Partitions Numériques de Come Live With Me pour Orchestre de chambre

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Come Live With Me
Non classifié 102

Piano & claviers
Piano seul 42
Piano, Voix et Guitare 19
Piano, Voix 17
Piano Facile 4
Orgue 2

Instruments en Do 2
1 Piano, 4 mains 1
Accompagnement Piano 1
Piano Trio: piano, violon, violoncelle 1

+ 4 instrumentations

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Guitares
Guitare 7
Basse electrique 5
Ligne De Mélodie, (Paroles) et Accords 2
Paroles et Accords 1
Guitare notes et tablatures 1

Voix
Chorale SATB 36
Chorale 3 parties 10
Chorale 4
Chorale TTBB 3
Chorale 2 parties 3

Chorale Unison 2
Voix haute 2
Chorale SSAA 2
Voix duo, Piano 2
Voix Mezzo-Soprano, Piano 1
Voix Soprano, Piano 1

+ 6 instrumentations

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Vents
3 Clarinettes (trio) 8
Saxophone (partie séparée) 4
Flûte traversière et Piano 3
Quatuor de Clarinettes: 4 clarinettes 2
Clarinette et Piano 2

Flûte, Hautbois, Basson 2
Hautbois, Clarinette, Basson (trio d'anches) 2
Flûte, Hautbois, Clarinette, Basson 1
Hautbois (partie séparée) 1
Trio de Flûtes: 3 flûtes 1
Saxophone Tenor 1
2 Flûtes traversières, Piano 1
Clarinette 1
Clarinette, Guitare (duo) 1
3 Flûtes à bec (trio) 1
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor 1
3 Saxophones (trio) 1
Hautbois, Piano (duo) 1
Quintette de Saxophone: 5 saxophones 1
Saxophone Alto et Piano 1
Saxophone Alto 1
Saxophone Tenor et Piano 1
Quintette de Clarinettes: 5 clarinettes 1

+ 18 instrumentations

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Cuivres
Trompette (partie séparée) 2
Trompette 2
Quatuor de Cuivres : 2 trompettes, trombone, tuba 1
Trombone et Piano 1
Cor, Trompette, Trombone (trio) 1

Cordes
Violon et Piano 8
Quatuor à cordes: 2 violons, alto, violoncelle 7
Alto, Piano 2
Trio à cordes: 3 violins 2
Harpe 2

Harpe, Voix 2
Violon 2
Contre Basse 1
Violoncelle, Piano 1
Violoncelle (partie séparée) 1
Contrebasse (partie séparée) 1
Trio à Cordes: violon, alto, violoncelle 1

+ 7 instrumentations

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Percussions & orchestre
Orchestre d'harmonie 41
Batterie 23
Orchestre à Cordes 4
Orchestre 4
Cloches 3

Orchestre de chambre 2

Xylophone, Piano 2
Ensemble Jazz 1
Xylophone 1
Ensemble de cuivres 1

+ 5 instrumentations

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Come Live With Me

Orchestre de chambre

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2 partitions trouvées

Requiem

Requiem #Orchestre de chambre #Harald Weiss #Requiem #Schott Music - Digital #SheetMusicPlus

Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra - SKU: S9.Q7038 Teil I: Schwarz vor Augen... Â· Teil II: ...und es war...(+)

Soprano, tenor, Knabensoprano, flugelhorn, mixed choir and chamber orchestra - 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 ≈ 52.40€

God's Grandeur (2012, rev. 2019) for chorus and chamber orchestra

God's Grandeur (2012, rev. 2019) for chorus and chamber orchestra #Orchestre de chambre #INTERMÉDIAIRE/AVANCÉ #Thomas Oboe Lee #God's Grandeur #Thomas Oboe Lee #SheetMusicPlus

Chamber Orchestra - Level 4 - SKU: A0.869215 Composed by Thomas Oboe Lee. 20th Century,Contemporary,Sacred. Score and parts. 94 pages. Thomas Oboe Lee #...(+)

Chamber Orchestra - Level 4 - SKU: A0.869215 Composed by Thomas Oboe Lee. 20th Century,Contemporary,Sacred. Score and parts. 94 pages. Thomas Oboe Lee #2016287. Published by Thomas Oboe Lee (A0.869215). During the spring of the Millennial year 2000, music director John Finney and the Boston College University Chorale premiered my Mass for the Holy Year 2000 for chorus and orchestra in Trinity Chapel at Boston College. It was a large work, close to an hour long in duration. It was a momentous occasion and I was extremely pleased with the performance by John and the BC University Chorale. Ten years later in anticipation of the 150th Anniversary of the founding of Boston College, I decided that I wanted to write another choral work for the BC Chorale. This time the subject would be something directly connected to the Jesuit identity of Boston College. I chose for text the poems of Gerard Manley Hopkins, S.J. (1844-1889). This Manley Hopkins project would come in two parts. Part One would be a private uttering of faith in God, and Part Two would be a public declamation of the same topic. The private utterance would be in a chamber setting. I decided on a song cycle setting for soprano and piano. The public declamation would be the choral work with orchestra for the Boston College University Chorale. 1. Part The First â€¦ THOU mastering me God! (2010) for soprano and piano The ten poems for this song cycle came from GMH's The Wreck of the Deutschland, Part the First. This 30-minute song cycle was premiered in Bapst Library on March 31, 2011. The performers were Megan Stapleton, soprano, and Diane Braun, piano. 2. God's Grandeur (2012) for SATB chorus and chamber orchestra. For this work I chose five poems by GMH. Pied Beauty God's Grandeur The Habit of Perfection Thou Art Indeed Just, Lord. Inversnaid Why did I choose GMH's work besides the fact that he was a Jesuit? I was very surprised and thrilled that his poems are so fanciful, imaginative and abstract in form and content for someone who lived in the 19th century. These abstract poetic qualities are the very things that a composer in the 20th and 21st centuries would find inspiring when they are seeking texts for musical settings. I did indeed find the sound and silences of GMH's words quite inspirational. Hearing music in those words came directly and quickly as I was working on the piece. I hope the audience will enjoy the work as much as I did when I was creating it.

$9.99 ≈ 9.35€

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