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The Stylistics
Not classified 44

Piano & keyboards
Piano solo 26
Piano, Vocal and Guitar 18
Organ 6
Piano, Voice 1
1 Piano, 4 hands 1

Guitars
Guitar 6
Melody line, (Lyrics) and Chords 2
2 Guitars (duet) 1
Piano, Guitar (duet) 1
4 Guitars (Quartet) 1

Guitar notes and tablatures 1

+ 1 instrumentations

- Retract

Voice
Choral SATB 11
Choral 3-part 4
Choral SSAA 1
Choral TTBB 1
Choral 2-part 1

Woodwind
Clarinet Quartet: 4 clarinets 5
Saxophone Quartet: 4 saxophones 4
Flute Quartet: 4 flutes 4
Tenor Saxophone and Piano 3
Flute, Oboe, Clarinet, Bassoon 3

Flute and Piano 3
Oboe, Piano (duet) 3
Clarinet and Piano 2
Soprano Saxophone and Piano 2
3 Saxophones (trio) 2
Woodwind Quintet: flute, oboe, bassoon, clarinet, horn 2
3 Clarinets (trio) 1
Saxophone ensemble 1
Flute, trombone and piano 1
Flute, Cello, Piano (trio) 1
Alto Saxophone and Piano 1
Flute, Viola and Piano 1
Clarinet, Violin (duet) 1
Clarinet 1
2 Flutes (duet) 1
Flute, Clarinet, Piano (trio) 1
2 Saxophones (duet) 1
2 Clarinets (duet) 1
Flute, Violin, Guitar 1
2 Clarinets, Piano 1
Flute, Oboe, Piano (trio) 1

+ 21 instrumentations

- Retract

Woodbrass
Trombone and Piano 3
Trumpet, Piano 2
Trombone 2
Brass Quartet: 2 trumpets, horn, trombone 2
Brass quartet : 2 trumpets, trombone, tuba 2

Brass Quartet: 4 trombones 2
Brass Quintet: 2 trumpets, horn, trombone, tuba 2
Trombone (band part) 1
2 French horns (duet) 1
French horn 1
Tuba and Piano 1

+ 6 instrumentations

- Retract

Strings
String Quartet: 2 violins, viola, cello 9
Violin and Piano 6
Cello, Piano 4
4 Cellos 3
2 Cellos (duet) 2

Viola, Piano 2
String Trio: 2 violins, cello 2
Violin 2
String Trio: violin, viola, cello 1
String Trio: 3 violins 1
2 Violins (duet) 1
2 Violas (duet) 1

+ 7 instrumentations

- Retract

Percussion & orchestra
Concert band 71
Orchestra 6
Chamber Orchestra 2

String Orchestra 2
Brass ensemble 1

Handbells 1

+ 1 instrumentations

- Retract

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• Stylistics [The]

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The Stylistics

Chamber Orchestra

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2 sheet music found

Variations on a Rossini Theme op.Posth

Variations on a Rossini Theme op.Posth #Chamber Orchestra #Classical #Frederik FranÃ§ois Chopin #James Strauss #Variations on a Rossini Theme #James Strauss #SheetMusicPlus

Chamber Orchestra - SKU: A0.1035224 Composed by Frederik François Chopin (1810-1949). Arranged by James Strauss. Romantic Period. Score and parts. 33 p...(+)

Chamber Orchestra - SKU: A0.1035224 Composed by Frederik François Chopin (1810-1949). Arranged by James Strauss. Romantic Period. Score and parts. 33 pages. James Strauss #5806027. Published by James Strauss (A0.1035224). Unless your name is Mozart, Mendelssohn or Korngold, the first compositional steps are always the hardest. Chopin was probably no older than 14 when he set to work on a set of variations for piano and flute. Already in love with opera, he decided on the happy- ending aria, Non più mesta (No longer sad) from Rossini’s opera Cinderella. As the curtain comes down, Cinderella gleefully warbles, No longer sad beside the fire shall I sit alone, singing; my long years of heartache were but a streak of lightning, a dream, a game. We are unsure what actually prompted Chopin to select this for his unique combination of flute and piano, but it was most likely written for the composer’s father who was a capable amateur flute player. In the end, the piece was probably dedicated to Józef Cichowski, a close friend of his fathers and an amateur flautist as well. We are indeed fortunate that this early piece of Chopin juvenilia has actually survived, as Jozef Nowakowski, one of the composer’s friends, kept the single manuscript copy as a memento. For one reason or another, the work did not appear in print until 1953. This charming and fluent set of variations presents the theme and four decorated versions of the original tune. Added triplet figuration enlivens the first variation, while the second relies on a florid bel canto style to embellish the theme. Rapid downward arpeggios propel variation three, and the concluding variant displays rapid staccato figuration. Stylistically, there is nothing in this composition to suggest Chopin’s hand. You certainly won’t hear Chopin’s fingerprint in the piano part, as all the interesting bits are given to the flute. In addition, it’s the only Chopin piano part that can comfortably be played by most amateurs. Clearly, the future poet of the piano had a long way to go! Here in a Flute and orchestra version.

$29.99 ≈ 27.98€

Songs from the Pomegranate Garden (Kantes del Verdjel de Granadas)

Songs from the Pomegranate Garden (Kantes del Verdjel de Granadas) #Chamber Orchestra #Ofer Ben-Amots #Songs from the Pomegranate Gar #The Composer's Own Press #SheetMusicPlus

Chamber Orchestra - SKU: A0.944036 Composed by Ofer Ben-Amots. Contemporary,Jewish,World. Score and parts. 124 pages. The Composer's Own Press #4627681....(+)

Chamber Orchestra - SKU: A0.944036 Composed by Ofer Ben-Amots. Contemporary,Jewish,World. Score and parts. 124 pages. The Composer's Own Press #4627681. Published by The Composer's Own Press (A0.944036). Kantes del verdgel de granadas – Songs from the Pomegranate Garden A Judeo-Spanish song cycle for solo voice and chamber symphony orchestra Composer’s notes: Kantes del verdgel de granadas, or in its English translation: Songs from the Pomegranate Garden, is a cycle of five songs in the Judeo-Spanish dialect, also known as Ladino. The texts, based on folk-poetry, are magical, passionate, and encompass a wide range of human emotions and experiences. We can find in them love and longing, sorrow and death, lightheartedness and folly, as well as burning love and even sexual innuendo. The vocal part portrays different stories and a variety of human characters in each of the five songs. It, thus, ranges in expression from parlando secco to lirico espressivo. The role of the orchestra in this cycle is more than just an accompaniment; it converses with the voice, adds colors and ambience, and serves as a commentary over the sung text. Thus, the orchestral part is equal to, or at times even more predominant than the voice itself. The initiative to write this composition came in response to a specific cultural approach by which creativity based on traditional Judaic material should correspond to four stages in the artistic process: Exploration, Preservation, Interpretation, and Innovation (as translated by the Hebrew terms: חידוש – פירוש – שימור – חיפוש). The main idea behind this initiative was to conserve crucial elements within traditional Jewish folk music, and then, bring about their revival as art music through new contemporary interpretations. Thus, the musical arrangement is partially based on the traditional Ladino tunes and partially original. However, phrases based on old Ladino melodies are starkly modified and composed in such way to completely evoke personal imagery and interpretation. The songs I selected for the cycle were taken from the four-volume collection: Chants judéo-espagnols by Isaac Levy. My criteria for the selection was finding lesser-known melodies, yet most intriguing ones and with a strong Judeo-Spanish character. The five songs have various degrees of arrangement vs. original composition: songs 2 and 3, Mi korason and Entre las huertas, for example, are almost unchanged, while songs 1 and 4, Dos amantes and Malato ‘sta el hijo del rey, heavily combine the old Ladino romancero melodies with originally composed material. The concluding song (Nr. 5) is entirely original, but correspond stylistically to the Judeo-Spanish musical language. While all five songs are secular in nature, the ballad Malato ‘sta el hijo del rey (The King’s Son is Ill) has been traditionally sung - according to Isaac Levy - on the night of Tisha B’Av along the scroll of Eicha to bemoan the destruction of the Holy Temple in Jerusalem. The Judeo-Spanish text of the songs can be found below along with its English translation. Duration: ca. 24 min.Performance material by rental only! For demo recording, questions, or any additional information please e-mail Ofer Ben-Amots at: thecomposerspress@gmail.com

$54.00 ≈ 50.37€