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21
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20
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3
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3
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2
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2
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1
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3 Trombones (trio)
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CORDES
Violon et Piano
28
Harpe
20
Violoncelle, Piano
16
Quatuor à cordes: 2 violons, alto, violoncelle
16
Alto, Piano
13
Violon
12
Harpe, Flûte (duo)
8
Contre Basse
4
Violon, Guitare (duo)
4
Violoncelle (partie séparée)
4
Violoncelle , Guitare (duo)
4
Trio à Cordes: violon, alto, violoncelle
4
Alto (partie séparée)
3
Violoncelle
3
Violon, Clarinette, Piano (trio)
2
Trio à Cordes: 2 violons, alto
2
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2
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2
Violon, Orgue
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Violon, Alto (duo)
2
Alto seul
2
2 Violons (duo)
1
Violon, Violoncelle (duo)
1
Piano Trio: Violon, Alto, Piano
1
Harpe, Violon (duo)
1
2 Violoncelles (duo)
1
Harpe, Trombone (duo)
1
Violoncelle, Contrebasse (duo)
1
Contrebasse, Piano (duo)
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PERCUSSIONS & ORCHESTRES
Orchestre d'harmonie
515
Orchestre
126
Orchestre de chambre
69
Orchestre à Cordes
25
Ensemble de cuivres
8
Vibraphone
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Percussion (partie séparée)
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Ensemble de Percussions
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AUTRES
Vous avez sélectionné:
Musik Fabrik Music Publishing
Piano seul
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Karl August Hermann : Pensées Musicale (Musical Thought) for piano
Piano seul
Piano Solo - Level 3 - Digital Download SKU: A0.1389271 By Nicolas Horvath. By Karl…
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Piano Solo - Level 3 - Digital Download SKU: A0.1389271 By Nicolas Horvath. By Karl August Hermann. Arranged by Paul Wehage (édition). 19th Century,Classical,Multicultural,Romantic Period,World. Score. 3 pages. Musik Fabrik Music Publishing #972812. Published by Musik Fabrik Music Publishing (A0.1389271). Karl August Hermann is considered to be one of the fathers of the Estonian Language. Mainly known for his choral music, he also wrote a series of works for solo piano. These works were recorded in 2018 by Nicolas Horvath for the Toccata Classics label in 2018.
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Piano seul
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Nicolas Horvath
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Paul Wehage (édition)
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Karl August Hermann : Pensées Musicale
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Musik Fabrik Music Publishing
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SheetMusicPlus
Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 2
Piano seul
Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Ro…
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Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Robert Orledge. 20th Century, Impressionistic, Repertoire. Score. 76 pages. Published by Musik Fabrik Music Publishing
Contains Le Roi Lear: Prélude,Première Fanfare, and La Mort de Cordélia,Toomai des éléphants, Rodrigue et Chimène: Prélude à l’acte 1p. Le Martyre de Saint Sébastien: La Passion , and No-ja-li ou Le Palais du Silence<br> <br> From Robert Orledge's notes:<br> <br> My interest in the wonderful music of Claude Debussy began in the 1980s when I researched and published a book with Cambridge University Press entitled Debussy and the Theatre. During the course of my studies in Paris, I was amazed to discover that Debussy planned over 50 theatrical works but only finished two of these entirely by himself (the opera Pelléas et Mélisande in 1893–1902 and the ballet Jeux for Diaghilev’s Ballets Russes in 1912–13). Of the rest, many were never started musically (like Siddartha and Orphée-roi with the Oriental scholar Victor Segalen, 1907); some had a few tantalising sketches (like the Edgar Allan Poe opera Le Diable dans le beffroi, 1902–03); some were half-finished (like his other Poe opera La Chute de la Maison Usher, 1908–17); while others were musically complete but had their orchestrations completed by other composers (like Khamma, by Charles Koechlin, 1912–13; or Le Martyre de Saint Sébastien and La Boîte à joujoux by his ‘angel of corrections’ [‘l’ange des Corrections’] André Caplet in 1911 and 1919 respectively).<br> <br> For it has to be admitted that what some scholars call Debussy’s ‘compulsive achievement’ could equally well be viewed as laziness, especially as far as the minute detail required for calligraphing his orchestral scores was concerned. It was as if creating the music itself was of greater importance than controlling its final sound, even if Debussy was an imaginative orchestrator when he found the time and energy to do it. It also seems true that Debussy also preferred inventing ideas to turning them into complete pieces. However, despite the lack of detail in many of his sketches (missing clefs, key signatures, dynamics, phrasing, etc.) the notes themselves are surprisingly accurate, whether or not they can be compared with a later draft. Thus, a large number of sketches exist for his Chinese ballet No-ja-li ou Le Palais du Silence and it is not too difficult to see which parts of Georges de Feure’s 1913 scenario (see below) inspired which ideas. But Debussy hardly made any attempt to join them together after the first few bars.<br> <br> It was usually up to his publisher, Jacques Durand, to find solutions when Debussy risked a breach of contract. Debussy was supposed to supervise the orchestrations completed by others, but this supervision was usually very light and restricted to quiet, sensitive moments in which problems were easier to spot. Far from jealously guarding every one of his created notes, as Ravel did, Debussy once even went as far as to ask Koechlin to ‘write a ballet for him that he would sign’ on 26 March 1914 when he was hard-pressed to fulfil his lucrative contract for No-ja-li with André Charlot at the Alhambra Theatre in London. In the end, Debussy (through Durand) sent Charlot the symphonic suite Printemps instead, whose orchestration had been completed by Henri Busser in the Spring of 1912.<br> <br> So, when I was offered early retirement as Professor of Music at Liverpool University in 2004, I seized the opportunity it would give me to spend time trying to reconstruct some of Debussy’s lost potential masterpieces from his existing sketches and drafts—then orchestrating them in Debussy’s style when this was appropriate. I had begun this mission in 2001 with the most promising project, the missing parts of Scene 2 of La Chute de la Maison Usher and the sheer joy it gave me at every stage persuaded me to tackle other projects, especially when Debussy experts were unable to identify exactly where I took over from Debussy (and vice versa) in Usher.
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Piano seul
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Claude Debussy/Robert Orledge
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Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 2
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Musik Fabrik Music Publishing
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SheetMusicPlus
Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 1
Piano seul
Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Ro…
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Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Robert Orledge. 20th Century, Impressionistic, Repertoire, Recital. Score. 71 pages. Published by Musik Fabrik Music Publishing
Contains A Night in the House of Usher Un Jour affreux avec Le Diable dans le beffroi, Les accords de septième regrettent!!!, Petite Valse,Fêtes galantes, and Prélude à ‘L’Histoire de Tristan’<br> <br> From Robert Orledge's notes:<br> <br> My interest in the wonderful music of Claude Debussy began in the 1980s when I researched and published a book with Cambridge University Press entitled Debussy and the Theatre. During the course of my studies in Paris, I was amazed to discover that Debussy planned over 50 theatrical works but only finished two of these entirely by himself (the opera Pelléas et Mélisande in 1893–1902 and the ballet Jeux for Diaghilev’s Ballets Russes in 1912–13). Of the rest, many were never started musically (like Siddartha and Orphée-roi with the Oriental scholar Victor Segalen, 1907); some had a few tantalising sketches (like the Edgar Allan Poe opera Le Diable dans le beffroi, 1902–03); some were half-finished (like his other Poe opera La Chute de la Maison Usher, 1908–17); while others were musically complete but had their orchestrations completed by other composers (like Khamma, by Charles Koechlin, 1912–13; or Le Martyre de Saint Sébastien and La Boîte à joujoux by his ‘angel of corrections’ [‘l’ange des Corrections’] André Caplet in 1911 and 1919 respectively).<br> <br> For it has to be admitted that what some scholars call Debussy’s ‘compulsive achievement’ could equally well be viewed as laziness, especially as far as the minute detail required for calligraphing his orchestral scores was concerned. It was as if creating the music itself was of greater importance than controlling its final sound, even if Debussy was an imaginative orchestrator when he found the time and energy to do it. It also seems true that Debussy also preferred inventing ideas to turning them into complete pieces. However, despite the lack of detail in many of his sketches (missing clefs, key signatures, dynamics, phrasing, etc.) the notes themselves are surprisingly accurate, whether or not they can be compared with a later draft. Thus, a large number of sketches exist for his Chinese ballet No-ja-li ou Le Palais du Silence and it is not too difficult to see which parts of Georges de Feure’s 1913 scenario (see below) inspired which ideas. But Debussy hardly made any attempt to join them together after the first few bars.<br> <br> It was usually up to his publisher, Jacques Durand, to find solutions when Debussy risked a breach of contract. Debussy was supposed to supervise the orchestrations completed by others, but this supervision was usually very light and restricted to quiet, sensitive moments in which problems were easier to spot. Far from jealously guarding every one of his created notes, as Ravel did, Debussy once even went as far as to ask Koechlin to ‘write a ballet for him that he would sign’ on 26 March 1914 when he was hard-pressed to fulfil his lucrative contract for No-ja-li with André Charlot at the Alhambra Theatre in London. In the end, Debussy (through Durand) sent Charlot the symphonic suite Printemps instead, whose orchestration had been completed by Henri Busser in the Spring of 1912.<br> <br> So, when I was offered early retirement as Professor of Music at Liverpool University in 2004, I seized the opportunity it would give me to spend time trying to reconstruct some of Debussy’s lost potential masterpieces from his existing sketches and drafts—then orchestrating them in Debussy’s style when this was appropriate. I had begun this mission in 2001 with the most promising project, the missing parts of Scene 2 of La Chute de la Maison Usher and the sheer joy it gave me at every stage persuaded me to tackle other projects, especially when Debussy experts were unable to identify exactly where I took over from Debussy (and vice versa) in Usher.
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Piano seul
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Claude Debussy/Robert Orledge
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Debussy Inconnu: Album of works for the piano by Claude Debussy completed by Robert Orledge, Vol. 1
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Musik Fabrik Music Publishing
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SheetMusicPlus
Claude Debussy: Prléude à L'Histoire de Tristan for solo piano, completed by Robert Orledge
Piano seul
Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Ro…
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Piano Solo - Advanced Intermediate - Digital Download Composed by Claude Debussy/Robert Orledge. Romantic Period, Impressionistic, Repertoire, Recital. Score. 6 pages. Published by Musik Fabrik Music Publishing
Recorded by Nicolas Horvath on Grand Piano records (GP822)<br> <br> Debussy’s friendship with the versatile poet and playwright Gabriel Mourey began in 1899, and in July 1907 Mourey offered Debussy a libretto based on Le roman de Tristan - Joseph Bédier’s adaptation of a twelfth-century Breton romance by the Anglo-Norman poet known as Thomas - which had recently been published in Paris. Debussy enthusiastically outlined the four-act plot to Victor Segalen that October, and the main differences from Wagner’s Tristan und Isolde are that none of the action takes place in Cornwall and that “Isolde of the White Hands” is found guilty of cuckolding King Marc with Tristan, who has to rescue her from the leper colony in which she is abandoned in Act 1. She also betrays him when he goes mad at the end.<br> <br> The idea of a Tristan that restored its ‘legendary character’ and had no connections with Wagner, appealed to Debussy, who was extremely moved by the circumstances of Tristan’s death. Even if he thought that Mourey’s poetry was ‘not very lyrical and many passages do not exactly “invite” music‘, he did work on the libretto and the music that summer and sent his publisher, Jacques Durand, ‘one of the 363 themes for the “Roman de Tristan”’ in a letter sent from Pourville on 23 August, 1907. The present prelude grows from this theme, together with the poignant Breton folksong “Le Faucon”. After a short atmospheric introduction, Debussy’s dance-like theme (which is definitely not a leitmotif) gradually gains momentum and after it reaches its ecstatic climax, representing the transient happiness of the lovers, it dissolves into an expressive coda and an elegiac close (all growing from Debussy’s opening, off-stage trumpet calls), leaving us with the ultimate tragedy of their ill-fated affair.<br> <br> Unfortunately, Mourey’s actual libretto has been lost and the project eventually foundered because Bédier’s cousin, Louis Artus, wanted Debussy to use the scenario he had prepared and copyrighted for the stage, and would not allow him to proceed with Mourey’s version. Debussy, it need hardly be said, would never have dreamed of collaborating with the author of the vaudeville hit La culotte (The pants)!<br> <br> Robert Orledge
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Piano seul
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Claude Debussy/Robert Orledge
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Claude Debussy: Prléude à L'Histoire de Tristan for solo piano, completed by Robert Orledge
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Musik Fabrik Music Publishing
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SheetMusicPlus
Germaine Tailleferre: L'Aigle des Rues, Suite of five pieces for piano
Piano seul
Composed by Germaine Tailleferre (1892-1983). 20th Century, Concert, Standards. Scor…
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Composed by Germaine Tailleferre (1892-1983). 20th Century, Concert, Standards. Score. 17 pages. Musik Fabrik Music Publishing #3502141. Published by Musik Fabrik Music Publishing
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Piano seul
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Germaine Tailleferre
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Germaine Tailleferre: L'Aigle des Rues, Suite of five pieces for piano
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Musik Fabrik Music Publishing
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SheetMusicPlus
Anne-Louise Brillon de Jouy: Sonata no. 4 in g minor for piano or harpsichord
Piano seul
Composed by Anne-Louise Brillon de Jouy. Classical, Concert, Folk, Holiday, Patrioti…
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Composed by Anne-Louise Brillon de Jouy. Classical, Concert, Folk, Holiday, Patriotic, Standards. Score. 10 pages. Musik Fabrik Music Publishing #6358977. Published by Musik Fabrik Music Publishing
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Piano seul
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Anne-Louise Brillon de Jouy
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Anne-Louise Brillon de Jouy: Sonata no. 4 in g minor for piano or harpsichord
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SheetMusicPlus
Anne-Louise Brillon de Jouy: 12 Sonatas, Vol. 1: Sonatas 1-4 for piano or harpsichord
Piano seul
Composed by Anne-Louise Brillon de Jouy. Classical, Concert, Folk, Holiday, Patrioti…
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Composed by Anne-Louise Brillon de Jouy. Classical, Concert, Folk, Holiday, Patriotic, Standards. Score and parts. 49 pages. Musik Fabrik Music Publishing #6359159. Published by Musik Fabrik Music Publishing
Item Number: A0.534716<br> <br> SONATA NO. 1 IN C MINOR <br> I. Allegro non tanto<br> II. Minuetto<br> SONATA NO. 2 IN B FLAT MAJOR<br> I. Allegro molto moderato<br> II. Rondo et variations<br> SONATA NO. 3 IN C MAJOR<br> I. Andante 00:00<br> II. Allegro 00:00 7<br> SONATA NO. 4 IN G MINOR<br> I. Andante con espressione<br> II. Rondo: Allegro
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Piano seul
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Anne-Louise Brillon de Jouy
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Anne-Louise Brillon de Jouy: 12 Sonatas, Vol. 1: Sonatas 1-4 for piano or harpsichord
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Musik Fabrik Music Publishing
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SheetMusicPlus
Jacques Leguerney: Impromptu for piano
Piano seul
Piano Solo - Level 3 - Digital Download SKU: A0.533319 Composed by Jacques Leguerne…
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Piano Solo - Level 3 - Digital Download SKU: A0.533319 Composed by Jacques Leguerney. 20th Century,Concert,Standards. Score. 12 pages. Musik Fabrik Music Publishing #2343097. Published by Musik Fabrik Music Publishing (A0.533319). This charming piano solo was first performed by its dedicatee, Jacques Leguerney’s good friend and muse Thérèse Cahen (1897-1944), in the Salle Debussy-Pleyel. They met around 1925. Cahen was the first person outside of his family to encourage his musical aspirations. For years, they met every Saturday to read through and discuss his music. She not only helped him with piano and harmony, but also performed his early chamber works, recruiting from her entourage to help him find high level interpreters for his music. Other early Leguerney works that she premiered included the Trio pour violon, violoncello et piano; the Sonatine pour flûte et piano; and two vocal chamber works presented by the Société Musicale Indépendente (S. M. I.), Epitaphe guerrière and Clair de lune for voice, flute and piano. Their friendship lasted until Cahen was deported from Paris on July 31, 1944, only a few weeks prior to the Liberation of Paris. Working with the Center of the Union Générale des Israélites de France in Saint-Mandé (a Parisian suburb), Thérèse Cahen had dedicated herself to the care of children of deported French parents. She left Paris with these children in the Convoy 77, and was taken to the gas chamber of Auschwitz. She left a letter for him, along with her grand piano, which remained in his apartment until his death.My dear Jacques,It is impossible to write on this little page how much I have appreciated your kindness toward me for years and years, and how much happiness this has given me: there have been thousands of Saturdays, and I thought of them every day of the week. Probably you didn’t realize the influence you have had on me: it seems that my whole personality, my way of thinking and feeling has been transformed by you; it is a very deep imprint. If I am taken and in consequence you read this letter, tell yourself that I will continue to count the Saturdays in order to have an idea of the number of songs composed during my absence and that I will be delighted to hear them when I return. If I don’t return, I definitely want you to keep my piano but I don’t think it will happen and I say that I will see you soon.Very tenderly,ThérèsePS Speaking of tenderness, I think with emotion about the little passage concerning tenderness in your latest song.[La Fontaine d’Hélène]
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Piano seul
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Jacques Leguerney
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Jacques Leguerney: Impromptu for piano
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Musik Fabrik Music Publishing
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SheetMusicPlus
Karl August Hermann : Complete Works for piano, in three volumes
Piano seul
Piano Solo - Level 3 - Digital Download SKU: A0.1394158 By Nicolas Horvath. By Karl…
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Piano Solo - Level 3 - Digital Download SKU: A0.1394158 By Nicolas Horvath. By Karl August Hermann. Arranged by Paul Wehage (édition). 19th Century,Classical,Multicultural,Romantic Period,World. Score. 88 pages. Musik Fabrik Music Publishing #977643. Published by Musik Fabrik Music Publishing (A0.1394158). Karl August Hermann is considered to be one of the fathers of the Estonian Language. Mainly known for his choral music, he also wrote a series of works for solo piano. These works were recorded in 2018 by Nicolas Horvath for the Toccata Classics label in 2018.Contains : 1. Suve õhtu eha aja (Summer Evening Twilight2. Tundline unistus (Dream of an Hour)3. Das Leben Kampf (Struggles of Life)4. Winter und Frühling (Winter and Spring)5. Valse Nationale des Estoniens (The National Waltz of the Estonians)6. Ausser Anthem Polka7. Air Estonien Varie et Modulé8. Die Losum des Restels (The Solution to the Puzzle)9. Eetn Volkslied (Estonian Folksong)10. Air d’été (Summer Song)11. Pulli Handsu Pulmad (Bulli Handsu’s Wedding)12. Eest Waltz (Estonian Waltz)13. Letamine Ja Sarve : Nigh Torupilli Lugu (Allowing Service : The Story of the Bagpipes)14. Pensées de Vie (Thoughts of Life)15. Pensée musicale (Musical Thought)16. Marche de Fête (Festive March)17. Waltzstimmung (Waltz Piece)18. Andantino19. Album Leht (Album Leaf)20. Allegretto21. Kinund Kinnas (A Lost Glove) 22. Concert étude23. Trauring und Freuding (Grieving and Rejoicing)24. Kolm Karaktarpala (Three Charactor Pieces)(1, Through Difficulties to the Stars 2, In Hilarity 3, Futura Polka).
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Piano seul
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Nicolas Horvath
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Paul Wehage (édition)
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Karl August Hermann : Complete Works for piano, in three volumes
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Musik Fabrik Music Publishing
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SheetMusicPlus
Karl August Hermann : Complete Works for piano, vol. 2
Piano seul
Piano Solo - Level 3 - Digital Download SKU: A0.1394138 By Nicolas Horvath. By Karl…
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Piano Solo - Level 3 - Digital Download SKU: A0.1394138 By Nicolas Horvath. By Karl August Hermann. Arranged by Paul Wehage (édition). 19th Century,Classical,Multicultural,Romantic Period,World. Score. 28 pages. Musik Fabrik Music Publishing #977599. Published by Musik Fabrik Music Publishing (A0.1394138). Karl August Hermann is considered to be one of the fathers of the Estonian Language. Mainly known for his choral music, he also wrote a series of works for solo piano. These works were recorded in 2018 by Nicolas Horvath for the Toccata Classics label in 2018.Contains :9. Eetn Volkslied (Estonian Folksong)10. Air d’été (Summer Song)11. Pulli Handsu Pulmad (Bulli Handsu’s Wedding)12. Eest Waltz (Estonian Waltz)13. Letamine Ja Sarve : Nigh Torupilli Lugu (Allowing Service : The Story of the Bagpipes)14. Pensées de Vie (Thoughts of Life)15. Pensée musicale (Musical Thought)16. Marche de Fête (Festive March)
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Piano seul
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Nicolas Horvath
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Paul Wehage (édition)
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Karl August Hermann : Complete Works for piano, vol. 2
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Musik Fabrik Music Publishing
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SheetMusicPlus
Marie-Agnès Nataf: IL FUOCO RUBATO Anamorphoses III for piano
Piano seul
Piano Solo - Level 3 - Digital Download SKU: A0.533330 Composed by Marie-Agnès N…
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Piano Solo - Level 3 - Digital Download SKU: A0.533330 Composed by Marie-Agnès Nataf. Concert,Contemporary. Score. 7 pages. Musik Fabrik Music Publishing #2344341. Published by Musik Fabrik Music Publishing (A0.533330). Il fuoco rubato is one of the 3 pieces for piano solo Anamorphoses whose titles areBartoquade I, Bartoquade II b and Il fuoco rubato. These pieces can be linked together as awhole, in that order. The duration is of 5 minutes. They can also be played separately, orgrouped by two (Bartoquades I et II b, duration 3’). The same approach governs the writing ofthese compositions : taking model on works of the repertoire and transforming them as muchas possible while keeping a lot of important parameters.There are many cautionary accidentals. They are not enclosed in brackets to avoidoverloading writing. They are not systematically mentionned. In case of doubt, one willconsider the logic of the composition. When useful, one can distribute differently notesbetween the 2 hands on the condition of respecting the balance between voices. The sign *[on measure 80 means chromatic cluster (F-F#-G). Marie-Agnès NATAF was born on March 2, 1952 at Issy-les-Moulineaux, in the suburbs of Paris, Before deciding to devote herself completely to music, she began by studying both mathematics and musics at the same time. She had a varied base in her musical training, which allowed her to understand the teaching of her main teacher Narcis BONET. She studied the piano, chamber music, musical analysis, harmony and also to a lesser degree the flute, counterpoint and conducting. As a pianist, she received a First Prize in Piano and in Chamber Music at the Orsay Conservatory, the Gold Medla at the National Music School of Cahcan and the Artist Diploma at the Ecole Normale de Musique de Paris – in the class of Germaine MOUNIER. For composition, she studied with Narcis BONET (who later invited her to the Conservatoire Américain of Fontainebleau as accompanist and teacher of French Diction), Yoshihisa TAÃRA, and Edith CANAT de CHIZY. Having taught for a time at the Ecole Normale de Musique de Paris, she is currently professor of piano at the Conservatoire Erik Satie of Villebon-sur-Yvette, Marie-Agnès Nataf has a double career of performer and composer. In both areas, she is especially attracted to chamber music, for the rich musical and human exchanges that this type of music permits. She has written her works Trois mélodies sur des poèmes de Marie-Isabelle SOLANO, Révolte sans paroles and Elan brisé for her colleagues the mezzo-soprano Nicole PARAMYTHIOTTI and the flutiste Isabelle MARCHAL with whom he has given concerts for many years. As a performer, she has premiered works by composers such as Gian-Paolo CHITI, Gloria COATES, Jean-Marie MACHADO, Yoshifumi UMEZAWA, Miao Wen WANG, without speaking of her own compositions. She also tries to discover high quality works of music which are rarely performed, especially works by women composers such as Thérèse BRENET, Dianne GOOLKASIAN-RAHBEE, Ruth LOMON. Her principal works are Trois mélodies sur des poèmes de Marie-Isabelle SOLANO, for mezzo-soprano and piano, 8'30, 1981-83-86. Bartoquade I - Anamorphoses I, 1', et Bartoquade II b - Anamorphoses II, 2', for piano, 1990 revised in 2012. Il fuoco rubato - Anamorphoses III for piano, 2', 1991 revised in 2012. Révolte sans paroles for mezzo-soprano, flute and piano, 16'30, 2000. and Elan brisé and flute and piano, 6'30, 2005. In 2001, on the ocassion of the premier of Révolte sans paroles at the Centre Culturel Jacques Brel of of Villebon-sur-Yvette, she was invited to give a conference on her works at the Conservatoire Erik Satie. In April 2002, her songs were selected by the ensemble North /South Consonance directed by Max LIFCHITZ in a competition. In 2012, the Bartoquades were chosen to be on the list of works proposed by the FFEM for their examination list for intermediate pianists. On the su.
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Piano seul
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Marie-Agnès Nataf
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Marie-Agnès Nataf: IL FUOCO RUBATO Anamorphoses III for piano
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Musik Fabrik Music Publishing
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SheetMusicPlus
Carson Cooman: Fourth Piano Sonata
Piano seul
Piano Solo - Level 5 - Digital Download SKU: A0.533606 Composed by Carson Cooman. C…
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Piano Solo - Level 5 - Digital Download SKU: A0.533606 Composed by Carson Cooman. Concert,Contemporary,Standards. Score. 16 pages. Musik Fabrik Music Publishing #3030525. Published by Musik Fabrik Music Publishing (A0.533606). I. Mourning at SunsetII. Beyond Distant EchoesIII. Whispers of MortalityFourth Piano Sonata (2005) was commissioned by and is dedicated to pianist Donna Amato.The work is in three movements, each using the exact same musical material. Eachmovement presents a trajectory towards a greater integration of the disparate pieces ofmaterial.The first movement, Mourning at Sunset, presents the basic material in clearly definedblocks. An opening section of forceful, declamatory chords alternates with a more lyricalsection of interlocking lines. The forceful music returns before a slow, desolate section ispresented. This builds to a small climax before dying down again. The opening then returns.The second movement, Beyond Distant Echoes, is slow and ethereal. Sounds of distant gongsalternate with brittle, spasmodic interjections.The third movement, Whispers of Mortality, is inspired by the finale of Frederic Chopin'sPiano Sonata in B-flat minor. It is fast and fleeting and too short. The musical materialhas transformed into pure running roulades of raw notes. The movement evaporates into theuppermost register.
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Piano seul
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Carson Cooman
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Carson Cooman: Fourth Piano Sonata
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Musik Fabrik Music Publishing
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SheetMusicPlus
Carson Cooman: Nine Preludes for piano
Piano seul
Piano Solo - Level 4 - Digital Download SKU: A0.533554 Composed by Carson Cooman. C…
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Piano Solo - Level 4 - Digital Download SKU: A0.533554 Composed by Carson Cooman. Concert,Contemporary,Standards. Score. 37 pages. Musik Fabrik Music Publishing #3018601. Published by Musik Fabrik Music Publishing (A0.533554). I. (Flowing)II. (Fast, nimble)III. (Funereal) (in memoriam Donald Martino)IV. (Dancing)V. (Distant, echoing) (for Richard and Dee Wilson)VI. (Moderate, singing, with humor) (for Michael Finnissy)VII. (Slow, very lyrical)VIII. (March)IX. (Envoi: Very slow, from afar)Nine Preludes (2007) for piano was written for and is dedicated to pianist Marilyn Nonken; it was commissioned byRichard Mason.Although the work is composed as a set of discrete movements, the preludes are very much interconnected, as motivicand developmental ideas run throughout the entire set. The basic musical material (founded upon collections of minorand major thirds) is shared among all nine movements. An elegiac quality runs throughout the work.The first prelude (Flowing) is inspired by the piano music of Johannes Brahms, whose contributions to the instrument’sliterature have been a significant and ongoing influence on my work.The second prelude is fast and bright. Consistent staccato textures are maintained as the two hands intertwine.The third prelude (Funereal) is dedicated to the memory of American composer Donald Martino (1931–2005). The musicrefers very obliquely to Martino’s setting of Robert Herrick’s poems of death and eternity in The White Island (1985).The fourth prelude (Dancing) is light and buoyant. After a melodic middle section, the opening music reverses itself to theend.The fifth prelude (Distant, echoing) is dedicated to Richard and Dee Wilson. Through large blocks of sustained sound (bothquiet and loud), the movement explores certain harmonic colors of the piano.The sixth prelude (Moderate, singing, with humor) is dedicated to English composer Michael Finnissy. The opening ismarked “like an ‘off-kilter’ folk song,†and this original melody is subjected to a variety of transformations and textures.The rhythmic patterns are constantly in flux.The seventh prelude (Slow, very lyrical) is melodic and passionate, with a nocturnal character. The middle builds to anintense climax before dying away.The eighth prelude (March) is spiky and crisp. In the trio, the march theme is turned first into a tonal ballad beforegradually transforming back into the language of the march. A faster reprise of the opening music follows.The ninth prelude (Envoi: Very slow, from afar) is an elegaic “farewell.†Romantic gestures and harmonies try to assertthemselves before the music dies away.Performance Note: Although it is preferred that the entire set of nine preludes be played in concert, individual preludes (or smallerassembled groupings) may be performed when necessary for programming needs. If the entire set is played, however, the order of thepreludes should not be changed. The movements should be listed in the program in the format shown at the top of this page.Recorded by Donna Amato on Carson Cooman: Piano works ALTARUS AIR-CD-9015
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Piano seul
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Carson Cooman
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Carson Cooman: Nine Preludes for piano
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Musik Fabrik Music Publishing
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SheetMusicPlus
Mémoire d'une bergère (Autobiographie of an Armchair)
Piano seul
Piano Solo - Level 4 - Digital Download SKU: A0.1087464 Composed by Germaine Taille…
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Piano Solo - Level 4 - Digital Download SKU: A0.1087464 Composed by Germaine Tailleferre. 20th Century,Baroque,Blues,Classical,Film/TV. Score. 20 pages. Musik Fabrik Music Publishing #691673. Published by Musik Fabrik Music Publishing (A0.1087464). In 1959, Germaine Tailleferre wrote incidental music for a radio drama based on Philippe Jullian’s « Mémoire d’une bergère » or « Autobiography of an armchair » which traced the owners of this armchair from the court of Louis XV to England after the French Revolution, back to Paris and through the hands of various foreign owners (Arabian, American, German etc.). In illustrating this story Tailleferre used her great knowledge of musical styles to evoke these different settings, from the classical styles of French music of the XVIIIth century to classical, romantic, popular French styles as well as two evocations of American Blues/Ragtime music. These short pieces are interesting in and of themselves, in addition to illustrating Jullian’s story. The first piece may be repeated at the end, as it was in the original radio drama.
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Piano seul
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Germaine Tailleferre
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Mémoire d'une bergère
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Musik Fabrik Music Publishing
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SheetMusicPlus
Carson Cooman: Biblicals: Concerto for Solo Piano
Piano seul
Piano Solo - Level 5 - Digital Download SKU: A0.533692 Composed by Carson Cooman. 2…
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Piano Solo - Level 5 - Digital Download SKU: A0.533692 Composed by Carson Cooman. 20th Century,Concert,Contemporary,Sacred,Standards. Score. 17 pages. Musik Fabrik Music Publishing #3038635. Published by Musik Fabrik Music Publishing (A0.533692). Biblicals: Concerto for Solo Piano in Five Movements (1998) was commissioned from thecomposer by an anonymous benefactor for pianist Kathleen Supové in tribute of her tirelesssupport of new music.The work is in five movements, each inspired by a different biblical quotation which isquoted in the score before each movement. If possible, these passages should be printed inthe program or read aloud before the performance of the work. Each movement isprogrammatic only in an internal sense. While the movements do not attempt to directlyportray the action of the passage in a storybook sense, they do attempt to capture the overallaffect of the verse. The form of the work is as a concerto for solo piano drawing on a titlethat has been used in the past by numerous composers. Likewise, although the work does notinvolve an orchestra, I have titled it concerto because it contains elements of a concerto solopart and because of the virtuosity required to perform the work. The work explores a widerangeof styles from quasi-lyrical to highly chromatic. Throughout, the work has a rhythmicintensity which should be observed by the performer.The first movement, Hovering Over the Waters, makes use of an irregular rhythmic patternintroduced in the opening measure and used throughout the work. Irregular and nervousrhythms using chromatic intervals pervade the entire movement.The second movement, Baldhead, is a forceful and loud movement making use of the clashbetween diatonic and pentatonic clusters. It is relentless in its pounding energy, irregularrhythms, and volume. This movement is dedicated to American composer Daniel Pinkhamon the occasion his 75th birthday in 1998. The connection of this movement to Pinkhamcomes in the superimposition of pentatonic and diatonic clusters, a technique used so well inone of my favorite Pinkham works, Blessings for Organ (1978).The third movement, Forgiven and Free, presents a tranquil scene involving the building ofchords, standard and otherwise, through the adding of tones one at a time. Brief chromaticmelodies appear and then disappear quickly.The fourth movement, Under the Sun, makes use of a motive involving four chords over a lefthand bass consisting of a major-tenth chord. This motive appears throughout the movement,constantly breaking in and interrupting the action. A variety of irregular rhythmic motivesappear throughout as a contrast to the main motive with its strict rhythm. Quotes of nurseryrhyme tunes are hidden throughout the movement as well in various forms.The fifth movement, The Seventh Angel, is a fast and furious tarantella. As the movementflies by a variety of musical ideas emerge and then disappear into the main motive again.The music continues to get faster and faster and finally the movement ends with a furiousprogression from the bottom to top of the piano and then a thunderous unison chord in thelower register.
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Piano seul
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Carson Cooman
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Carson Cooman: Biblicals: Concerto for Solo Piano
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Musik Fabrik Music Publishing
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SheetMusicPlus
Carson Cooman - Mountain Toccata for piano
Piano seul
Piano Solo - Digital Download SKU: A0.775929 Composed by Carson Cooman. Contemporar…
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Piano Solo - Digital Download SKU: A0.775929 Composed by Carson Cooman. Contemporary,Standards. Score. 7 pages. Musik Fabrik Music Publishing #2032901. Published by Musik Fabrik Music Publishing (A0.775929). Mountain Toccata (2008) for piano was written for pianist Jeffrey Grossman. This musical material is largely inspired by the modality and sounds of Appalachian folk music, although the tunes are original. The score is marked energetic, very rhythmic, always rough-hewn. This spirit pervades the entire work.
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Piano seul
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Carson Cooman
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Carson Cooman - Mountain Toccata for piano
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Musik Fabrik Music Publishing
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SheetMusicPlus
Carson Cooman - Yizkor for piano
Piano seul
Piano Solo - Digital Download SKU: A0.775936 Composed by Carson Cooman. Contemporar…
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Piano Solo - Digital Download SKU: A0.775936 Composed by Carson Cooman. Contemporary,Jewish,Standards. Score. 3 pages. Musik Fabrik Music Publishing #2033251. Published by Musik Fabrik Music Publishing (A0.775936). Yizkor (2011) for piano is dedicated to Jeff and Beth Grossman, in memory of Hugo and Irene Feingold. The Yizkor prayer is the Jewish memorial rite, recited in memory of departed family. It is traditionally said four times each year (on Yom Kippur, on the last day of Passover, on the second day of Shavout, and on the eighth day of Sukkot.) This piece is a musical Yizkor.
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Piano seul
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Carson Cooman
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Carson Cooman - Yizkor for piano
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Musik Fabrik Music Publishing
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SheetMusicPlus
Claude Debussy: Les Accords du Septième regrettent!!!
Piano seul
Piano Solo - Level 3 - Digital Download SKU: A0.534656 Composed by Claude Debussy. …
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Piano Solo - Level 3 - Digital Download SKU: A0.534656 Composed by Claude Debussy. Arranged by Robert Orledge. 20th Century,Concert,Standards. Score. 3 pages. Musik Fabrik Music Publishing #5732659. Published by Musik Fabrik Music Publishing (A0.534656). Les accords de septième regrettent!!! was the first of the birthday gift Debussy wrote for his second wife-to-be Emma Barda on 4 June 1905. It consists of only nine bards, inscribed as follows: ‘But see how successfully the chords of the 9th, equipped with all their harmonies, send the regrettable 7th [in bars 1-4] about their business and borrow from the colour of the sky some godlike gleams in order to celebrate your birthday, dear “petite mienneâ€â€™ [‘Mais voici qu’heureusement des accords de 9me armés de tous leurs harmoniques te nous envole promener les regrettable 7èmes et emprunte à la couleur de ciel des lueurs d’apothéose pour célébrer ta chère fête de chère petite mienne’] Which shous how much their initially idyllic relationship was founded on Emma’s sympathetic understanding of Debussy’s musical language, something that had proved impossible for his first wife Lilly.
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Piano seul
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Claude Debussy
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Robert Orledge
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Claude Debussy: Les Accords du Septième regrettent!!!
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Musik Fabrik Music Publishing
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SheetMusicPlus
Carson Cooman: Concert Piece: La Tricotea (2006) for piano
Piano seul
Piano Solo - Level 5 - Digital Download SKU: A0.533564 Composed by Carson Cooman. C…
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Piano Solo - Level 5 - Digital Download SKU: A0.533564 Composed by Carson Cooman. Concert,Contemporary,Standards. Score. 10 pages. Musik Fabrik Music Publishing #3022367. Published by Musik Fabrik Music Publishing (A0.533564). Concert Piece: La Tricotea (2006) was written for and is dedicated to conductor and pianistJeffrey Grossman.The work is a “concert paraphrase†in the tradition of the virtuoso piano literature. Thus it is nota set of traditional variations but rather is a virtuosic elaboration of the source material – withdifferent parts of the piece focusing on and amplifying different elements of the original.The source material is the anonymous Renaissance Spanish three-part choral motet La Tricotea.In some sources, this motet is attributed to Francisco Alonso. It was originally published acollection entitled Cancionero Musical del Palacio (c. 1490 – 1520). The text of the motet isprimarily in Spanish but includes both elements of other Romance languages and a great deal ofgibberish.
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Piano seul
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Carson Cooman
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Carson Cooman: Concert Piece: La Tricotea
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Musik Fabrik Music Publishing
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SheetMusicPlus
Germaine Tailleferre: Cadences for the Concerto no. 11 Hob. XVIII:1 by F. J. Haydn and the Concerto
Piano seul
Piano Solo - Level 4 - Digital Download SKU: A0.534486 Composed by Germaine Taillef…
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Piano Solo - Level 4 - Digital Download SKU: A0.534486 Composed by Germaine Tailleferre. Classical,Standards. Score. 17 pages. Musik Fabrik Music Publishing #3534873. Published by Musik Fabrik Music Publishing (A0.534486). Written for François Lang in the 1930s, there works were forgotten in his papers after his death. They were published by Musik Fabrik twenty years after Tailleferre's death.
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Piano seul
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Germaine Tailleferre
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Germaine Tailleferre: Cadences for the Concerto no. 11 Hob. XVIII:1 by F. J. Haydn and the Concerto
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Musik Fabrik Music Publishing
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SheetMusicPlus
Zvonimir Nagy: Vestiges for piano
Piano seul
Piano Solo - Level 5 - Digital Download SKU: A0.534405 Composed by Zvonimir Nagy. C…
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Piano Solo - Level 5 - Digital Download SKU: A0.534405 Composed by Zvonimir Nagy. Concert,Contemporary,Standards. Score. 28 pages. Musik Fabrik Music Publishing #3459139. Published by Musik Fabrik Music Publishing (A0.534405). A native of Croatia, the American composer Zvonimir Nagy has been the recipient of music honors and awards, most notably the Seattle Symphony Orchestra Composition Prize and Swan Prize in Music Composition. Nagy received a doctor of music composition degree from Northwestern University (USA); he also studied music at Texas Christian University, the école Normale de Musique (France), and the Academy of Music-University of Zagreb (Croatia). Nagy's compositions are inspired by the intersection of music aesthetics and perception. He explores various contexts and critical perspectives that illuminate ideas on music and its impact on the mind. His music is frequently commissioned and performed throughout the United States and Europe. Nagy has taught on the faculties of Northwestern and St. Xavier University in Chicago (USA) and has presented at music conferences, workshops, and colloquia. Currently, he serves as Assistant Professor of Music at Duquesne University in Pittsburgh, Pennsylvania. He is also the Cathedral Organist at St. Joseph Cathedral in Wheeling, West Virginia. Nagy continues to perform as a solo and collaborative organist and pianist.
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Piano seul
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Zvonimir Nagy
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Zvonimir Nagy: Vestiges for piano
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Musik Fabrik Music Publishing
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SheetMusicPlus
James Reese Europe: "The Clef Club March", - solo piano
Piano seul
Piano Solo - Level 4 - Digital Download SKU: A0.534530 Composed by James Reese Euro…
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Piano Solo - Level 4 - Digital Download SKU: A0.534530 Composed by James Reese Europe. Arranged by Paul Wehage. 20th Century,Folk,Holiday,Patriotic,Ragtime. Score. 8 pages. Musik Fabrik Music Publishing #3627013. Published by Musik Fabrik Music Publishing (A0.534530). James Reese Europe (February 22, 1880 – May 9, 1919), sometimes known as Jim Europe, was an American ragtime and early jazz bandleader, arranger, and composer. He was the leading figure on the African-American music scene of New York City in the 1910s. In 1910 Europe organized the Clef Club, a society for African Americans in the music industry. In 1912 the club made history when it played a concert at Carnegie Hall for the benefit of the Colored Music Settlement School. The Clef Club Orchestra, while not a jazz band, was the first band to play proto-jazz at Carnegie Hall. The Clef Club March opened this historic concert.
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Piano seul
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James Reese Europe
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Paul Wehage
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James Reese Europe: "The Clef Club March", - solo piano
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Musik Fabrik Music Publishing
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SheetMusicPlus
Moyuru Maeda: Three Japanese Impressions for piano
Piano seul
Piano Solo - Level 4 - Digital Download SKU: A0.534683 Composed by Moyuru Maeda. 20…
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Piano Solo - Level 4 - Digital Download SKU: A0.534683 Composed by Moyuru Maeda. 20th Century,Concert,Contemporary,World. Score. 28 pages. Musik Fabrik Music Publishing #6140727. Published by Musik Fabrik Music Publishing (A0.534683). Three themes by Bach treated as Japanese themes for piano solo.Moyuru Maeda has given concerts throughout France, Europe and Asia in solo recitals and chamber music concerts. Madame Maeda is one of the most important promoters of French Music in Japan where she has performed extensively and given first performances of many important French works of the 20th century. Her interest in traditional Japanese culture lead her to found the Japanese Vocal ensemble AKANE, which performs traditional and sacred music from both European and Asian tradiitions.
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Piano seul
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Moyuru Maeda
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Moyuru Maeda: Three Japanese Impressions for piano
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Musik Fabrik Music Publishing
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SheetMusicPlus
Jacques Leguerney: Fantaisie in g minor for piano
Piano seul
Piano Solo - Level 5 - Digital Download SKU: A0.533316 Composed by Jacques Leguerne…
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Piano Solo - Level 5 - Digital Download SKU: A0.533316 Composed by Jacques Leguerney. 20th Century,Concert,Standards. Score. 37 pages. Musik Fabrik Music Publishing #2343073. Published by Musik Fabrik Music Publishing (A0.533316). Fantaisie en sol mineur pour pianoI. GraveII. ScherzandoIII. Bien allantDate de composition : 17 septembre 1945In 1945 Leguerney finished composition of the Fantaisie en sol mineur pour piano, written in three movements. He felt an â??extraordinary enthusiasmâ? for this piece, which he felt represented a departure from the current writing style for piano. He said in an interview with Patrick Choukroun in 1994 that â??I wanted to show that one could write lyrically for the piano. The piano music of Francis Poulenc lacked strength.â? The work was immediately performed in a private concert at the home of the Countess Jean de Polignac by the French pianist Monique Haas (1909-1987) in December 1945. The fact that she waschosen to perform Leguerneyâ??s Fantaisie is a key to the style of this work which Leguerney felt emulated the expressive force of Cesar Franckâ??s works. Haas was a distinguished concert artist, especially known for her performances of 20th century music, with which she toured worldwide. French pianists of her generation tried to avoid the excess of the â??romanticâ? school and strove for cleanness and precision with a warm tone color reflecting the influence of Alfred Cortot.Leguerney remembers that both Poulenc and Henri Sauguet were present at this private concert, but he noted that they did not comment about his piece. He felt it was obvious that his Fantaisie was â??far from the habitual level of piano musicâ? being composed at that time. These post-war years were Leguerneyâ??s most productive period. In addition to the Fantaisie, hecomposed the Sonatine pour violin et piano, the Quatuor à cordes, and many fine songs including the cycle Sept Poèmes de François Maynard. The 1940s finished with the composition of his first ballet, Endymion. The first public performance of the Fantaisie was given by Stéphane Petit-Jean in the Cloître Saint-Sauveur at the Festival of Aix-en-Provence on July 28, 1988 during a recital for Radio France that included songs of Leguerney interpreted by Nathalie Stutzmann. The concert was laterbroadcast as Une heure avec . . . Jacques Leguerney and also included the song cycles Sept Poèmes de François Maynard, La Nuit and Le Carnaval.The work is dedicated to Jean Fonda, the stage name of Jean-Pierre Fournier. He was the son of the famed French cellist Pierre Fournier. Before the performance at Aix-en-Provence, Leguerney showed the score of the Fantaisie to Fonda, who encouraged him to have it performed. It is possible that the dedication was made at this time.
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Piano seul
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Jacques Leguerney
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Jacques Leguerney: Fantaisie in g minor for piano
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Musik Fabrik Music Publishing
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SheetMusicPlus
Carson Cooman - Lullaby (after Rameau) for piano
Piano seul
Piano Solo - Digital Download SKU: A0.775934 Composed by Carson Cooman. Contemporar…
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Piano Solo - Digital Download SKU: A0.775934 Composed by Carson Cooman. Contemporary. Score. 7 pages. Musik Fabrik Music Publishing #2033027. Published by Musik Fabrik Music Publishing (A0.775934). Lullaby (after Rameau) (2009) for piano was composed in honor of the birth of Goldie Celeste Hunka and is also dedicated to her parents: pianist Marilyn Nonken and playwright George Hunka. The substrate of the music is an E–D tolling figure, whose continuous changes in placement and temperament drive the discourse. The overall tone is tender and gentle, even as the music continually tries to burst its confines. (Jean-Philippe Rameau’s harpsichord piece L' Entretien des Muses served as a template for a number of structural and textural aspects.).
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Piano seul
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Carson Cooman
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Carson Cooman - Lullaby
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Musik Fabrik Music Publishing
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SheetMusicPlus
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