des informations trouvées dans les journaux de l'époque, la guitariste espagnole Josefina Robledo incluait des transcriptions de pièces de Braga dans ses programmes lorsqu'elle se produisait au Brésil : « Gavota e Minuete » (du mélodrame « Contratador de Diamantes »), en 1919, à São Paulo, et la valse-caprice « Corrupio », en 1921, à Rio de Janeiro.La partition pour piano de « Madrigal Pavane » a été dédiée à Alexina Leitão et publiée par « Casa Vieira Machado », en 1901. Selon le catalogue du compositeur, il existe deux autres versions de cette pièce : orchestre à cordes (1901) et quatuor (qui est encore manuscrit). Dédié à José de Souza Rocha, ami d'enfance de Braga, « Timburibá » (nom d'un arbre brésilien) est un tango pour piano de 1886, publié par « Narciso & Arthur Napoleão ».Envoyer des commentairesPanneaux latérauxHistoriqueEnregistrées.
$7.95
MORCEAU SYMPHONIQUE
MORCEAU SYMPHONIQUE
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Orchestre à Cordes
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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Felix Alexandre Guilmant
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Rodrigo de Jesus
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MORCEAU SYMPHONIQUE
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Rodrigo de Jesus
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SheetMusicPlus
String Orchestra - Level 4 - SKU: A0.1089050 Composed by Felix Alexandre Guilmant. Arranged by Rodrigo de Jesus. Contemporary. Score and parts. 36 pages...
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String Orchestra - Level 4 - SKU: A0.1089050 Composed by Felix Alexandre Guilmant. Arranged by Rodrigo de Jesus. Contemporary. Score and parts. 36 pages. Rodrigo de Jesus #693269. Published by Rodrigo de Jesus (A0.1089050). Transcription of the original for trombone and string orchestra.
$20.00
Mouvement symphonique
Mouvement symphonique
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Orchestre d'harmonie
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AVANCÉ
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Stephan Adam
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Mouvement symphonique
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Schott Music - Digital
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SheetMusicPlus
Wind band - difficult - SKU: S9.Q20959 Composed by Stephan Adam. This edition: score. Schott Harmony Series. Downloadable, score. Duration 12 minutes. S...
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Wind band - difficult - SKU: S9.Q20959 Composed by Stephan Adam. This edition: score. Schott Harmony Series. Downloadable, score. Duration 12 minutes. Schott Music - Digital #Q20959. Published by Schott Music - Digital (S9.Q20959). Using thematic-motif material and Baroque concerto structures, Stephan Adam has created a contemporary work with new sounds without being avant-garde. The work is demanding, particularly as regards technique and rhythmic complexity. This work was commissioned by the Bundesvereinigung Deutscher Blasmusikverbände [Federation of German Wind Music Organisations] and has been a set piece in competitions at the most advanced level. Stephan Adam studied Church Music and Composition in Frankfurt am Main; Kurt Hessenberg was one of his teachers. He has been teaching since 1982 at the Berufsfachschule für Musik [Further Education College of Music] in Bad Königshofen.(1 Piccolo-Flöte, 2 Flöten, 2 Oboen, 2 Fagotte, 1 Klarinette in Es, 3 Klarinetten in B, 1 Bass-Klarinette in b, 2 Alt-Saxophone in Es, 2 Tenor-Saxophone in B (2. ad lib.), 1 Bariton-Saxophon in Es, 4 Hörner in F, 4 Trompeten in B, 3 Posaunen, 2 Flügelhörner in B, 2 Tenorhörner in B, 1 Bariton, 2 Tuben, 1 Kontrabass, Pauken, Schlagzeug: Glockenspiel, Xylophon, kleine Trommel, 3 Tomtoms, große Trommel, 2 Tempelblocks, Triangel, hängendes Becken, Beckenpaar, Tam-Tam tief, Röhrenglocken).
$55.99
Extase: Poème Symphonique
Extase: Poème Symphonique
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Orchestre
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Louis Ganne
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Extase: Poème Symphonique
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RēsFacta Editions
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SheetMusicPlus
Full Orchestra - Level 4 - Composed by Louis Ganne. 19th Century, Classical, Romantic Period. 67 pages. RēsFacta Editions #880728. Published ...
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Full Orchestra - Level 4 - Composed by Louis Ganne. 19th Century, Classical, Romantic Period. 67 pages. RēsFacta Editions #880728. Published by RēsFacta Editions
$45.00
4 Suite symphonique andalouse
4 Suite symphonique andalouse
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Orchestre à Cordes
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INTERMÉDIAIRE
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Folklorique/Traditionel
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Flamenco
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Traditionnal, aeabo-andalous
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Abdelhakim HAMAZ
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4 Suite symphonique andalouse
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Abdelhakim HAMAZ
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SheetMusicPlus
Composed by Traditionnal, aeabo-andalous. Arranged by Abdelhakim HAMAZ. African, World. Score and parts. 64 pages. Abdelhakim HAMAZ #546139. Published...
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Composed by Traditionnal, aeabo-andalous. Arranged by Abdelhakim HAMAZ. African, World. Score and parts. 64 pages. Abdelhakim HAMAZ #546139. Published by Abdelhakim HAMAZ
$26.99
Chim Chim Cher-ee
Chim Chim Cher-ee
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Orchestre à Cordes
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FACILE
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Film Walt Disney
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New Christy Minstrels
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Marc GARETTO
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Chim Chim Cher-ee
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Marc GARETTO - Harmonie Editions
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SheetMusicPlus
String Orchestra - Level 2 - SKU: A0.1106472 By New Christy Minstrels. By Richard M. Sherman and Robert B. Sherman. Arranged by Marc GARETTO. 20th Centu...
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String Orchestra - Level 2 - SKU: A0.1106472 By New Christy Minstrels. By Richard M. Sherman and Robert B. Sherman. Arranged by Marc GARETTO. 20th Century,Children,Christmas,Film/TV. Score and parts. 19 pages. Marc GARETTO - Harmonie Editions #709590. Published by Marc GARETTO - Harmonie Editions (A0.1106472). Arranged for Full Orchestra - Arrangement pour Orchestre Symphonique from Disney 's movie MARY POPPINS.
$55.00
(everything I Do) I Do It For You
(everything I Do) I Do It For You
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Orchestre
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FACILE
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Rock
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Bryan Adams
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Marc GARETTO
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(everything I Do) I Do It For
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Marc GARETTO - Harmonie Editions
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SheetMusicPlus
Full Orchestra - Level 2 - SKU: A0.1106476 By Bryan Adams. By Bryan Adams, Michael Kamen, and Robert John Mutt Lange. Arranged by Marc GARETTO. Film/TV,...
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Full Orchestra - Level 2 - SKU: A0.1106476 By Bryan Adams. By Bryan Adams, Michael Kamen, and Robert John Mutt Lange. Arranged by Marc GARETTO. Film/TV,Pop,Rock,Singer/Songwriter. Score and Parts. 42 pages. Marc GARETTO - Harmonie Editions #709594. Published by Marc GARETTO - Harmonie Editions (A0.1106476). Arranged for Full Orchestra (Optionnal singer) - Arrangement pour Orchestre Symphonique Robin des Bois Prince des Voleurs.
$80.00
A Spoonful Of Sugar
A Spoonful Of Sugar
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Orchestre
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INTERMÉDIAIRE/AVANCÉ
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Film Walt Disney
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Richard M
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Marc GARETTO
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A Spoonful Of Sugar
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Marc GARETTO - Harmonie Editions
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SheetMusicPlus
Full Orchestra - Level 4 - SKU: A0.1106460 Composed by Richard M. Sherman and Robert B. Sherman. Arranged by Marc GARETTO. 20th Century,Children,Christm...
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Full Orchestra - Level 4 - SKU: A0.1106460 Composed by Richard M. Sherman and Robert B. Sherman. Arranged by Marc GARETTO. 20th Century,Children,Christmas,Film/TV. Score and parts. 66 pages. Marc GARETTO - Harmonie Editions #709577. Published by Marc GARETTO - Harmonie Editions (A0.1106460). Arranged for Full Orchestra - Arrangement pour Orchestre Symphonique from Disney 's movie MARY POPPINS.
$75.00
Georgia On My Mind
Georgia On My Mind
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Orchestre
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INTERMÉDIAIRE
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Ray Charles
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Marc GARETTO
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Georgia On My Mind
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Marc GARETTO - Harmonie Editions
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SheetMusicPlus
Full Orchestra - Level 3 - SKU: A0.1106522 By Ray Charles. By Hoagy Carmichael and Stuart Gorrell. Arranged by Marc GARETTO. 20th Century,Blues,Jazz,Pop...
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Full Orchestra - Level 3 - SKU: A0.1106522 By Ray Charles. By Hoagy Carmichael and Stuart Gorrell. Arranged by Marc GARETTO. 20th Century,Blues,Jazz,Pop,Singer/Songwriter. Score and Parts. 46 pages. Marc GARETTO - Harmonie Editions #709605. Published by Marc GARETTO - Harmonie Editions (A0.1106522). Arranged for Full Orchestra (with Singer or Solo Trombone) - Arrangement pour Orchestre Symphonique avec chanteur ou Trombone solo Ray Charles - Georgia on my mind.
$70.00
Five Pieces for orchestra (score)
Five Pieces for orchestra (score)
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Orchestre
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INTERMÉDIAIRE/AVANCÉ
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Contemporain
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Drake Mabry
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Five Pieces for orchestra
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Drake Mabry
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SheetMusicPlus
Full Orchestra - Level 4 - SKU: A0.799430 Composed by Drake Mabry. 20th Century,Contemporary. Score and parts. 67 pages. Drake Mabry #518061. Published ...
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Full Orchestra - Level 4 - SKU: A0.799430 Composed by Drake Mabry. 20th Century,Contemporary. Score and parts. 67 pages. Drake Mabry #518061. Published by Drake Mabry (A0.799430). Each of the five movements paints a picture of an atmosphere, a person or an animal. In order you'll find Morning haze, A swallow, Stillness, The beggar, and The setting sun. The third movement is for strings alone and the fourth is for the winds, brass and percussion. The moods range from meditative and humorous to curious and mysterious. Originally inspired by haiku poetry. The duration is 26 minutes.Five Pieces for orchestra was commissioned by the Ministry of Culture, Paris, France, in 1992 and Premiered by the Orchestre Symphonique du Conservatoire de Nantes, Christophe Duchêne, conductor in Nantes, France on November 8, 1996.
$9.99
Voyage dans notre Autre --- Symphonic poem for violin cello and orchestra --- FULL SCORE AND PARTS J
Voyage dans notre Autre --- Symphonic poem for violin cello and orchestra --- FULL SCORE AND PARTS J
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Orchestre
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AVANCÉ
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Contemporain
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Jean-Christophe Masson
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Voyage dans notre Autre --- Sy
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Jean-Christophe Masson
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.878770 Composed by Jean-Christophe Masson. Contemporary. Score and parts. 38 pages. Jean-Christophe Masson #6307203. ...
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Full Orchestra - Level 5 - SKU: A0.878770 Composed by Jean-Christophe Masson. Contemporary. Score and parts. 38 pages. Jean-Christophe Masson #6307203. Published by Jean-Christophe Masson (A0.878770). Professional level Symphonic poem for violin solo, cello solo, and orchestra (flute, oboe, clar, horn, trumpet, trombone, Tubular bells, bass drum and strings) Duration : 7 minutes Niveau professionnel Poème symphonique pour violon solo, violoncelle solo, et orchestre (flûte, hautbois, clarinette, cor, trompette, trombone, cloches tubulaires, grosse caisse symphonique et cordes) Durée : 7 minutes Création au Temple de Dijon, le 27 mars 2009, par Simon Bouveret au violon et Lucie Mercat au violoncelle, direction Maxime Pitois. www.jcmasson.com
$30.00
La Passion, from Le Martyr de St. Sébastien for orchestra, score only - Score Only
La Passion, from Le Martyr de St. Sébastien for orchestra, score only - Score Only
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Orchestre
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INTERMÉDIAIRE/AVANCÉ
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Classique
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Claude Debussy/Robert Orledge
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La Passion, from Le Martyr de
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Musik Fabrik Music Publishing
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SheetMusicPlus
Full Orchestra - Level 4 - SKU: A0.1086964 Composed by Claude Debussy/Robert Orledge. Classical,Contemporary,Opera. Score and parts. 17 pages. Musik Fab...
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Full Orchestra - Level 4 - SKU: A0.1086964 Composed by Claude Debussy/Robert Orledge. Classical,Contemporary,Opera. Score and parts. 17 pages. Musik Fabrik Music Publishing #691154. Published by Musik Fabrik Music Publishing (A0.1086964). Scored for Pic31CA2clbs2/4121/timp/hp/strings. This piece is an unused movement, probably a first draft of ‘La Passion’, the third of the ‘Fragments symphoniques’ in Le Martyre de Saint Sébastien (1911). This anguished but beautiful piece was never performed during Debussy’s lifetime. This item is the score only. The parts are on rental from the publisher.
$13.95
Rudolph The Red-nosed Reindeer
Rudolph The Red-nosed Reindeer
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Ensemble de cuivres
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AVANCÉ
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Noël
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John Denver
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Evelin Auger
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Rudolph The Red-nosed Reindeer
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Linden Brass Press Inc.
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SheetMusicPlus
Brass Ensemble - Level 5 - SKU: A0.1139995 By John Denver. By Johnny Marks. Arranged by Evelin Auger. Christmas. Score and parts. 18 pages. Linden Brass...
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Brass Ensemble - Level 5 - SKU: A0.1139995 By John Denver. By Johnny Marks. Arranged by Evelin Auger. Christmas. Score and parts. 18 pages. Linden Brass Press Inc. #740257. Published by Linden Brass Press Inc. (A0.1139995). Here's a great arrangement of Rudolph for brass quintet by Evelin Auger, former Principal trombone of the Orchestre Symphonique de Québec. It has been performed many times by the brass players of that orchestra, and audiences loved it! Trombone requires a plunger mute and has a quick change to open, but getting rid of the mute is part of the fun!
$14.95
la danse de l'aurès
la danse de l'aurès
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Orchestre à Cordes
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INTERMÉDIAIRE/AVANCÉ
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Abdelhakim HAMAZ
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Abdelhakim HAMAZ
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la danse de l'aurès
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Abdelhakim HAMAZ
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SheetMusicPlus
String Orchestra - Level 4 - SKU: A0.1018659 Composed by Abdelhakim HAMAZ. Arranged by Abdelhakim HAMAZ. Folk,World. Score and parts. 27 pages. Abdelhak...
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String Orchestra - Level 4 - SKU: A0.1018659 Composed by Abdelhakim HAMAZ. Arranged by Abdelhakim HAMAZ. Folk,World. Score and parts. 27 pages. Abdelhakim HAMAZ #539749. Published by Abdelhakim HAMAZ (A0.1018659). Parties séparées de la musique symphonique danse de l'aurès qui a été composée avec des motifs mélodiques et rythmique de cetta partie de l'Algérie ou l'ethnie du peuple Amazigh s'y trouve sous l'appellation des Chaouis.
$16.99
Danse macabre
Danse macabre
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Orchestre
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Classique
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Danse macabre
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Schott Music - Digital
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SheetMusicPlus
Orchestra - Poeme symphonique. Composed by Camille Saint-Saens (1835- 1921). This edition: study score. Ernst Eulenburg, Orchestra, Score. Eulenburg ...
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Orchestra - Poeme symphonique. Composed by Camille Saint-Saens (1835- 1921). This edition: study score. Ernst Eulenburg, Orchestra, Score. Eulenburg Miniature Scores. Downloadable. Op. 40. Schott Music - Digital #Q47697. Published by Schott Music - Digital
$11.99
FInale from the Symphonic Variations
FInale from the Symphonic Variations
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Cor
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AVANCÉ
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Marc Papeghin
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Marc Papeghin
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FInale from the Symphonic Vari
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Marc Papeghin
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SheetMusicPlus
French Horn Solo - Level 5 - SKU: A0.1423272 By Marc Papeghin. By Cesar Auguste Franck. Arranged by Marc Papeghin. Classical. Individual part. 1 pages. ...
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French Horn Solo - Level 5 - SKU: A0.1423272 By Marc Papeghin. By Cesar Auguste Franck. Arranged by Marc Papeghin. Classical. Individual part. 1 pages. Marc Papeghin #1004580. Published by Marc Papeghin (A0.1423272). A French Horn arrangement of the Finale from the Variations symphoniques pour piano et orchestre
$1.99
Morricone: Malena (Main title) Symphonic orchestra
Morricone: Malena (Main title) Symphonic orchestra
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Orchestre Symphonique
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Film/TV
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Luigi Capuano
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Morricone: Malena
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Luigi Capuano
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SheetMusicPlus
Arranged by Luigi Capuano. Score, Set of Parts. 16 pages. Published by Luigi Capuano...
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Arranged by Luigi Capuano. Score, Set of Parts. 16 pages. Published by Luigi Capuano
$45.00
Dream Machine
Dream Machine
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Orchestre Symphonique
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INTERMÉDIAIRE
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Contemporain
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Brian Balmages
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Dream Machine
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The FJH Music Company Inc
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SheetMusicPlus
Symphony Orchestra - Grade 5 - Composed by Brian Balmages. FJH Symphonic Orchestra. This haunting, powerful and aggressive work draws inspiration fr...
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Symphony Orchestra - Grade 5 - Composed by Brian Balmages. FJH Symphonic Orchestra. This haunting, powerful and aggressive work draws inspiration from a type of strobe light device that can potentially put an observer into a state of threshold consciousness (the idea of being half-asleep). The music portrays many sensations including. Score and Parts. 132 pages. The FJH Music Company Inc #OR5015. Published by The FJH Music Company Inc
$120.00
Sinfonietta - for Symphonic Band
Sinfonietta - for Symphonic Band
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Orchestre Symphonique
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AVANCÉ
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Classique
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Jason McChristian
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Sinfonietta - for Symphonic Ba
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Jason Gary McChristian
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SheetMusicPlus
Composed by Jason McChristian. 21st Century. Score, Set of Parts. 249 pages. Published by Jason Gary McChristian ...
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Composed by Jason McChristian. 21st Century. Score, Set of Parts. 249 pages. Published by Jason Gary McChristian
$120.00
Concerto
Concerto
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Piano et Orchestre
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AVANCÉ
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Contemporain
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Gyorgy Ligeti
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Concerto
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Schott Music - Digital
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SheetMusicPlus
Piano and orchestra - difficult - For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minut...
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Piano and orchestra - difficult - For piano and orchestra. Composed by Gyorgy Ligeti (1923-2006). This edition: solo part. Downloadable. Duration 24 minutes. Schott Music - Digital #Q53630. Published by Schott Music - Digital
I composed the Piano Concerto in two stages: the first three movements during the years 1985-86, the next two in 1987, the final autograph of the last movement was ready by January, 1988. The concerto is dedicated to the American conductor Mario di Bonaventura. .
The markings of the movements are the following: .
1. Vivace molto ritmico e preciso .
2. Lento e deserto .
3. Vivace cantabile .
4. Allegro risoluto .
5. Presto luminoso.
The first performance of the three-movement Concerto was on October 23rd, 1986 in Graz. Mario di Bonaventura conducted while his brother, Anthony di Bonaventura, was the soloist. Two days later the performance was repeated in the Vienna Konzerthaus. After hearing the work twice, I came to the conclusion that the third movement is not an adequate finale. my feeling of form demanded continuation, a supplement. That led to the composing of the next two movements. The premiere of the whole cycle took place on February 29th, 1988, in the Vienna Konzerthaus with the same conductor and the same pianist. .
The orchestra consisted of the following: flute, oboe, clarinet, bassoon, horn, trumpet, tenor trombone, percussion and strings. The flautist also plays the piccoIo, the clarinetist, the alto ocarina. The percussion is made up of diverse instruments, which one musician-virtuoso can play. It is more practical, however, if two or three musicians share the instruments. Besides traditional instruments the percussion part calls also for two simple wind instruments: the swanee whistle and the harmonica. The string instrument parts (two violins, viola, cello and doubles bass) can be performed soloistic since they do not contain divisi. For balance, however, the ensemble playing is recommended, for example 6-8 first violins, 6-8 second, 4-6 violas, 4-6 cellos, 3-4 double basses. .
In the Piano Concerto I realized new concepts of harmony and rhythm. .
The first movement is entirely written in bimetry: simultaneously 12/8 and 4/4 (8/8). This relates to the known triplet on a doule relation and in itself is nothing new. Because, however, I articulate 12 triola and 8 duola pulses, an entangled, up till now unheard kind of polymetry is created. The rhythm is additionally complicated because of asymmetric groupings inside two speed layers, which means accents are asymmetrically distributed. These groups, as in the talea technique, have a fixed, continuously repeating rhythmic structures of varying lengths in speed layers of 12/8 and 4/4. This means that the repeating pattern in the 12/8 level and the pattern in the 4/4 level do not coincide and continuously give a kaleidoscope of renewing combinations. .
In our perception we quickly resign from following particular rhythmical successions and that what is going on in time appears for us as something static, resting. This music, if it is played properly, in the right tempo and with the right accents inside particular layers, after a certain time rises, as it were, as a plane after taking off: the rhythmic action, too complex to be able to follow in detail, begins flying. This diffusion of individual structures into a different global structure is one of my basic compositional concepts: from the end of the fifties, from the orchestral works Apparitions and Atmospheres I continuously have been looking for new ways of resolving this basic question. The harmony of the first movement is based on mixtures, hence on the parallel leading of voices. This technique is used here in a rather simple form. later in the fourth movement it will be considerably developed. .
The second movement (the only slow one amongst five movements) also has a talea type of structure, it is however much simpler rhythmically, because it contains only one speed layer. The melody is consisted in the development of a rigorous interval mode in which two minor seconds and one major second alternate therefore nine notes inside an octave. This mode is transposed into different degrees and it also determines the harmony of the movement. however, in closing episode in the piano part there is a combination of diatonics (white keys) and pentatonics (black keys) led in brilliant, sparkling quasimixtures, while the orchestra continues to play in the nine tone mode. .
In this movement I used isolated sounds and extreme registers (piccolo in a very low register, bassoon in a very high register, canons played by the swanee whistle, the alto ocarina and brass with a harmon-mute' damper, cutting sound combinations of the piccolo, clarinet and oboe in an extremely high register, also alternating of a whistle-siren and xylophone). The third movement also has one speed layer and because of this it appears as simpler than the first, but actually the rhythm is very complicated in a different way here. Above the uninterrupted, fast and regular basic pulse, thanks to the asymmetric distribution of accents, different types of hemiolas and inherent melodical patterns appear (the term was coined by Gerhard Kubik in relation to central African music). If this movement is played with the adequate speed and with very clear accentuation, illusory rhythmic-melodical figures appear. These figures are not played directly. they do not appear in the score, but exist only in our perception as a result of co-operation of different voices. .
Already earlier I had experimented with illusory rhythmics, namely in Poeme symphonique for 100 metronomes (1962), in Continuum for harpsichord (1968), in Monument for two pianos (1976), and especially in the first and sixth piano etude Desordre and Automne a Varsovie (1985). .
The third movement of the Piano Concerto is up to now the clearest example of illusory rhythmics and illusory melody. In intervallic and chordal structure this movement is based on alternation, and also inter-relation of various modal and quasi-equidistant harmony spaces. The tempered twelve-part division of the octave allows for diatonical and other modal interval successions, which are not equidistant, but are based on the alternation of major and minor seconds in different groups. The tempered system also allows for the use of the anhemitonic pentatonic scale (the black keys of the piano). From equidistant scales, therefore interval formations which are based on the division of an octave in equal distances, the twelve-tone tempered system allows only chromatics (only minor seconds) and the six-tone scale (the whole-tone: only major seconds). .
Moreover, the division of the octave into four parts only minor thirds) and three parts (three major thirds) is possible. In several music cultures different equidistant divisions of an octave are accepted, for example, in the Javanese slendro into five parts, in Melanesia into seven parts, popular also in southeastern Asia, and apart from this, in southern Africa. This does not mean an exact equidistance: there is a certain tolerance for the inaccurateness of the interval tuning. .
These exotic for us, Europeans, harmony and melody have attracted me for several years. However I did not want to re-tune the piano (microtone deviations appear in the concerto only in a few places in the horn and trombone parts led in natural tones). After the period of experimenting, I got to pseudo- or quasiequidistant intervals, which is neither whole-tone nor chromatic: in the twelve-tone system, two whole-tone scales are possible, shifted a minor second apart from each other. Therefore, I connect these two scales (or sound resources), and for example, places occur where the melodies and figurations in the piano part are created from both whole tone scales. in one band one six-tone sound resource is utilized, and in the other hand, the complementary. In this way whole-tonality and chromaticism mutually reduce themselves: a type of deformed equidistancism is formed, strangely brilliant and at the same time slanting. illusory harmony, indeed being created inside the tempered twelve-tone system, but in sound quality not belonging to it anymore. .
The appearance of such slantedequidistant harmony fields alternating with modal fields and based on chords built on fifths (mainly in the piano part), complemented with mixtures built on fifths in the orchestra, gives this movement an individual, soft-metallic colour (a metallic sound resulting from harmonics). .
The fourth movement was meant to be the central movement of the Concerto. Its melodc-rhythmic elements (embryos or fragments of motives) in themselves are simple. The movement also begins simply, with a succession of overlapping of these elements in the mixture type structures. Also here a kaleidoscope is created, due to a limited number of these elements - of these pebbles in the kaleidoscope - which continuously return in augmentations and diminutions. .
Step by step, however, so that in the beginning we cannot hear it, a compiled rhythmic organization of the talea type gradually comes into daylight, based on the simultaneity of two mutually shifted to each other speed layers (also triplet and duoles, however, with different asymmetric structures than in the first movement). While longer rests are gradually filled in with motive fragments, we slowly come to the conclusion that we have found ourselves inside a rhythmic-melodical whirl: without change in tempo, only through increasing the density of the musical events, a rotation is created in the stream of successive and compiled, augmented and diminished motive fragments, and increasing the density suggests acceleration. .
Thanks to the periodical structure of the composition, always new but however of the same (all the motivic cells are similar to earlier ones but none of them are exactly repeated. the general structure is therefore self-similar), an impression is created of a gigantic, indissoluble network. Also, rhythmic structures at first hidden gradually begin to emerge, two independent speed layers with their various internal accentuations. .
This great, self-similar whirl in a very indirect way relates to musical associations, which came to my mind while watching the graphic projection of the mathematical sets of Julia and of Mandelbrot made with the help of a computer. I saw these wonderful pictures of fractal creations, made by scientists from Brema, Peitgen and Richter, for the first time in 1984. From that time they have played a great role in my musical concepts. This does not mean, however, that composing the fourth movement I used mathematical methods or iterative calculus. indeed, I did use constructions which, however, are not based on mathematical thinking, but are rather craftman's constructions (in this respect, my attitude towards mathematics is similar to that of the graphic artist Maurits Escher). .I am concerned rather with intuitional, poetic, synesthetic correspondence, not on the scientific, but on the poetic level of thinking. .
The fifth, very short Presto movement is harmonically very simple, but all the more complicated in its rhythmic structure: it is based on the further development of ''inherent patterns of the third movement. The quasi-equidistance system dominates harmonically and melodically in this movement, as in the third, alternating with harmonic fields, which are based on the division of the chromatic whole into diatonics and anhemitonic pentatonics. Polyrhythms and harmonic mixtures reach their greatest density, and at the same time this movement is strikingly light, enlightened with very bright colours: at first it seems chaotic, but after listening to it for a few times it is easy to grasp its content: many autonomous but self-similar figures which crossing themselves. .
I present my artistic credo in the Piano Concerto: I demonstrate my independence from criteria of the traditional avantgarde, as well as the fashionable postmodernism. Musical illusions which I consider to be also so important are not a goal in itself for me, but a foundation for my aesthetical attitude. I prefer musical forms which have a more object-like than processual character. Music as frozen time, as an object in imaginary space evoked by music in our imagination, as a creation which really develops in time, but in imagination it exists simultaneously in all its moments. The spell of time, the enduring its passing by, closing it in a moment of the present is my main intention as a composer. .
(Gyorgy Ligeti)
$23.99
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Orchestre Symphonique
