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ALTO
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Theme and Six
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129
Piano & claviers
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103
Orgue
21
Piano Facile
21
Instruments en Do
9
1 Piano, 4 mains
2
Piano, Voix et Guitare
2
Piano Trio: piano, violon, violoncelle
2
Piano (partie séparée)
1
Piano, Voix
1
2 Pianos, 4 mains
1
+ 5 instrumentations
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Guitares
Guitare
15
Guitare notes et tablatures
6
Ligne De Mélodie, (Paroles) et Accords
4
2 Guitares (duo)
2
Ukulele
2
Ukulele Baryton
1
+ 1 instrumentations
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Voix
Chorale SATB
18
Chorale 3 parties
5
Chorale Unison
4
Chorale 2 parties
4
Chorale SSAA
3
Chorale TTBB
2
Voix Baryton, Piano
1
Chorale SSATTB
1
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Flûte traversière et Piano
18
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14
Hautbois, Piano (duo)
13
Clarinette et Piano
13
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12
Saxophone Tenor et Piano
10
2 Saxophones (duo)
9
Saxophone Soprano et Piano
9
Saxophone Baryton, Piano
9
Cor anglais, Piano
8
Saxophone Alto et Piano
7
2 Flûtes traversières (duo)
7
Clarinette Basse, Piano
7
Clarinette
7
2 Clarinettes (duo)
6
Quintette de Saxophone: 5 saxophones
5
Flûte, Hautbois, Clarinette, Basson
5
Ensemble de Flûtes
5
3 Saxophones (trio)
4
Flûte, Clarinette (duo)
4
Clarinette, Basson (duo)
3
Saxophone Alto
3
2 Hautbois (duo)
2
3 Flûtes à bec (trio)
2
Hautbois, Basson (duo)
2
Flûte, Violoncelle
2
Flûte traversière
2
Hautbois, Clarinette (duo)
2
Clarinette, Violoncelle (duo)
2
2 Flûte à bec (duo)
2
Flûte, Clarinette et Basson
2
Saxophone Tenor
1
Clarinette, Guitare (duo)
1
Ensemble de saxophones
1
Hautbois, Clarinette, Basson (trio d'anches)
1
5 Flûtes à bec
1
Quatuor de Flûtes : 4 flûtes
1
Quatuor de Clarinettes: 4 clarinettes
1
Ensemble de Clarinettes
1
Quintette de Clarinettes: 5 clarinettes
1
3 Clarinettes (trio)
1
Quintette de Flûte : 5 flûtes
1
Flûte à bec Alto
1
Quatuor de Flûtes à bec
1
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15
Euphonium, Piano (duo)
12
Cor anglais, Piano
8
Trompette, Piano
8
Cor et Piano
8
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
7
Quatuor de Cuivres : 2 trompettes, trombone, tuba
5
Trompette
5
2 Trombones (duo)
5
Quatuor de Cuivres
5
2 Cors (duo)
4
Trompette, Trombone (duo)
3
Trombone, Cor (duo)
3
2 Tubas (duo)
2
2 Euphoniums et 2 Tubas
2
Trompette, Tuba (duo)
2
Ensemble de Trombones
2
Tuba et Piano
2
Trombone, Tuba (duo)
2
Cor, Tuba (duo)
2
Quatuor de cuivres: 4 trombones
2
2 Trompettes (duo)
2
Quatuor de cuivres: 4 trompettes
1
Trompette, Cor (duo)
1
Trombone
1
Quatuor de cuivres: 4 cors
1
Euphonium, Tuba (duo)
1
Ensemble de Trompettes
1
Tuba et Orgue
1
Tuba
1
3 Tubas (trio)
1
4 Tubas
1
Ensemble de Cors
1
Trombone basse
1
+ 29 instrumentations
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Cordes
Quatuor à cordes: 2 violons, alto, violoncelle
14
Violon et Piano
12
Violoncelle, Piano
12
Alto, Piano
8
Violon
6
2 Violons (duo)
6
Violon, Alto (duo)
5
2 Violoncelles (duo)
4
2 Altos (duo)
3
Violoncelle
3
Alto, Violoncelle (duo)
3
Violoncelle, Contrebasse (duo)
3
Violon, Violoncelle (duo)
3
Alto seul
3
Trio à Cordes: violon, alto, violoncelle
2
2 Contrebasses (duo)
2
Harpe
1
Contrebasse, Piano (duo)
1
Trio à Cordes: 3 violoncelles
1
Quatuor à cordes: 4 violons
1
Violoncelle (partie séparée)
1
Contre Basse
1
4 Violoncelles
1
Quatuor à cordes : 4 altos
1
Trio à cordes: 3 altos
1
+ 20 instrumentations
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Orchestre & Percussions
Orchestre d'harmonie
23
Orchestre
19
Orchestre à Cordes
11
Ensemble de cuivres
9
Cloches
7
Orchestre de chambre
5
Ensemble de Percussions
2
Marimba
1
Fanfare
1
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Theme and Six
Piano Trio: piano, violon, violoncelle
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180 Shift for piano trio
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Piano Trio: piano, violon, violoncelle
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AVANCÉ
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Contemporain
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Robert M
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180 Shift for piano trio
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Robert M. Greenberg
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SheetMusicPlus
Piano Trio,String Ensemble Cello,Piano,Violin - Level 5 - SKU: A0.987846 Composed by Robert M. Greenberg. 20th Century,Contemporary. Score and parts. 69...
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Piano Trio,String Ensemble Cello,Piano,Violin - Level 5 - SKU: A0.987846 Composed by Robert M. Greenberg. 20th Century,Contemporary. Score and parts. 69 pages. Robert M. Greenberg #90269. Published by Robert M. Greenberg (A0.987846). Preferred Contact Information: RMonteverdi@comcast.net Performing Rights Organization: BMI Website: robertgreenbergmusic.com Facebook Band Page: facebook.com/RobertGreenbergMusic Video: https://www.youtube.com/watch?v=dZvxnzZ1oA8 Duration: ca. 18 minutes Year of composition: 2013 Program Note: I. Elegy and Variations II. Song and Dance (Shake, Rattle and Roll) III. Re-Invention (Toccatissima) Aside from being an obvious (if hackneyed) reference to the commissioning ensemble, Trio 180, the title 180 Shift well describes the large-scale dramatic action of the piece: from beginning to end, it traverses an expressive distance of 180 degrees, from elegiac sorrow to hot-footed sizzle. 180 Shift is cast in three movements. Each movement is based on the same thematic material, although that material is transformed continuously across the span of the piece. Movement one, Elegy and Variations consists of a series of a theme, six free variations of the theme and a quiet intermezzo before the sixth and final variation. The movement is melancholy, reflective, and generally subdued in tone. Movement two, entitled Song and Dance (Shake, Rattle, and Roll) sees materials introduced in the Elegy transformed first into a introspective song and finally into a vigorous, gigue-like dance. The three parts of the movement are characterized, respectively, by shakes (tremolos), rattles (in the piano; we’ll know them when we hear them) and rolls (arpeggios). Movement three – Re-Invention (Toccatissima) is fast and virtuosic, a (mostly) two-part invention that sees the basic thematic material re-invented once again. 180 Shift is dedicated, with great affection and respect, to Trio 180: Ann Miller, Nina Flyer, and Sonia Leong.
$32.00 ≈
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Piano Trio in C minor, Op. 143
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Piano Trio: piano, violon, violoncelle
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INTERMÉDIAIRE
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Classique
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Ferdinand Ries
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Dianne James
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Piano Trio in C minor, Op. 143
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Artaria Editions
#
SheetMusicPlus
Piano Trio Cello,Piano,Violin - Level 3 - SKU: A0.1487814 Composed by Ferdinand Ries. Arranged by Dianne James. Classical. 62 pages. Artaria Editions #1...
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Piano Trio Cello,Piano,Violin - Level 3 - SKU: A0.1487814 Composed by Ferdinand Ries. Arranged by Dianne James. Classical. 62 pages. Artaria Editions #1064752. Published by Artaria Editions (A0.1487814). The Piano Trio in C minor Op.143 was published by Schott in 1826, but could have been composed much earlier for Ries's personal use in the London concert halls. It is an imposing work, whose gruff tone and serious purpose recall Beethoven's use of this key. The first movement is an impressive sonata-form movement extending to a length of almost 250 bars. It contains two strikingly contrasted themes, one aggressively assertive, the other of a more lyrical, tender character (parallels to Beethoven's thematic tendencies in sonata-form movements are once again clearly apparent). The Adagio movement, cast in the rich colours of A flat major (the tonic minor - flat submediant major key relationship recalls Beethoven once again) contains some moments of real beauty and musical insight. The piano is often centrestage, its florid lines and ornamental flourishes reminiscent of another of Ries's contemporaries, Hummel. The technique of connected second and third movements seen in this work is not new but was a trend established in the piano trio genre by Joseph Haydn in the 1780s and 90s. The oasis of calm and tranquillity created in the Adagio is shattered dramatically by the jagged arpeggio figure which launches the finale. This extremely fast movement - the metronome marking indicates that the music should be felt in two, not in four - is characterised by the tarantella topos. It is a tremendously exciting movement, whose swirling energy and frantic pace is only reined in at the final cadence. The present edition reproduces as faithfully as possible the text of the trio as transmitted in Schott's 1826 edition of the work, a copy of which is preserved in the Staatsbibliothek in Berlin. The metronome markings at the head of each movement derive from this source. The piano compass extends from E flat 1 to a flat 4, a range of just over six octaves. Pedal markings indicated in the source have not been included in the current edition since these are generally very instrument-dependent. Minor rhythmic inconsistences between different statements of the same theme have been retained (e.g. first movement, second subject, bb.51-52, cello and 188-89, violin), as have some differences in phrasing between successive thematic statements (cf. finale, piano bb.3-6 and violin bb.18-21). The style and notation of articulation and dynamic markings have been standardised throughout, and, where missing from the print, markings have been reconstructed from parallel passages. These are indicated by the use of dotted slurs or brackets where appropriate. Obvious wrong notes have been corrected without comment, and editorial emendations with no authority from the print are placed within brackets. Dianne James.
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Theme and Six
