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185
Piano & claviers
Piano seul
80
Piano, Voix
62
Piano Facile
15
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13
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2
Piano Trio: piano, violon, violoncelle
1
Accompagnement Piano
1
2 Pianos, 4 mains
1
Piano Quatuor: piano, violon, alto, violoncelle
1
Orgue, Piano (duo)
1
Piano (partie séparée)
1
Orgue, Trompette (duo)
1
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Mandoline
260
Guitare
12
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7
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2
Ukulele
2
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Chorale SATB
31
Chorale 3 parties
11
Chorale Unison
4
Chorale 2 parties
4
Chorale SSATTB
2
Voix seule
2
Chorale SSAA
1
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1
Voix Tenor
1
Voix haute
1
Voix duo
1
Chorale TTBB
1
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15
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12
2 Saxophones (duo)
12
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11
Quatuor de Flûtes : 4 flûtes
11
Clarinette et Piano
9
Quintette de Saxophone: 5 saxophones
8
Saxophone Alto et Piano
7
Clarinette
7
Flûte traversière et Piano
7
Hautbois, Piano (duo)
6
Saxophone Soprano et Piano
6
Saxophone, Clarinette (duo)
6
Flûte traversière
6
Saxophone Tenor et Piano
5
Ensemble de saxophones
5
2 Flûtes traversières (duo)
5
Clarinette, Violon (duo)
4
Clarinette, Trompette (duo)
3
2 Clarinettes (duo)
3
Hautbois (partie séparée)
3
Saxophone Alto
3
Ensemble de Clarinettes
3
Flûte, Hautbois, Clarinette, Basson
3
Saxophone Tenor
2
Hautbois, Flûte
2
2 Hautbois (duo)
2
Flûte, Clarinette (duo)
2
Ocarina
2
Hautbois, Basson (duo)
2
Flûte, Alto (duo)
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Harmonica
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Clarinette et Alto
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Saxophone Baryton, Piano
2
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2
Clarinette Basse, Piano
2
Ensemble de Flûtes
1
3 Saxophones (trio)
1
Clarinette Basse
1
2 Flûtes traversières, Piano
1
2 Cors Anglais Et Pianoforte
1
Saxophone (partie séparée)
1
Flûte à bec Alto
1
Flûte, Violon, Piano
1
Flûte à bec Soprano, Piano
1
2 Clarinettes, Piano
1
Cor Anglais
1
Cor anglais, Piano
1
Hautbois, Clarinette (duo)
1
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15
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6
Trompette
5
Trompette, Saxophone (duo)
5
Cor et Piano
5
Trombone et Piano
4
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4
2 Trombones (duo)
3
Trompette, Trombone (duo)
3
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
3
Trombone
3
Quatuor de Cuivres: 2 trompettes, Cor, trombone
3
Euphonium, Piano (duo)
2
Quatuor de cuivres: 4 trombones
2
2 Cors (duo)
1
2 Tubas (duo)
1
Quatuor de cuivres: 4 cors
1
Quatuor de cuivres: 4 trompettes
1
2 Cors Anglais Et Pianoforte
1
Trompette (partie séparée)
1
Cor Anglais
1
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Cor anglais, Piano
1
2 Trompettes, Clavier (piano ou orgue)
1
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Quatuor à cordes: 2 violons, alto, violoncelle
31
Violon
10
Violon et Piano
7
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6
Violon, Violoncelle (duo)
4
Harpe
4
Alto seul
4
Violon, Alto (duo)
4
Quintette à cordes: 2 violons, alto, violoncelle, basse
3
2 Violons (duo)
3
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3
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3
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3
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3
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2
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1
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1
Harpe, Flûte (duo)
1
4 Violoncelles
1
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1
Contre Basse
1
Trio à Cordes: 3 violoncelles
1
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37
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23
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20
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9
Ensemble Jazz
3
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2
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2
Orchestre de chambre
2
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1
Piano et Orchestre
1
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Same as We
Violoncelle, Piano
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Saint-Saëns: The Swan for Cello & Piano
Violoncelle, Piano
Cello,Piano - Level 3 - Digital Download SKU: A0.1314243 Composed by Camille Saint-…
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Cello,Piano - Level 3 - Digital Download SKU: A0.1314243 Composed by Camille Saint-Saens. Arranged by James M. Guthrie. 19th Century,Contest,Festival,Historic,Romantic Period,Wedding. Score and part. 11 pages. Jmsgu3 #902984. Published by jmsgu3 (A0.1314243). Saint-Saëns: The Swan (Le Cygne) movement 13 from the Carnival of the Animals Suite. One of his most popular and widely recognized works, it is the only movement from the Carnival Suite that Saint-Saëns permitted to be performed publicly during his lifetime. This is an excellent recital encore to demonstrate melodic playing and strategic phrasing. The Carnival of the AnimalsThe Carnival of the Animals is an entertaining musical suite of fourteen movements by Camille Saint-Saëns. The work was composed for private performance by an ensemble of two pianos and solo instruments. The Swan (No. 13) is among the fourteen most famous movements. In its entirety, it lasts about 25 minutes. Saint-Saëns BackgroundCharles-Camille Saint-Saëns 1835 – 1921) was, by all means, in particular, a famous French composer, brilliant organist, and significant musical mastermind of the Romantic era. Indeed, his most famous compositions, in the long run, include his Piano Concerto No. 2 (1868), Cello Concerto No. 1 (1872), and the Danse macabre (1874). Notwithstanding, we must also add Violin Concerto No. 3 (1880), Symphony No. 3 (the Organ Symphony, 1886), and, it must be remembered, Carnival of the Animals (1886) to the list. ChildhoodIt is essential to realize that Saint-Saëns was undoubtedly, in fact, a child musical prodigy. Consequently, with this in mind, he made his concert debut, albeit at ten years old. Another critical point to remember is that he expressly studied at the Paris Conservatoire, then, despite reality, conversely followed a traditional career path as a church organist. Nevertheless, twenty years later, on the other hand, he left to become a successful freelance pianist and composer despite, as has been noted, his former employment situation. Furthermore, his performances were, after all, markedly in demand - not only in Europe but, above all, in the Americas all in all as well. YouthA point often overlooked is that in his youth, Saint-Saëns was undoubtedly excited about the modern music of the day. He was, in essence, fond of the music of his contemporaries, particularly Schumann, Liszt, and, for the most part, Wagner. In contrast, however, his compositions seemed, in fact, primarily confined within the conservative classical tradition. Be that as it may, he was, at the same time, nevertheless, a scholar of musical history.CriticismOn the whole, his conservatism, in fact, ultimately brought him into frequent conflict in his later years with composers of the impressionist and, in particular, the dodecaphonic schools of musical thought. A point often overlooked is that he included neoclassical elements in his music, contrary to some critics. Furthermore, in so doing, he provided the most compelling evidence that he predicted the techniques and works by Stravinsky and Les Six. To put it another way, given these points, he was regarded, perhaps for the most part unfairly, as a non-progressive reactionary henceforth around the time of his passing. LegacySaint-Saëns taught briefly in Paris, where his students included Gabriel Fauré. Maurice Ravel later studied with Fauré. In conclusion, both Ravel and Fauré were powerfully influenced by Saint-Saëns, whom they respected as a musical mastermind.
$32.95
30.38 €
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Violoncelle, Piano
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Camille Saint-Saens
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James M
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Saint-Saëns: The Swan for Cello & Piano
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jmsgu3
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SheetMusicPlus
Scriabin: Prelude Op. 11 No. 2 for Cello & Piano
Violoncelle, Piano
Cello,Piano - Level 3 - Digital Download SKU: A0.549463 Composed by Aleksandr Scria…
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Cello,Piano - Level 3 - Digital Download SKU: A0.549463 Composed by Aleksandr Scriabin (1871 - 1915). Arranged by James M. Guthrie. Instructional,Romantic Period,Sacred,Standards. Score and part. 12 pages. Jmsgu3 #3499715. Published by jmsgu3 (A0.549463). Score: 8 pages, solo part: 2 pages, piano part: 2 pages. Duration: 3:10. An introspective and meditative work with a lot of dynamic and phrasing nuance. Works well for church meditations or recital encores. Background First of all, Scriabin composed mostly for the solo piano and also the orchestra. This is probably because he was a gifted pianist and therefore certainly appreciated the piano. Scriabin grew up in the late Romantic period, consequently, he was fond of the great piano masters of the time. As a result, he wrote his first noteworthy compositions in the manner of Chopin and Liszt. Forms Likewise, Scriabin used many of the same forms as Chopin. These certainly include the étude, prelude, nocturne, and even the mazurka. In contrast, as he developed his own sense of style his music became more and more unusual. So, the last five of his Piano Sonatas do not have a key signature and therefore lean towards atonality. Philosophy Scriabin also developed a keen interest in philosophy and likewise poetry. He was above all particularly fascinated by Nietzsche, Delville, and Blavatsky. Consequently, he finally established his own ideas about metaphysics and certainly mysticism. Scriabin consequently advanced theories about the relationship between color and musical keys. Synesthesia He also may have experienced a condition called synesthesia where he could probably sense a response created from a different stimulus. Therefore, it was almost as if he could see music and hear colors. Scriabin, therefore, arranged the colors in a circle similar to the circle-of-fifths and assigned each key area a color. Finally, he assigned the key of C to the color red, while the key of G was orange. Similarly, he assigned D to yellow, A to green, and so forth. Strangely, he did not differentiate between major and minor key colors.  Multimedia Hence, his ability to translate colors into music certainly gave Scriabin a most noteworthy interest in creating multimedia events. Furthermore, He designed his biggest work, the Mysterium, to last an entire week. Even more, Scriabin made plans not only for music, but also colored lights, incense, and dancing. He designed the performance to occur in the foothills of the Himalaya mountains. The Mysterium was never performed, and only sketches of the work remain. Modern Performances In modern times, we often experience performances of Scriabin’s most famous completed works accompanied by colored laser lights and incense. These are the Poem of Ecstasy (completed in 1908) and the Poem of Fire (completed in 1910). The lighting effects for these early performances were accomplished by the clavier à lumiéres. It was a keyboard instrument that projected colored light onto a screen.
$26.95
24.85 €
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Violoncelle, Piano
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Aleksandr Scriabin
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James M
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Scriabin: Prelude Op. 11 No. 2 for Cello & Piano
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jmsgu3
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SheetMusicPlus
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