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You've selected:
Mater Mea
Orchestra
Sheetmusic to print
21 sheet music found
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1
Pere Marquette #1225, Op. 2
Pere Marquette #1225, Op. 2
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Orchestra
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INTERMEDIATE
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Christian Moehrle, H
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Christian Moehrle
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Pere Marquette #1225, Op. 2
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Christian Frederick Moehrle
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SheetMusicPlus
Full Orchestra - Level 3 - Digital Download SKU: A0.1024376 Composed by Christian Moehrle, H. Owen Reed, and Winifred Lee Brent Lyster. Arranged by Chris...
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Full Orchestra - Level 3 - Digital Download SKU: A0.1024376 Composed by Christian Moehrle, H. Owen Reed, and Winifred Lee Brent Lyster. Arranged by Christian Moehrle. Children,Christmas,Contemporary,Folk. Score and parts. 29 pages. Christian Frederick Moehrle #5001315. Published by Christian Frederick Moehrle (A0.1024376). Another selection from my Steam Locomotive Songbook, this ballad was meant to musically describe the official state steam locomotive of Michigan, the Pere Marquette #1225, which is owned and operated by the Steam Railroading Institute in Owosso, MI. Most people should recognize this easily, as it starred as the titular train in the 2004 animated movie The Polar Express, starring Tom Hanks. And seeing that the #1225 is the real-life version of said Christmas train, that runs holiday-themed excursions based upon the original Chris Van Allsburg story, I'd thought it is appropriate to give it a Christmas theme. Again, much of this is my own work, although it also recycles material from the official Michigan State University Alma Mater, MSU Shadows, and the traditional German Hymn turned official Michigan State Song O Tannebaum/Michigan my Michigan. With all that being said, I also do not own the Pere Marquette railroad.
$7.65 ≈
¥55.39
Enchanted Landscapes, A Symphonic Poem for symphony orchestra
Enchanted Landscapes, A Symphonic Poem for symphony orchestra
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Orchestra
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INTERMEDIATE/ADVANCED
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Contemporary
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Ofer Ben-Amots
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Enchanted Landscapes, A Sympho
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The Composer's Own Press
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SheetMusicPlus
Full Orchestra - Level 4 - Digital Download SKU: A0.944033 Composed by Ofer Ben-Amots. Contemporary. Score and parts. 50 pages. The Composer's Own Press ...
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Full Orchestra - Level 4 - Digital Download SKU: A0.944033 Composed by Ofer Ben-Amots. Contemporary. Score and parts. 50 pages. The Composer's Own Press #4612747. Published by The Composer's Own Press (A0.944033). Composer’s Note: Enchanted Landscapes was commissioned by the Colorado Springs Philharmonic in recognition of the Association’s 90th Anniversary. Inspired by the theme of America the Beautiful, I decided to portray the actual beauty of the land, rather than to use Katharine Lee Bates and Samuel Ward's famous song as a musical reference. Thus, Enchanted Landscapes was composed as a single-movement Symphonic Poem, which transforms various visual elements of our magical views into an audible experience. The main melody is vast; Spanning over 30 measures, it conveys the feeling of spaciousness. Then, the same long melody repeats in a different, higher key. The middle part of the composition presents a fanfare-like theme, which builds up through both dynamics and polyphonic means. This section, dominated mainly by the brass and wind instruments, brings in a sense of drama, mystery, and purple mountain majesties. Finally, the use of Melodica sound in the otherwise traditional orchestration, adds a feeling of nostalgia and longing to the pure and proud landscape that watches upon us constantly, and connects us with the earth, with nature, and with ourselves. SCORING INFORMATION: fl. (2), ob. (2), Eng. hn., cl. in b-flat (2), bass cl. (in b-flat), Trp. (2), Fr. hn. (2), Tbn (2), Tuba, Perc (2) Melodica (or Accord.), Harp, strings.Total Duration: 11 min.Performance material by rental only! For demo recording, questions, or any additional information please e-mail Ofer Ben-Amots at: thecomposerspress@gmail.com
$36.00 ≈
¥260.67
TE DEUM - Score Only
TE DEUM - Score Only
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Orchestra
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Sacred music
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LORENZO ONDARRA QUINTANA
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TE DEUM - Score Only
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OE OFICINA
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SheetMusicPlus
Full Orchestra - Digital Download SKU: A0.1112762 Composed by LORENZO ONDARRA QUINTANA. 20th Century,Praise & Worship,Religious. 84 pages. OE OFICINA #71...
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Full Orchestra - Digital Download SKU: A0.1112762 Composed by LORENZO ONDARRA QUINTANA. 20th Century,Praise & Worship,Religious. 84 pages. OE OFICINA #714754. Published by OE OFICINA (A0.1112762). Para 4 voces mixtas y orquesta sinfónica - I Centenario Provinciae Capucinae Nav. - Cant. - Arag. ORCHESTRAL SCORES ARE AVAILABLE FOR RENTAL The Te Deum for mixed choir and symphony orchestra by Lorenzo Ondarra (1931- 2012) was composed in 1998 at the request of the Provincial Curia of the Capuchin Friars, to commemorate the First Centenary, in 2000, of the Restoration of the Navarre, Cantabria and Aragón Capuchin Province. The main theme is the Gregorian melody of the Te Deum, a thanksgiving hymn, which combines the melody of the Tonus Solemnis and the Tonus Simplex. The Gregorian melody alternates between the choir and the orchestra, and develops in a free style as a paraphrase, with frequent melodic movements through parallel fourths and fifths: a typical feature of Ondarra’s compositional language. Modal features permeate the entire work, succeeding one another with tonal sections and even bitonal elements. Ondarra’s orchestration reflects an outstanding work, in which the wind instruments, together with the ubtlety of the woods and strings, plays an important role. Through its deep religiosity, the work combines recollection and the invitation to prayer with moments of brilliance in the treatment of the voices, which are exquisitely interwoven with the orchestral timbres. El Te Deum para coro mixto y orquesta sinfónica de Lorenzo Ondarra (1931- 2012) fue compuesto en 1998 por encargo de la Curia Provincial de los Hermanos Capuchinos, para conmemorar el Primer Centenario, en 2000, de la Restauración de la Provincia Capuchina de Navarra, Cantabria y Aragón. El material temático principal es la melodÃa gregoriana del Te Deum – himno de acción de gracias – alternando la melodÃa del Tonus Solemnis y del Tonus Simplex. La melodÃa gregoriana aparece de forma alternada por el coro y por la orquesta, y se desarrolla en un estilo libre a modo de paráfrasis, con frecuentes movimientos melódicos por cuartas y quintas paralelas, propios del lenguaje compositivo de Ondarra. Los rasgos modales impregnan toda la obra, y se suceden con secciones tonales e incluso con elementos bitonales. La orquestación de Ondarra refleja un brillante trabajo, otorgando una presencia importante a los instrumentos de viento, junto a la sutileza de maderas y cuerdas. La obra combina desde su profunda religiosidad, el recogimiento y la invitación a la oración, con momentos de luminosidad en el tratamiento de las voces, exquisitamente entretejidas con los timbres orquestales. Lorenzo Ondarraren abesbatza misto eta orkestra sinfonikorako Te Deum (1931- 2012) 1998an konposatu zen Anaia Kaputxinoen Probintzia Kuriaren enkarguz, 2000. urtean Nafarroa, Kantabria eta Aragoiko Kaputxinoen probintziaren zaharberritzearen lehenengo mendeurrena ospatzeko. Material tematiko nagusia Te Deum -eko melodÃa gregorianoa da, Tonus Solemnis-eko eta Tonus Simplex- eko melodiak aldizkatuz. Melodia gregorianoa txandaka azaltzen da koruaren eta orkestraren bitartez interpretatuz eta Ondarraren konposatzeko eran ohikoa den bezala estilo libre batean parafrasi moduan garatuta eta gehienetan laudun eta bostun paraleloekin egindako melodiekin osatuta dago. Obra ezaugarri modalez beterik dago, sekzio tonalak eraikiz edota elementu bitonalak izanik. Ondarraren orkestrazioak lan paregabea helarazten du, haize-instrumentuen presentzia nagusituz eta zur-instrumentuen eta hari instrumentuen presentzia sotilduz. Obra honek, sakoneko erlijiotasuna eta ahotsen eta orkestraren arteko nahasketa paregabea konbinatzen ditu.
$24.99 ≈
¥180.95
TE DEUM Reducción para piano y 4 voces mixtas - Score Only
TE DEUM Reducción para piano y 4 voces mixtas - Score Only
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Orchestra
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Sacred music
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LORENZO ONDARRA QUINTANA
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TE DEUM Reducción para piano
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OE OFICINA
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SheetMusicPlus
Full Orchestra - Digital Download SKU: A0.1112703 Composed by LORENZO ONDARRA QUINTANA. 20th Century,Praise & Worship,Religious. 48 pages. OE OFICINA #71...
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Full Orchestra - Digital Download SKU: A0.1112703 Composed by LORENZO ONDARRA QUINTANA. 20th Century,Praise & Worship,Religious. 48 pages. OE OFICINA #714716. Published by OE OFICINA (A0.1112703). Para 4 voces mixtas y orquesta sinfónica - REDUCCIÓN A 4 voces mixtas y piano In I Centenario Provinciae Capucinae Nav. - Cant. - Arag. ORCHESTRAL SCORES ARE AVAILABLE FOR RENTAL The Te Deum for mixed choir and symphony orchestra by Lorenzo Ondarra (1931- 2012) was composed in 1998 at the request of the Provincial Curia of the Capuchin Friars, to commemorate the First Centenary, in 2000, of the Restoration of the Navarre, Cantabria and Aragón Capuchin Province. The main theme is the Gregorian melody of the Te Deum, a thanksgiving hymn, which combines the melody of the Tonus Solemnis and the Tonus Simplex. The Gregorian melody alternates between the choir and the orchestra, and develops in a free style as a paraphrase, with frequent melodic movements through parallel fourths and fifths: a typical feature of Ondarra’s compositional language. Modal features permeate the entire work, succeeding one another with tonal sections and even bitonal elements. Ondarra’s orchestration reflects an outstanding work, in which the wind instruments, together with the ubtlety of the woods and strings, plays an important role. Through its deep religiosity, the work combines recollection and the invitation to prayer with moments of brilliance in the treatment of the voices, which are exquisitely interwoven with the orchestral timbres. El Te Deum para coro mixto y orquesta sinfónica de Lorenzo Ondarra (1931- 2012) fue compuesto en 1998 por encargo de la Curia Provincial de los Hermanos Capuchinos, para conmemorar el Primer Centenario, en 2000, de la Restauración de la Provincia Capuchina de Navarra, Cantabria y Aragón. El material temático principal es la melodÃa gregoriana del Te Deum – himno de acción de gracias – alternando la melodÃa del Tonus Solemnis y del Tonus Simplex. La melodÃa gregoriana aparece de forma alternada por el coro y por la orquesta, y se desarrolla en un estilo libre a modo de paráfrasis, con frecuentes movimientos melódicos por cuartas y quintas paralelas, propios del lenguaje compositivo de Ondarra. Los rasgos modales impregnan toda la obra, y se suceden con secciones tonales e incluso con elementos bitonales. La orquestación de Ondarra refleja un brillante trabajo, otorgando una presencia importante a los instrumentos de viento, junto a la sutileza de maderas y cuerdas. La obra combina desde su profunda religiosidad, el recogimiento y la invitación a la oración, con momentos de luminosidad en el tratamiento de las voces, exquisitamente entretejidas con los timbres orquestales. Lorenzo Ondarraren abesbatza misto eta orkestra sinfonikorako Te Deum (1931- 2012) 1998an konposatu zen Anaia Kaputxinoen Probintzia Kuriaren enkarguz, 2000. urtean Nafarroa, Kantabria eta Aragoiko Kaputxinoen probintziaren zaharberritzearen lehenengo mendeurrena ospatzeko. Material tematiko nagusia Te Deum -eko melodÃa gregorianoa da, Tonus Solemnis-eko eta Tonus Simplex- eko melodiak aldizkatuz. Melodia gregorianoa txandaka azaltzen da koruaren eta orkestraren bitartez interpretatuz eta Ondarraren konposatzeko eran ohikoa den bezala estilo libre batean parafrasi moduan garatuta eta gehienetan laudun eta bostun paraleloekin egindako melodiekin osatuta dago. Obra ezaugarri modalez beterik dago, sekzio tonalak eraikiz edota elementu bitonalak izanik. Ondarraren orkestrazioak lan paregabea helarazten du, haize-instrumentuen presentzia nagusituz eta zur-instrumentuen eta hari instrumentuen presentzia sotilduz. Obra honek, sakoneko erlijiotasuna eta ahotsen eta orkestraren arteko nahasketa paregabea konbinatzen ditu.
$14.90 ≈
¥107.89
AMERICA, THE BEAUTIFUL - Symphonic Orchestra
AMERICA, THE BEAUTIFUL - Symphonic Orchestra
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Orchestra
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INTERMEDIATE
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Patriotic
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Samuel Ward
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Glen Poehlmann
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AMERICA, THE BEAUTIFUL - Symph
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arrangements by GPoehlmann
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SheetMusicPlus
Full Orchestra - Level 3 - Digital Download SKU: A0.1086598 Composed by Samuel Ward. Arranged by Glen Poehlmann. Patriotic. Score and parts. 34 pages. Ar...
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Full Orchestra - Level 3 - Digital Download SKU: A0.1086598 Composed by Samuel Ward. Arranged by Glen Poehlmann. Patriotic. Score and parts. 34 pages. Arrangements by GPoehlmann #690800. Published by arrangements by GPoehlmann (A0.1086598). AMERICA, THE BEAUTIFUL - Full Orchestra Hymn tune: MATERNA Medium in Difficulty (Grade 3) 63 measures. Performance Time approx 2:45 Key: C - D. Meter: 4/4 Parts provided (PDF): Score, Flute, Oboe, Clarinet, Bassoon, Horn in F, Trumpet 1, Trumpet 2, Trombone, Tuba, Timpani, Bells/Chimes, Percussion 1 (Snare Drum, Bass Drum), Percussion 2 (Triangle, Mark Tree, Suspended Cymbal), Piano, Organ, Harp, Violin 1, Violin 2, Viola, Cello, String Bass.
$15.00 ≈
¥108.61
Concierto de Metal para un Recuerdo
Concierto de Metal para un Recuerdo
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Orchestra
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ADVANCED
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Contemporary
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William Ortiz
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Blues and Rock &
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Concierto de Metal para un Rec
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William Ortiz
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SheetMusicPlus
Full Orchestra - Level 5 - Digital Download SKU: A0.1008985 Composed by William Ortiz. 20th Century,Contemporary. Score and parts. 127 pages. William Ort...
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Full Orchestra - Level 5 - Digital Download SKU: A0.1008985 Composed by William Ortiz. 20th Century,Contemporary. Score and parts. 127 pages. William Ortiz #5869315. Published by William Ortiz (A0.1008985). The title of this work is a metaphor and it shouldn't be taken literally as a concerto for any specific instrument, although brass and metal percussion instruments are prominent. Ever since I can remember, Rhythm & Blues and Rock & Roll have had a strong influence in me musically. In like manner Concierto de Metal para un Recuerdo utilizes a popular and common 4-part street corner harmonic progression as it's main recourse. The sonic material or theme that evolves from that is transformed and modified into various melodic, harmonic, rhythmic and/or timbre motifs. A surprise feel good rock passage emerges revealing another cultural phenomena that permeates in our socio-musical environment. This work questions the possibility of overcoming abstruse musical concepts in contemporary concert music. But at the same time, it is revolutionary in the sense that it dares to contradict and confront Eurocentric musical concepts with an accessible and unpretentious street gutted idiom.
$45.00 ≈
¥325.84
Mozartina
Mozartina
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Orchestra
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ADVANCED
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Otoniel Rojas
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Mozartina
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Otoniel Rojas
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SheetMusicPlus
Full Orchestra - Level 5 - Digital Download SKU: A0.1302257 Composed by Otoniel Rojas. 20th Century,Classical,Historic,Latin,Traditional. Score and Parts...
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Full Orchestra - Level 5 - Digital Download SKU: A0.1302257 Composed by Otoniel Rojas. 20th Century,Classical,Historic,Latin,Traditional. Score and Parts. 119 pages. Otoniel Rojas #891863. Published by Otoniel Rojas (A0.1302257). Based on a traditional Merengue tune from Dominican Republic in a Rondó style a'la Mozart, combining Mozart's Jupiter symphony 35th 4-note theme.Originally commissioned by the 'Fundación Filarmónica del Cibao' in  1997. Mozartina is an effervescent overture that paints us a contemporary Mozart, exposed to the melodic and rhythmic resources of the Caribbean identity, fusing the style and spirit of the famous Austrian with a mixed of the rhythmic and harmonic developments of the last 200 years of musical development. The work is structured as Rondo ,taking as its theme the traditional merengue (a traditional Dominican dance) El jarro 'ta pichao using it as melodic material that integrates into many styles and orchestral techniques. The topic is presented in juxtaposition with the monumental melodic motif of the last movement of the symphony ' Jupiter ' . Sometimes we appreciate it as it is , sometimes in inverted or hidden among contrapuntistic passages in striped and woven into different instrumental colors and harmonic richness coated within countless melodic modulations or put into small pieces. The climax part suddenly surrounds us with the classic merengue, where the 'tambora' (traditional dominican percussion instrument) makes appearance and gives it its soul. Meanwhile, in the background we still can hear the theme of 'Jupiter'. There briefly we can discover a 'perico ripiao' (another traditional Dominican dance)with its typical melisma embodied by the horn, we finally get to a climax that concludes with a short cadenza of 'tambora' and the reitaration of the main merengue theme in unison. The work was commissioned in 1997 for the opening concert of the Philharmonic of Cibao and this time receives his first audition by the National Symphony Orchestra.
$9.99 ≈
¥72.34
Love and Loss
Love and Loss
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Orchestra
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ADVANCED
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Contemporary
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Dane Anthony Madrigal
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Love and Loss
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Dane Anthony Madrigal
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SheetMusicPlus
Full Orchestra - Level 5 - Digital Download SKU: A0.1015102 Composed by Dane Anthony Madrigal. 20th Century,Contemporary. Score and Parts. 34 pages. Dane...
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Full Orchestra - Level 5 - Digital Download SKU: A0.1015102 Composed by Dane Anthony Madrigal. 20th Century,Contemporary. Score and Parts. 34 pages. Dane Anthony Madrigal #6487505. Published by Dane Anthony Madrigal (A0.1015102). Love and Loss is a work detailing a small love story of a young man from the early nineteen-sixties. There are two primary emotions that are implied just through the title. Therefore there are two prime areas of material that play with one another through a straight form. In this way, the listener can rest assured that love works out for this young fellow.The piece is meant to have a tone that sounds enchanting and well charmed. As the piece continues to evolve, it becomes clear that there is actually a chaotic and destructive nature in love. When trying to find peace in the chaos, there is only one way to resolve it, together.
$120.00 ≈
¥868.89
Paisano Suite
Paisano Suite
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Orchestra
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INTERMEDIATE/ADVANCED
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Richard E Brown
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Paisano Suite
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Dacker Music
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SheetMusicPlus
Full Orchestra - Level 4 - Digital Download SKU: A0.814731 Composed by Richard E Brown. Contemporary,Standards. Score and parts. 232 pages. Dacker Music ...
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Full Orchestra - Level 4 - Digital Download SKU: A0.814731 Composed by Richard E Brown. Contemporary,Standards. Score and parts. 232 pages. Dacker Music #2991487. Published by Dacker Music (A0.814731). The music of Paisano Suite was composed in 1982 for the Austin Ballet Theatre on a grant from the City of Austin. The resulting ballet was produced in February, 1983 under the title Ballabile, with choreography by ABT Artistic Director Stanley Hall.This music was originally scored for a small pit orchestra, and it was only in 2012 that it was shortened and re-orchestrated to create this suite for full orchestra. Since the original title is a term used specifically for dance music, and the new version of the work is meant to be a concert suite rather than a ballet, it was also re-titled after the Paisano Ranch, in the central Texas Hill Country, where it was originally composed and which served as its inspiration.The entire nearly twenty-minute suite is actually based on a fairly modest amount of musical material and the eight short movements are thematically all very closely related. The overall framework is highly unified in that way.Scored for woodwinds, horns, and trumpets in pairs; 1 trombone, tympani, and strings.1. Prelude 2. Scherzo 3. Berceuse 4. Fugue 5. Pastorale 6. Caprice 7. Romanza 8. FinaleThe price includes license to make as many copies of string parts as necessary.Grade 5 - Duration 19:00
$80.00 ≈
¥579.26
Symphony No 22 "Galaxymbion" Opus 33-36 - 5th Movement Opus 34 (5 of 7) - Score Only
Symphony No 22 "Galaxymbion" Opus 33-36 - 5th Movement Opus 34 (5 of 7) - Score Only
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Orchestra
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ADVANCED
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Grahame Gordon Innes
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Symphony No 22 "Galaxymbion" O
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Grahame Gordon Innes
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SheetMusicPlus
Full Orchestra - Level 5 - Digital Download SKU: A0.1425960 Composed by Grahame Gordon Innes. 21st Century,Classical,Contemporary,Film/TV. 29 pages. Grah...
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Full Orchestra - Level 5 - Digital Download SKU: A0.1425960 Composed by Grahame Gordon Innes. 21st Century,Classical,Contemporary,Film/TV. 29 pages. Grahame Gordon Innes #1006747. Published by Grahame Gordon Innes (A0.1425960). Symphony No 22 Galaxymbion is a 7-movement symphonic setting of scenes from my novel The Galaxymbion Odyssey MOVEMENT 5 – The Great Rendezvous (concludes Violin Concerto No 2 Opus 34 TOTAL NUMBER OF BARS = 2670 TOTAL DURATION = 125 minutes General methodology of composition;1. No fixed tonal centre2. Each movement inherits material from its predecessor3. The work is modular. This means that the 1st, 4th and 7th movements can be presented together as the symphony proper if full staging is not possible. The movements that double as concertos can be presented separately in their own right, hence their individual opus numbers.
$45.00 ≈
¥325.84
Symphony No 22 "Galaxymbion" Opus 33-36 - 1st Movement Opus 33 - (1 of 7) - Score Only
Symphony No 22 "Galaxymbion" Opus 33-36 - 1st Movement Opus 33 - (1 of 7) - Score Only
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Orchestra
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ADVANCED
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Grahame Gordon Innes
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Symphony No 22 "Galaxymbion" O
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Grahame Gordon Innes
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SheetMusicPlus
Full Orchestra - Level 5 - Digital Download SKU: A0.1425941 Composed by Grahame Gordon Innes. 21st Century,Classical,Contemporary,Film/TV. 43 pages. Grah...
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Full Orchestra - Level 5 - Digital Download SKU: A0.1425941 Composed by Grahame Gordon Innes. 21st Century,Classical,Contemporary,Film/TV. 43 pages. Grahame Gordon Innes #1006730. Published by Grahame Gordon Innes (A0.1425941). Symphony No 22 Galaxymbion is a 7-movement symphonic setting of scenes from my novel The Galaxymbion Odyssey MOVEMENT 1 – The Kytonian Expanse TOTAL NUMBER OF BARS = 2670 TOTAL DURATION = 125 minutes General methodology of composition;1. No fixed tonal centre2. Each movement inherits material from its predecessor3. The work is modular. This means that the 1st, 4th and 7th movements can be presented together as the symphony proper if full staging is not possible. The movements that double as concertos can be presented separately in their own right, hence their individual opus numbers.1. The work has developed from a highly individualized harmonic language that establishes its own laws independent from and additional to conventional harmonic practice. The same is true of the work’s unusual tonality. Central to this approach is the use of dodecaphonic principles in both the melodic and harmonic content. The intent here is to incorporate Schoenberg’s theoretical model of tone rows in an inclusive way, so that it is part of the work’s musical language and an additional tool in structuring and developing ideas. As a result the work remains tonal, albeit inhabiting a distinct and exotic aural landscape.There is no rigid adherence to conventional forms or methods of symphonic development, rather the work takes an entirely eccentric and highly individual approach. Whilst this is the ‘spark’ or heart of the work there is still an intention to create music instead of noise. Discords are therefore used as elsewhere in my more conventionally tonal works; as a natural consequence of the work itself instead of a forced snub at tonal music.
$45.00 ≈
¥325.84
Symphony No 22 "Galaxymbion" Opus 33-36 - 7th Movement (7 of 7) - Score Only
Symphony No 22 "Galaxymbion" Opus 33-36 - 7th Movement (7 of 7) - Score Only
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Orchestra
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ADVANCED
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Grahame Gordon Innes
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Symphony No 22 "Galaxymbion" O
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Grahame Gordon Innes
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SheetMusicPlus
Full Orchestra - Level 5 - Digital Download SKU: A0.1425975 Composed by Grahame Gordon Innes. 21st Century,Classical,Contemporary,Film/TV. 47 pages. Grah...
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Full Orchestra - Level 5 - Digital Download SKU: A0.1425975 Composed by Grahame Gordon Innes. 21st Century,Classical,Contemporary,Film/TV. 47 pages. Grahame Gordon Innes #1006764. Published by Grahame Gordon Innes (A0.1425975). Symphony No 22 Galaxymbion is a 7-movement symphonic setting of scenes from my novel The Galaxymbion Odyssey MOVEMENT 7 – The Learning Sphere TOTAL NUMBER OF BARS = 2670 TOTAL DURATION = 125 minutes General methodology of composition;1. No fixed tonal centre2. Each movement inherits material from its predecessor3. The work is modular. This means that the 1st, 4th and 7th movements can be presented together as the symphony proper if full staging is not possible. The movements that double as concertos can be presented separately in their own right, hence their individual opus numbers.
$45.00 ≈
¥325.84
Symphony No 22 "Galaxymbion" Opus 33-36 - 6th Movement Opus 36 (6 of 7) - Score Only
Symphony No 22 "Galaxymbion" Opus 33-36 - 6th Movement Opus 36 (6 of 7) - Score Only
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Orchestra
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ADVANCED
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Grahame Gordon Innes
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Symphony No 22 "Galaxymbion" O
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Grahame Gordon Innes
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SheetMusicPlus
Full Orchestra - Level 5 - Digital Download SKU: A0.1425973 Composed by Grahame Gordon Innes. 21st Century,Classical,Contemporary,Film/TV. 36 pages. Grah...
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Full Orchestra - Level 5 - Digital Download SKU: A0.1425973 Composed by Grahame Gordon Innes. 21st Century,Classical,Contemporary,Film/TV. 36 pages. Grahame Gordon Innes #1006762. Published by Grahame Gordon Innes (A0.1425973). Symphony No 22 Galaxymbion is a 7-movement symphonic setting of scenes from my novel The Galaxymbion Odyssey MOVEMENT 6 – Return To Elvakay (doubles as Viola Concerto No 2 Opus 36)TOTAL NUMBER OF BARS = 2670 TOTAL DURATION = 125 minutes General methodology of composition;1. No fixed tonal centre2. Each movement inherits material from its predecessor3. The work is modular. This means that the 1st, 4th and 7th movements can be presented together as the symphony proper if full staging is not possible. The movements that double as concertos can be presented separately in their own right, hence their individual opus numbers.
$45.00 ≈
¥325.84
Symphony No 22 "Galaxymbion" Opus 33-36 - 2nd Movement Opus 34 - (2 of 7) - Score Only
Symphony No 22 "Galaxymbion" Opus 33-36 - 2nd Movement Opus 34 - (2 of 7) - Score Only
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Orchestra
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ADVANCED
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Grahame Gordon Innes
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Symphony No 22 "Galaxymbion" O
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Grahame Gordon Innes
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SheetMusicPlus
Full Orchestra - Level 5 - Digital Download SKU: A0.1425949 Composed by Grahame Gordon Innes. 21st Century,Classical,Contemporary,Film/TV. 39 pages. Grah...
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Full Orchestra - Level 5 - Digital Download SKU: A0.1425949 Composed by Grahame Gordon Innes. 21st Century,Classical,Contemporary,Film/TV. 39 pages. Grahame Gordon Innes #1006738. Published by Grahame Gordon Innes (A0.1425949). Symphony No 22 Galaxymbion is a 7-movement symphonic setting of scenes from my novel The Galaxymbion Odyssey MOVEMENT 2 – Mission To Kolda-ra (doubles as Violin Concerto No 2 - 1st Movement) TOTAL NUMBER OF BARS = 2670 TOTAL DURATION = 125 minutes General methodology of composition;1. No fixed tonal centre2. Each movement inherits material from its predecessor3. The work is modular. This means that the 1st, 4th and 7th movements can be presented together as the symphony proper if full staging is not possible. The movements that double as concertos can be presented separately in their own right, hence their individual opus numbers.
$45.00 ≈
¥325.84
Symphony No 22 "Galaxymbion" Opus 33-36 - 3rd Movement Opus 35 - (3 of 7) - Score Only
Symphony No 22 "Galaxymbion" Opus 33-36 - 3rd Movement Opus 35 - (3 of 7) - Score Only
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Orchestra
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ADVANCED
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Grahame Gordon Innes
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Symphony No 22 "Galaxymbion" O
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Grahame Gordon Innes
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SheetMusicPlus
Full Orchestra - Level 5 - Digital Download SKU: A0.1425951 Composed by Grahame Gordon Innes. 21st Century,Classical,Contemporary,Film/TV. 32 pages. Grah...
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Full Orchestra - Level 5 - Digital Download SKU: A0.1425951 Composed by Grahame Gordon Innes. 21st Century,Classical,Contemporary,Film/TV. 32 pages. Grahame Gordon Innes #1006740. Published by Grahame Gordon Innes (A0.1425951). Symphony No 22 Galaxymbion is a 7-movement symphonic setting of scenes from my novel The Galaxymbion Odyssey MOVEMENT 3 – Nightspear Over Falda (doubles as Piano Concerto 3 - in one movement) 1. No fixed tonal centre2. Each movement inherits material from its predecessor3. The work is modular. This means that the 1st, 4th and 7th movements can be presented together as the symphony proper if full staging is not possible. The movements that double as concertos can be presented separately in their own right, hence their individual opus numbers.
$45.00 ≈
¥325.84
Symphony No 22 "Galaxymbion" Opus 33-36 - 4th Movement (4 of 7) - Score Only
Symphony No 22 "Galaxymbion" Opus 33-36 - 4th Movement (4 of 7) - Score Only
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Orchestra
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ADVANCED
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Grahame Gordon Innes
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Symphony No 22 "Galaxymbion" O
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Grahame Gordon Innes
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SheetMusicPlus
Full Orchestra - Level 5 - Digital Download SKU: A0.1425953 Composed by Grahame Gordon Innes. 21st Century,Classical,Contemporary,Film/TV. 37 pages. Grah...
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Full Orchestra - Level 5 - Digital Download SKU: A0.1425953 Composed by Grahame Gordon Innes. 21st Century,Classical,Contemporary,Film/TV. 37 pages. Grahame Gordon Innes #1006742. Published by Grahame Gordon Innes (A0.1425953). Symphony No 22 Galaxymbion is a 7-movement symphonic setting of scenes from my novel The Galaxymbion Odyssey MOVEMENTS 4 – The Sirantiga Disaster TOTAL NUMBER OF BARS = 2670 TOTAL DURATION = 125 minutes General methodology of composition;1. No fixed tonal centre2. Each movement inherits material from its predecessor3. The work is modular. This means that the 1st, 4th and 7th movements can be presented together as the symphony proper if full staging is not possible. The movements that double as concertos can be presented separately in their own right, hence their individual opus numbers.4. The work has developed from a highly individualized harmonic language that establishes its own laws independent from and additional to conventional harmonic practice. The same is true of the work’s unusual tonality. Central to this approach is the use of dodecaphonic principles in both the melodic and harmonic content. The intent here is to incorporate Schoenberg’s theoretical model of tone rows in an inclusive way, so that it is part of the work’s musical language and an additional tool in structuring and developing ideas. As a result the work remains tonal, albeit inhabiting a distinct and exotic aural landscape.There is no rigid adherence to conventional forms or methods of symphonic development, rather the work takes an entirely eccentric and highly individual approach. Whilst this is the ‘spark’ or heart of the work there is still an intention to create music instead of noise. Discords are therefore used as elsewhere in my more conventionally tonal works; as a natural consequence of the work itself instead of a forced snub at tonal music.
$45.00 ≈
¥325.84
Legacy
Legacy
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Orchestra
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INTERMEDIATE/ADVANCED
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Contemporary
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Sy Brandon
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Legacy
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Sy Brandon
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SheetMusicPlus
Full Orchestra - Level 4 - Digital Download SKU: A0.755203 Composed by Sy Brandon. 20th Century,Contemporary. Score and parts. 253 pages. Sy Brandon #341...
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Full Orchestra - Level 4 - Digital Download SKU: A0.755203 Composed by Sy Brandon. 20th Century,Contemporary. Score and parts. 253 pages. Sy Brandon #3415579. Published by Sy Brandon (A0.755203). Legacy is a three movement composition for chamber orchestra that makes social commentary on the issue of global warming. It was commission and premiered by the Washington Sinfonietta, Rufus Jones, conductor. I. Conflicts - This movement begins with a cry from native cultures admonishing our neglect of the environment. The cry is interspersed with debate regarding the seriousness of global warming (woodwinds). The debate grows stronger as the cries grow weaker. The debate is quieted by a measure of repeated chords that could be the words, stop it! stop it now!. A weak cry in the English Horn brings the introduction to a close. An Allegro section follows with a rhythmic and primitive sounding section representing the underdeveloped nations that are destroying the rain forests for economic gain. This material evolves into a more harmonic and contrapuntal section representing industrialized nations reluctant to change, also for economic reasons. Things quiet down as the music takes the listener to another part of the globe, East Asia. Conflict is again present in this section. The music returns to a varied restatement of the industrialized nations music before traveling to India for a section influenced by Raga. This section builds in dissonance until we hear the repeated stop it now chords from the introduction. A brief reprise of the cries bring the movement to a close. II. Consequences - This movement evokes a somber mood that is reflective of living in a climate of extremes. The movement is in arch form as it begins and ends with open harmony reflective of barren lands that once were fertile. The middle section serves as a climax expressive the harshness of the climate. Colleen McCollough’s book, A Creed for the Third Millennium was a source of inspiration for this movement. III. Sacrifice and Compromise - The movement begins with a strong section that suggests progress. It is followed by a quieter and intense section that alternates lyrical lines over a staccato ostinato that creates a sense of urgency. The opening section returns and is followed by a development of the ostinato section. This section is symbolic of how ideas need to be adapted in order for progress to be made. The opening section returns once more before leading into the concluding section where there is coming together of the instruments on a long lyrical line representing more and more people working together for change. The movement ends with a sense of triumph over adversity.The score prints on legal size paper and the parts on letter.
$49.95 ≈
¥361.68
Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush, No. 2 La soirée dans
Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush, No. 2 La soirée dans
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Orchestra
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Classical
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Claude Debussy
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Arkady Leytush
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Claude Debussy ‒ Estamp
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Arkady Leytush
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SheetMusicPlus
Full Orchestra - Digital Download SKU: A0.1008374 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 24 pages. Arkady...
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Full Orchestra - Digital Download SKU: A0.1008374 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 24 pages. Arkady Leytush #4849775. Published by Arkady Leytush (A0.1008374). Estampes (Engravings) is the title of the triptych of three pieces which Debussy put together in 1903. The first complete performance was given on 9 January 1904 in the Salle Erard, Paris, by the young Spanish pianist Ricardo Viñes, who was already emerging as the prime interpreter of the new French music of Debussy and Ravel. The first two pieces were completed in 1903, but the third derives from an earlier group of pieces from 1894, collectively titled Images, which remained unpublished until 60 years after Debussy’s death, when they were printed as Images (oubliées). Estampes marks an expansion of Debussy’s keyboard style: he was apparently spurred to fuse neo-Lisztian technique with a sensitive, impressionistic pictorial impulse under the impact of discovering Ravel’s Jeux d’eau, published in 1902. The opening movement, ‘Pagodes’, is Debussy’s first pianistic evocation of the Orient and is essentially a fixed contemplation of its object, as in a Chinese print. This static impression is partly caused by Debussy’s use of long pedal-points, partly by his almost constant preoccupation with pentatonic melodies which subvert the sense of harmonic movement. He uses such pentatonic fragments in many different ways: in delicate arabesques, in two-part counterpoint, in canon, harmonized in fourths and fifths and as an underpinning for pattering, gamelan-like ostinato writing. Altogether the piece reflects the decisive impression made on him by hearing Javanese and Cambodian musicians at the 1889 Paris Exposition, which he had striven for years to incorporate effectively in music. In its final bars the music begins to dissolve into elaborate filigree.Just as ‘Pagodes’ was his first Oriental piece, so ‘La soirée dans Grenade’ was the first of Debussy’s evocations of Spain-that preternatural embodiment of an ‘imaginary Andalusia’ which would inspire Manuel de Falla, the native Spaniard, to go back to his country and create a true modern Spanish music based on Debussyan principles. Debussy’s personal acquaintance with Spain was virtually non-existent (he had spent a day just over the border at San Sebastian) and it is possible that one model for the piece was Ravel’s Habanera. Yet he wrote of this piece (to his friend Pierre Louÿs, to whom it was dedicated), ‘if this isn’t the music they play in Granada, so much the worse for Granada!’-and there is no debate about the absolute authenticity of Debussy’s use of Spanish idioms here. Falla himself pronounced it ‘characteristically Spanish in every detail’. ‘La soirée dans Grenade’ is founded on an ostinato that echoes the rhythm of the habanera and is present almost throughout. Beginning and ending in almost complete silence, this dark nocturne of warm summer nights builds powerfully to its climaxes. The melodic material ranges from a doleful Moorish chant with a distinctly oriental character to a stamping, vivacious dance-measure, taking in brief suggestions of guitar strumming and perfumed Impressionist haze. There is even a hint of castanets near the end. The piece fades out in a coda that seems to distil all the melancholy of the Moorish theme and a last few distant chords of the guitar. ‘Jardins sous la pluie’ is based on the children’s song ‘Nous n’rons plus au bois’ (We shan’t go to the woods): its original 1894 form was in fact entitled Quelques aspects de ‘Nous n’rons plus au bois’. The two versions are really two distinct treatments of the same set of ideas, but in ‘Jardins sous la pluie’ Estampes the earlier piece has been entirely rethought. The whole conception is more impressionistic, and subtilized. The teeming semiquaver motion is more all-pervasive, the tunes (for Debussy has added a second children’s song for treatment, ‘Do, do, l’enfant do’) more elusive and tinged sometimes with melancholy or nostalgia. The ending of the piece is entirely new. What it loses, perha.
$25.00 ≈
¥181.02
Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush No. 1 Pagodes (Pagodas
Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush No. 1 Pagodes (Pagodas
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Orchestra
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Classical
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Claude Debussy
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Arkady Leytush
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Claude Debussy ‒ Estamp
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Arkady Leytush
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SheetMusicPlus
Full Orchestra - Digital Download SKU: A0.1008372 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 24 pages. Arkady...
(+)
Full Orchestra - Digital Download SKU: A0.1008372 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 24 pages. Arkady Leytush #4849769. Published by Arkady Leytush (A0.1008372). Estampes (Engravings) is the title of the triptych of three pieces which Debussy put together in 1903. The first complete performance was given on 9 January 1904 in the Salle Erard, Paris, by the young Spanish pianist Ricardo Viñes, who was already emerging as the prime interpreter of the new French music of Debussy and Ravel. The first two pieces were completed in 1903, but the third derives from an earlier group of pieces from 1894, collectively titled Images, which remained unpublished until 60 years after Debussy’s death, when they were printed as Images (oubliées). Estampes marks an expansion of Debussy’s keyboard style: he was apparently spurred to fuse neo-Lisztian technique with a sensitive, impressionistic pictorial impulse under the impact of discovering Ravel’s Jeux d’eau, published in 1902. The opening movement, ‘Pagodes’, is Debussy’s first pianistic evocation of the Orient and is essentially a fixed contemplation of its object, as in a Chinese print. This static impression is partly caused by Debussy’s use of long pedal-points, partly by his almost constant preoccupation with pentatonic melodies which subvert the sense of harmonic movement. He uses such pentatonic fragments in many different ways: in delicate arabesques, in two-part counterpoint, in canon, harmonized in fourths and fifths and as an underpinning for pattering, gamelan-like ostinato writing. Altogether the piece reflects the decisive impression made on him by hearing Javanese and Cambodian musicians at the 1889 Paris Exposition, which he had striven for years to incorporate effectively in music. In its final bars the music begins to dissolve into elaborate filigree. Just as ‘Pagodes’ was his first Oriental piece, so ‘La soirée dans Grenade’ was the first of Debussy’s evocations of Spain-that preternatural embodiment of an ‘imaginary Andalusia’ which would inspire Manuel de Falla, the native Spaniard, to go back to his country and create a true modern Spanish music based on Debussyan principles. Debussy’s personal acquaintance with Spain was virtually non-existent (he had spent a day just over the border at San Sebastian) and it is possible that one model for the piece was Ravel’s Habanera. Yet he wrote of this piece (to his friend Pierre Louÿs, to whom it was dedicated), ‘if this isn’t the music they play in Granada, so much the worse for Granada!’-and there is no debate about the absolute authenticity of Debussy’s use of Spanish idioms here. Falla himself pronounced it ‘characteristically Spanish in every detail’. ‘La soirée dans Grenade’ is founded on an ostinato that echoes the rhythm of the habanera and is present almost throughout. Beginning and ending in almost complete silence, this dark nocturne of warm summer nights builds powerfully to its climaxes. The melodic material ranges from a doleful Moorish chant with a distinctly oriental character to a stamping, vivacious dance-measure, taking in brief suggestions of guitar strumming and perfumed Impressionist haze. There is even a hint of castanets near the end. The piece fades out in a coda that seems to distil all the melancholy of the Moorish theme and a last few distant chords of the guitar. ‘Jardins sous la pluie’ is based on the children’s song ‘Nous n’rons plus au bois’ (We shan’t go to the woods): its original 1894 form was in fact entitled Quelques aspects de ‘Nous n’rons plus au bois’. The two versions are really two distinct treatments of the same set of ideas, but in ‘Jardins sous la pluie’ Estampes the earlier piece has been entirely rethought. The whole conception is more impressionistic, and subtilized. The teeming semiquaver motion is more all-pervasive, the tunes (for Debussy has added a second children’s song for treatment, ‘Do, do, l’enfant do’) more elusive and tinged sometimes with melancholy or nostalgia. Th.
$25.00 ≈
¥181.02
Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush, No. 3 Jardins sous la
Claude Debussy ‒ Estampes, Orchestra Suite, Orchestrated by Arkady Leytush, No. 3 Jardins sous la
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Orchestra
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Classical
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Claude Debussy
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Arkady Leytush
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Claude Debussy ‒ Estamp
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Arkady Leytush
#
SheetMusicPlus
Full Orchestra - Digital Download SKU: A0.1008375 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 39 pages. Arkady...
(+)
Full Orchestra - Digital Download SKU: A0.1008375 Composed by Claude Debussy. Arranged by Arkady Leytush. 20th Century. Score and parts. 39 pages. Arkady Leytush #4885449. Published by Arkady Leytush (A0.1008375). Estampes (Engravings) is the title of the triptych of three pieces which Debussy put together in 1903. The first complete performance was given on 9 January 1904 in the Salle Erard, Paris, by the young Spanish pianist Ricardo Viñes, who was already emerging as the prime interpreter of the new French music of Debussy and Ravel. The first two pieces were completed in 1903, but the third derives from an earlier group of pieces from 1894, collectively titled Images, which remained unpublished until 60 years after Debussy’s death, when they were printed as Images (oubliées). Estampes marks an expansion of Debussy’s keyboard style: he was apparently spurred to fuse neo-Lisztian technique with a sensitive, impressionistic pictorial impulse under the impact of discovering Ravel’s Jeux d’eau, published in 1902. The opening movement, ‘Pagodes’, is Debussy’s first pianistic evocation of the Orient and is essentially a fixed contemplation of its object, as in a Chinese print. This static impression is partly caused by Debussy’s use of long pedal-points, partly by his almost constant preoccupation with pentatonic melodies which subvert the sense of harmonic movement. He uses such pentatonic fragments in many different ways: in delicate arabesques, in two-part counterpoint, in canon, harmonized in fourths and fifths and as an underpinning for pattering, gamelan-like ostinato writing. Altogether the piece reflects the decisive impression made on him by hearing Javanese and Cambodian musicians at the 1889 Paris Exposition, which he had striven for years to incorporate effectively in music. In its final bars the music begins to dissolve into elaborate filigree.Just as ‘Pagodes’ was his first Oriental piece, so ‘La soirée dans Grenade’ was the first of Debussy’s evocations of Spain-that preternatural embodiment of an ‘imaginary Andalusia’ which would inspire Manuel de Falla, the native Spaniard, to go back to his country and create a true modern Spanish music based on Debussyan principles. Debussy’s personal acquaintance with Spain was virtually non-existent (he had spent a day just over the border at San Sebastian) and it is possible that one model for the piece was Ravel’s Habanera. Yet he wrote of this piece (to his friend Pierre Louÿs, to whom it was dedicated), ‘if this isn’t the music they play in Granada, so much the worse for Granada!’-and there is no debate about the absolute authenticity of Debussy’s use of Spanish idioms here. Falla himself pronounced it ‘characteristically Spanish in every detail’. ‘La soirée dans Grenade’ is founded on an ostinato that echoes the rhythm of the habanera and is present almost throughout. Beginning and ending in almost complete silence, this dark nocturne of warm summer nights builds powerfully to its climaxes. The melodic material ranges from a doleful Moorish chant with a distinctly oriental character to a stamping, vivacious dance-measure, taking in brief suggestions of guitar strumming and perfumed Impressionist haze. There is even a hint of castanets near the end. The piece fades out in a coda that seems to distil all the melancholy of the Moorish theme and a last few distant chords of the guitar. ‘Jardins sous la pluie’ is based on the children’s song ‘Nous n’rons plus au bois’ (We shan’t go to the woods): its original 1894 form was in fact entitled Quelques aspects de ‘Nous n’rons plus au bois’. The two versions are really two distinct treatments of the same set of ideas, but in ‘Jardins sous la pluie’ Estampes the earlier piece has been entirely rethought. The whole conception is more impressionistic, and subtilized. The teeming semiquaver motion is more all-pervasive, the tunes (for Debussy has added a second children’s song for treatment, ‘Do, do, l’enfant do’) more elusive and tinged sometimes with melancholy or nostalgia. The ending of the piece is entirely new. What it loses, perha.
$25.00 ≈
¥181.02
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