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Were You There?
Not classified 31

Piano & keyboards
Piano solo 14
Organ 4
Easy Piano 3
Piano, Voice 3
Piano, Vocal and Guitar 2

C Instruments 1
Piano Quintet: piano, 2 violins, viola, cello 1
1 Piano, 4 hands 1

+ 3 instrumentations

- Retract

Guitars
Guitar notes and tablatures 3
Ukulele 1

Voice
Choral SATB 9
Alto voice, Piano 5
Choral Unison 2
Choral 3-part 1
Vocal duet 1

Choral SSAA 1
Choral 2-part 1
High voice 1
Voice solo 1
Choral SSATTB 1

+ 5 instrumentations

- Retract

Woodwind
2 Flutes, Piano 25
Clarinet Quintet: 5 clarinets 3
Clarinet 3
Saxophone Quartet: 4 saxophones 2
Clarinet Quartet: 4 clarinets 2

Alto Saxophone and Piano 2
Oboe (band part) 2
Flute Quartet: 4 flutes 2
Soprano Saxophone and Piano 2
Flute 2
Oboe, Piano (duet) 1
Woodwind Quintet: flute, oboe, bassoon, clarinet, horn 1
2 Clarinets (duet) 1
Flute and Piano 1

+ 9 instrumentations

- Retract

Woodbrass
Trumpet 3
Brass Quintet: 2 trumpets, horn, trombone, tuba 3
French horn 2
Brass Quartet: 4 trombones 2
Brass Quartet: 4 horns 2

3 Trumpets (trio) 2
Trombone 1
Brass quartet : 2 trumpets, trombone, tuba 1
French Horn and Piano 1
Brass Quartet: 4 trumpets 1

+ 5 instrumentations

- Retract

Strings
String Quartet: 2 violins, viola, cello 5
Viola, Piano 4
Violin 3
4 Cellos 3
String Quartet : 4 violas 2

Violin and Piano 2
2 Violins (duet) 1
Violin, Clarinet, Piano (trio) 1
Viola 1
Violin, Cello (duet) 1
Double Bass 1
String Trio: 3 cellos 1
Harp 1
Cello, Piano 1

+ 9 instrumentations

- Retract

Percussion & orchestra
Orchestra 2
Concert band 2
Chamber Orchestra 2

String Orchestra 2
Orchestra, Violin 1

Brass ensemble 1

+ 1 instrumentations

- Retract

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Were You There?

Chamber Orchestra

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Karl Friedrich Abel - Sinfonia Op. 7 n. 1 - Secondo Movimento - Andante

Karl Friedrich Abel - Sinfonia Op. 7 n. 1 - Secondo Movimento - Andante #Chamber Orchestra #INTERMEDIATE #Classical #Karl Friedrich Abel #Guido Menestrina #Karl Friedrich Abel - Sinfonia #Guido Menestrina #SheetMusicPlus

Chamber Orchestra - Level 3 - Digital Download SKU: A0.828700 Composed by Karl Friedrich Abel. Arranged by Guido Menestrina. Classical. Score and parts. ...(+)

Chamber Orchestra - Level 3 - Digital Download SKU: A0.828700 Composed by Karl Friedrich Abel. Arranged by Guido Menestrina. Classical. Score and parts. 16 pages. Guido Menestrina #122893. Published by Guido Menestrina (A0.828700). Karl Friedrich Abel - Sinfonia Op. 7 n. 1 - Secondo Movimento - Adagio Edited by Guido Menestrina - Full score and single parts for 2 oboe, 2 F Horns (originally cor de chasse, tacet on 2nd movement), 2 violins, viola and cello (originally basse de violon). Abel was born in KÃ¶then, a small German city, where his father, Christian Ferdinand Abel, had worked for years as the principal viola da gamba and cello player in the court orchestra. In 1723 Abel senior became director of the orchestra, when the previous director, Johann Sebastian Bach moved to Leipzig. The young Abel later boarded at Leipzig's Thomasschule, where he was taught by Bach. On Bach's recommendation in 1743 he was able to join Johann Adolph Hasse's court orchestra at Dresden where he remained for fifteen years.[3][5] In 1759 (or 1758 according to Chambers),[1] he went to England and became chamber-musician to Queen Charlotte, in 1764.[3][5] He gave a concert of his own compositions in London, performing on various instruments, one of which was a five-string cello known as a pentachord, which had been recently invented by John Joseph Merlin.[6] In 1762, Johann Christian Bach, the eleventh son of J.S. Bach, joined him in London, and the friendship between him and Abel led, in 1764 or 1765, to the establishment of the famous Bach-Abel concerts, England's first subscription concerts. In those concerts, many celebrated guest artists appeared, and many works of Haydn received their first English performance. For ten years the concerts were organized by Mrs. Theresa Cornelys, a retired Venetian opera singer who owned a concert hall at Carlisle House in Soho Square, then the height of fashionable events. In 1775 the concerts became independent of her, to be continued by Abel and Bach until Bach's death in 1782. Abel still remained in great demand as a player on various instruments new and old. He traveled to Germany and France between 1782 and 1785, and upon his return to London, became a leading member of the Grand Professional Concerts at the Hanover Square Rooms in Soho. Throughout his life he had enjoyed excessive living, and his drinking probably hastened his death, which occurred in London on 20 June 1787. One of Abel's works became famous due to a misattribution: in the 19th century, a manuscript symphony in the hand of Wolfgang Amadeus Mozart, was catalogued as his Symphony no. 3 in E flat, K. 18, and was published as such in the first complete edition of Mozart's works by Breitkopf & HÃ¤rtel. Later, it was discovered that this symphony was actually the work of Abel, copied by the boy Mozart-evidently for study purposes-while he was visiting London in 1764. That symphony was originally published as the concluding work in Abel's Six Symphonies, Op. 7. Follow the score on youtube: https://www.youtube.com/watch?v=_urGVpH7Pls.

$7.99 ≈ 7.35€

Carson Cooman: The Acts of the Apostles (2009), an oratorio for baritone, chorus, congregation/audie

Carson Cooman: The Acts of the Apostles (2009), an oratorio for baritone, chorus, congregation/audie #Chamber Orchestra #ADVANCED #Carson Cooman #Carson Cooman: The Acts of the #Musik Fabrik Music Publishing #SheetMusicPlus

Chamber Orchestra - Level 5 - Digital Download SKU: A0.533578 Composed by Carson Cooman. Christian,Contemporary,Spiritual. Score and parts. 189 pages. Mu...(+)

Chamber Orchestra - Level 5 - Digital Download SKU: A0.533578 Composed by Carson Cooman. Christian,Contemporary,Spiritual. Score and parts. 189 pages. Musik Fabrik Music Publishing #3025409. Published by Musik Fabrik Music Publishing (A0.533578). The Acts of the Apostles (2009), an oratorio for baritone, chorus, congregation/audience, and chamber orchestra (piano, organ, strings-suggested minimum of 3.3.3.2.1),was commissioned by The Memorial Church at Harvard University. It is dedicated to Edward Elwyn Jones and theHarvard University Choir.The biblical books of Luke and Acts form a pair of documents from a single author and with a single audience (thelikely-metaphorical â€œTheophilusâ€), yet they are unusual for being composed in such contrasting genres. Lukeâ€™sgospel, using Mark as a primary source throughout, features a comparable literary style to that of the otherevangelists. Acts, by contrast, is a historical monograph that charts the birth of the Church with dramatic storiesaboutâ€”and speeches fromâ€”the apostles, painting a vivid, if not necessarily chronological, picture of their victoriesand struggles. As such, it is a book that provides excellent source material for a dramatic choral libretto of this scale.Although much of Acts is focused on the ministry of Saul/Paul, this oratorio draws most of its material from thefirst third of the book, prior to and including the conversion of Saul. In the Prologue, Christâ€™s ascension is narratedandâ€”following an orchestral Sinfoniaâ€”the chorus sings words of Jesus from the Sermon on the Plain in Lukeâ€™sgospel that foreshadow many of the trials the apostles go on to face. The astounding account of Pentecost follows:here, words from the book of Ruth, customarily read on the feast of Shavuot (Pentecost), are included, telling thestory of a Moabite woman who converted to the Israelite faithâ€”a parallel to the expansion of the Christian messageto all nations by the gift of the Holy Spirit. The Prayer for Boldness, quoting Psalm 2, asks God for protection fromthe threats of persecution that the apostles will now face.Stephen, regarded as the proto-martyr of the Christian Church, offers one of the most developed speeches in Acts,only a small portion of which is presented here. Full of scriptural references, including the quotation from Isaiahâ€œHeaven is my throneâ€¦â€, the end of the narrative is remarkable for two reasons: firstly, Stephenâ€™s final wordsmirror those of Christ on the cross in Lukeâ€™s gospelâ€”where Jesus forgives his executioners and prays â€œFather, intoyour hands I commend my spiritâ€ (Luke 23:46); secondly, Saul is specifically mentioned as one who approved ofStephenâ€™s stoning, indicative of the redemptive possibilities of the Christian message.The account of the baptism of the Ethiopian eunuch here in the oratorio ends with the First Song of Isaiahâ€”whilenot quoted in Acts, it seems a fitting conclusion to the scene as Philip and the eunuch were reading Isaiah together,and the canticle has often been associated by Christians with the rite of baptism. Similarly, the story of Saulâ€™sConversion is followed here by a Christological poem found in Paulâ€™s letter to the Philippians, though it is likely aquotation from an earlier source. It is often regarded as the earliest extant Christian hymn.The Acts of the Apostles concludes with Lukeâ€™s realistic assessment that in spite of Paulâ€™s energetic evangelism manyremained unconvinced by the Christian message. At the heart of both Lukeâ€™s gospel and Acts is the tension betweenthe uniquely important role of the Jewish traditions that Jesus himself practiced and the expansion of the gospel togentiles, of whom Luke himself is one. It is appropriate, therefore, to follow Paulâ€™s message of salvation to thegentiles with the Magnificat: a canticle that emphasizes the promises of God to the people of Israel throughouthistory.Three traditional hymn texts are found in the oratorio, each set congregationally to a pre-existing tune. The first,â€œSpirit of mercy, truth, and loveâ€ is an eighteenth century poem that e.

$25.95 ≈ 23.88€