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20 sheet music found If Ye Love Me-String Orchestra (Audio Only)
If Ye Love Me-String Orchestra (Audio Only) # Thomas Tallis # John May # If Ye Love Me-String Orchestra # Lost Key Music # SheetMusicPlus
Cello,Double Bass,Viola,Violin - Level 2 - Digital Download SKU: A0.1415576 Composed by Thomas Tallis. Arranged by John May. Chamber,Classical,Contest,Fe...(+)
Cello,Double Bass,Viola,Violin - Level 2 - Digital Download SKU: A0.1415576 Composed by Thomas Tallis. Arranged by John May. Chamber,Classical,Contest,Festival,Renaissance,Sacred. Full Performance. Duration 121. Lost Key Music #997293. Published by Lost Key Music (A0.1415576). If Ye Love Me, by Thomas Tallis, is an English Anthem that was first published in 1560, and perhaps composed circa 1549. Antiche Danze ed Arie
Antiche Danze ed Arie # Ottorino Respighi # Antiche Danze ed Arie # Ernst Eulenburg & Co. GmbH - Digital # SheetMusicPlus
Orchestra - Digital Download SKU: S9.Q7157 2nd Suite. Composed by Ottorino Respighi. This edition: set of parts. Eulenburg Orchestral Series. Down...(+)
Orchestra - Digital Download SKU: S9.Q7157 2nd Suite. Composed by Ottorino Respighi. This edition: set of parts. Eulenburg Orchestral Series. Downloadable, Set of parts. Duration 20 minutes. Ernst Eulenburg & Co. GmbH - Digital #Q7157. Published by Ernst Eulenburg & Co. GmbH - Digital (S9.Q7157). English • Italian.Ein traditionelles Fundament in neuer Klangpracht. - Der führende Vertreter der neueren italienischen Instrumentalmusik, Ottorino Respighi, überführte auf meisterliche Weise die originalen Lautenvorlagen ins große Orchester. Durch seine kompositorische Auseinandersetzung mit der Tradition leistete Respighi einen wesentlichen Beitrag zur Wiederbelebung und Wiederentdeckung vergessener Musikschätze. Die drei Orchestersuiten nach Lautensätzen der italienischen Renaissance und des italienischen Frühbarock sind jedoch keineswegs nur vom Historismus späterer urtextlich veranlasster Wiederbelebungen geprägt. Respighi lässt die intimen musikalischen Vorlagen im Gewand des großen Orchesters erstrahlen und erreicht damit prachtvolle und glänzende Klangwirkungen!1. Satz: Flöte, 2 Oboen, 2 Klarinetten, Fagott, 2 Hörner, Harfe, Cembalo 4-händig, Steicher 2. Satz: Piccolo, Flöte, 2 Oboen, 2 Klarinetten, 2 Fagotte, 2 Hörner, 2 Trompeten, Cembalo 4-händig, Streicher 3. Satz: 3 Flöten, 2 Oboen, Englischhorn, 2 Fagotte, 2 Hörner, Trompete, 3 Posaunen, Celesta, Harfe, Streicher 4. Satz: Piccolo, 2 Flöten, 2 Oboen, 2 Klarinetten, 2 Fagotte, 3 Hörner, 2 Trompeten, 3 Posaunen, Pauken, Harfe, Cembalo 4-händig, Streicher. Antiche Danze ed Arie
Antiche Danze ed Arie # Ottorino Respighi # Antiche Danze ed Arie # Ernst Eulenburg & Co. GmbH - Digital # SheetMusicPlus
Orchestra - Digital Download SKU: S9.Q7156 Libera trascrizione per orchestra - 1st Suite. Composed by Ottorino Respighi. This edition: set of part...(+)
Orchestra - Digital Download SKU: S9.Q7156 Libera trascrizione per orchestra - 1st Suite. Composed by Ottorino Respighi. This edition: set of parts. Eulenburg Orchestral Series. Downloadable, Set of parts. Duration 15 minutes. Ernst Eulenburg & Co. GmbH - Digital #Q7156. Published by Ernst Eulenburg & Co. GmbH - Digital (S9.Q7156). English • Italian.Traditional foundations in new tonal splendour - the leading representative of new Italian instrumental music, Ottorino Respighi, transcribed the original lute versions for large orchestra in a masterly fashion. Thanks to his compositional analysis of tradition, Respighi made a substantial contribution to the revival and rediscovery of forgotten musical treasures. The three orchestral suites based on lute settings from the Italian Renaissance and Italian Early Baroque period, however, have not only been influenced by the historicism of later revivals of original texts. Respighi makes the intimate original pieces also shine in repackaged versions for large orchestra, thus achieving wonderful, brilliant sound effects!1. Satz: 2 Oboen, Cembalo, Steicher 2. Satz: 2 Flöten, 2 Oboen, Englischhorn, 2 Fagotte, 2 Hörner, Harfe, Cembalo, Streicher 3. Satz: Flöte, Oboe, Harfe, Streicher 4. Satz: 2 Flöten, 2 Oboen, 2 Fagotte, 2 Hörner, Trompete, Harfe, Cembalo, Streicher. Westerly for flute, violin and string orchestra (mp3)
Westerly for flute, violin and string orchestra (mp3) # Alec Keith, Matt Weiss, Octava # Westerly for flute, violin and # David Warin Solomons # SheetMusicPlus
Strings Flute,Violin - Level 4 - Digital Download SKU: A0.1256762 By Alec Keith, Matt Weiss, Octava Chamber Orchestra. By David Warin Solomons. 20th Cent...(+)
Strings Flute,Violin - Level 4 - Digital Download SKU: A0.1256762 By Alec Keith, Matt Weiss, Octava Chamber Orchestra. By David Warin Solomons. 20th Century,21st Century. Full Performance. Duration 628. David Warin Solomons #850134. Published by David Warin Solomons (A0.1256762). Performed here by Alec Keith (flute), Matt Weiss (violin) and the Octava Chamber Orchestra under guest conductor Ian AlvarezWesterly is inspired by the old English folk song Westron Wynde and by the Renaissance masses based on that folk songIt is an expanded version of Celebration originally written for James Pellerite and his North American Native flute [NAF]In order to make the piece accessible to a wider range of performers this version uses a concert flute, with wider range and with just a few of the NAF decorations, and the violin solo part has also been expanded, resulting in a miniature Double Concerto. Westerly uses four distinct themes and weaves them into a joyful whole. The flute soloist introduces himself with the traditional call of the North American Native flute (a repeated minor third phrase), which reappears from time to time in the rest of the piece, and then embarks upon a sort of jig in E flat major (second theme).The violin soloist copies these flute phrases but then introduces the third theme of the work in the related key of C minor, and the string orchestra comes in. This third tune is based on the old Westron Wynde melody but it uses an unusual rhythm (3 3 2) and the excitement gradually begins to mount. So the two soloists rhapsodise on the various tunes and permutations along with the orchestral strings, mixing the various tunes together. In due course the fourth theme comes in, and it is quite surprising how it fits in with the E flat major - C minor interplay, since it is merely a 12 tone row. It follows some of the traditions of the 20th Century atonal composers, but, due to the context in which it is set, it takes on a warmth seldom found in atonal music. The Boar's Head Carol - String Orchestra - Intermediate
The Boar's Head Carol - String Orchestra - Intermediate # Christmas # Traditional English Carol # Dennis Ruello # Noel This  # The Boar's Head Carol - String # Chicory Music # SheetMusicPlus
Small Ensemble - Level 3 - Digital Download SKU: A0.734507 Composed by Traditional English Carol. Arranged by Dennis Ruello. Christmas,Holiday,Renaissanc...(+)
Small Ensemble - Level 3 - Digital Download SKU: A0.734507 Composed by Traditional English Carol. Arranged by Dennis Ruello. Christmas,Holiday,Renaissance,Standards,World. Score and parts. 10 pages. Chicory Music #6102015. Published by Chicory Music (A0.734507). The Boar's Head CarolThis Christmas carol talks about a feast during midwinter in which a wild boar was served as the main dish and its head placed in a situated position to symbolize bravery and abundance. Closely related to the Norse tradition of boar sacrifice to their goddess Freyja during the feast of Winter Solstice, this song originated from an urban legend in Queen's College, Oxford back in the 15th century which tells of how a scholar from Queen’s College managed to kill an attacking boar and offered it at dinner.The song was first published in English during the 1520’s in a book entitled Christmase Carolles Newly Emprynted at London in the flete street, which was written by Jan van Wynken de Worde. It is also said to be the very 1st Christmas carol to ever be publish in English because it dates back that early.Although the modern versions of the song makes no mention of Christmas, the original verses does so in The boar's head we bring with song, in worship of Him that thus sprung, of a Virgin to redress all wrong; NoelThis Intermediate Level arrangement starts out in C Major and modulates to D Major for the final chorus .Performance time is approx. 2 minute 12 seconds. . Double Oboe d’amore Concerto in A Major, Op. 9 No. 12 and String Orchestra
Double Oboe d’amore Concerto in A Major, Op. 9 No. 12 and String Orchestra # Renaissance # Tomaso Albinoni # Don Werdick (1946 - ) # Double Oboe d’amore Concerto # Chamber Ensemble of Minnesota, Inc. # SheetMusicPlus
Small Ensemble Cello,Double Bass,Oboe d'Amore,Viola - Level 4 - Digital Download SKU: A0.955182 Composed by Tomaso Albinoni (1671-1751). Arranged by Don ...(+)
Small Ensemble Cello,Double Bass,Oboe d'Amore,Viola - Level 4 - Digital Download SKU: A0.955182 Composed by Tomaso Albinoni (1671-1751). Arranged by Don Werdick (1946 - ). Renaissance. Score and parts. 61 pages. Chamber Ensemble of Minnesota, Inc. #6415585. Published by Chamber Ensemble of Minnesota, Inc. (A0.955182). Complete score and parts of T. Albinoni’s Concerto for Two Oboes in D Major, Op. 9, No. 12 and String Orchestra, arranged for Oboe d’amore and String Orchestra in A Major by D Werdick. Includes separate Oboe d’amore I & II score and solo parts. Movements: 1. Allegro 2. Adagio 3. Allegro Time: 9 minutes, 0 seconds Full Score + Parts: Oboe d’amore I & II Parts, Oboe d’amore Score, Violin I, Violin II, Viola, Cello, Double Bass. During the Baroque period (c. 1600 to 1750) music written in the Italian style, and German music to a lesser degree, scores and solo parts contain little (if any) information about elements like articulation, ornamentation or dynamics, so the soloists and ensemble players needed to make their own informed choices before each performance. This arrangement part offers dynamics, articulations, ornamentation and nuances of tone color as to how to effectively present the composition and can help the performer to build on these ideas to effectively communicate the sense of the music. 2021 Chamber Ensemble of Minnesota, Inc. Publishing. Westerly for flute, violin and string orchestra (SCORE and PARTS)
Westerly for flute, violin and string orchestra (SCORE and PARTS) # David Warin Solomons # Westerly for flute, violin and # David Warin Solomons # SheetMusicPlus
Cello,Double Bass,Flute,Viola,Violin - Level 4 - Digital Download SKU: A0.576980 Composed by David Warin Solomons. 20th Century,Contemporary,Multicultura...(+)
Cello,Double Bass,Flute,Viola,Violin - Level 4 - Digital Download SKU: A0.576980 Composed by David Warin Solomons. 20th Century,Contemporary,Multicultural,World. 64 pages. David Warin Solomons #566725. Published by David Warin Solomons (A0.576980). Westerly is inspired by the old English folk song Westron Wynde and by the Renaissance masses based on that folk song It is an expanded version of Celebration originally written for James Pellerite and his North American Native flute [NAF] In order to make the piece accessible to a wider range of performers this version uses a concert flute, with wider range and with just a few of the NAF decorations, and the violin solo part has also been expanded, resulting in a miniature Double Concerto. Â Westerly uses four distinct themes and weaves them into a joyful whole. Â The flute soloist introduces himself with the traditional call of the North American Native flute (a repeated minor third phrase), which reappears from time to time in the rest of the piece, and then embarks upon a sort of jig in E flat major (second theme). The violin soloist copies these flute phrases but then introduces the third theme of the work in the related key of C minor, and the string orchestra comes in. Â This third tune is based on the old Westron Wynde melody but it uses an unusual rhythm (3 3 2) and the excitement gradually begins to mount. Â So the two soloists rhapsodise on the various tunes and permutations along with the orchestral strings, mixing the various tunes together. Â In due course the fourth theme comes in, and it is quite surprising how it fits in with the E flat major - C minor interplay, since it is merely a 12 tone row. It follows some of the traditions of the 20th Century atonal composers, but, due to the context in which it is set, it takes on a warmth seldom found in atonal music. The pdf file contains score and parts. Westerly for flute, violin and string orchestra (SCORE only)
Westerly for flute, violin and string orchestra (SCORE only) # David Warin Solomons # Westerly for flute, violin and # David Warin Solomons # SheetMusicPlus
Cello,Double Bass,Flute,Viola,Violin - Level 4 - Digital Download SKU: A0.576981 Composed by David Warin Solomons. 20th Century,Contemporary,Multicultura...(+)
Cello,Double Bass,Flute,Viola,Violin - Level 4 - Digital Download SKU: A0.576981 Composed by David Warin Solomons. 20th Century,Contemporary,Multicultural,World. 27 pages. David Warin Solomons #566727. Published by David Warin Solomons (A0.576981). Westerly is inspired by the old English folk song Westron Wynde and by the Renaissance masses based on that folk song It is an expanded version of Celebration originally written for James Pellerite and his North American Native flute [NAF] In order to make the piece accessible to a wider range of performers this version uses a concert flute, with wider range and with just a few of the NAF decorations, and the violin solo part has also been expanded, resulting in a miniature Double Concerto. Â Westerly uses four distinct themes and weaves them into a joyful whole. The flute soloist introduces himself with the traditional call of the North American Native flute (a repeated minor third phrase), which reappears from time to time in the rest of the piece, and then embarks upon a sort of jig in E flat major (second theme). The violin soloist copies these flute phrases but then introduces the third theme of the work in the related key of C minor, and the string orchestra comes in. Â This third tune is based on the old Westron Wynde melody but it uses an unusual rhythm (3 3 2) and the excitement gradually begins to mount. Â So the two soloists rhapsodise on the various tunes and permutations along with the orchestral strings, mixing the various tunes together. Â In due course the fourth theme comes in, and it is quite surprising how it fits in with the E flat major - C minor interplay, since it is merely a 12 tone row. It follows some of the traditions of the 20th Century atonal composers, but, due to the context in which it is set, it takes on a warmth seldom found in atonal music.