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--INSTRUMENTS--
ACCORDEON
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2 Cors (duo)
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11
Alto, Piano
9
2 Violons (duo)
5
Trio à Cordes: 2 violons, violoncelle
4
Violon, Violoncelle (duo)
4
2 Altos (duo)
2
Violon
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2 Violoncelles (duo)
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Harpe
1
Harpe, Violon, Violoncelle
1
Trio à cordes
1
Trio à Cordes: violon, alto, violoncelle
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Contrebasse, Piano (duo)
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Violon, Basson (duo)
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Violoncelle, Contrebasse (duo)
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Piano Trio: Violon, Alto, Piano
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--INSTRUMENTS--
ACCORDEON
ALTO
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Liszt
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Alto, Piano
Partitions à imprimer
9 partitions trouvées
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1
Liszt: Liebestraume for Viola & Piano
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Alto, Piano
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INTERMÉDIAIRE
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Classique
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Franz Liszt
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James M
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Liszt: Liebestraume for Viola
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jmsgu3
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SheetMusicPlus
Piano,Viola - Level 3 - SKU: A0.550053 Composed by Franz Liszt. Arranged by James M. Guthrie. Concert,Holiday,Love,Romantic Period,Standards,Wedding. Sc...
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Piano,Viola - Level 3 - SKU: A0.550053 Composed by Franz Liszt. Arranged by James M. Guthrie. Concert,Holiday,Love,Romantic Period,Standards,Wedding. Score and part. 21 pages. Jmsgu3 #4592281. Published by jmsgu3 (A0.550053). Duration: 4:25 Score: 11 pages. Widely recognized recital piece. Dreams of Love - perfect for Valentine's Day.
$24.95
Liebestraum No.3 - Viola and Piano (Full Score and Parts)
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Alto, Piano
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INTERMÉDIAIRE
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Franz Liszt
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César Madeira
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Liebestraum No.3 - Viola and P
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Sheet Music To Play Editions
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SheetMusicPlus
Piano,Viola - Level 3 - SKU: A0.1495366 Composed by Franz Liszt. Arranged by César Madeira. 19th Century,Classical,Film/TV,Romantic Period,Wedding. Sco...
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Piano,Viola - Level 3 - SKU: A0.1495366 Composed by Franz Liszt. Arranged by César Madeira. 19th Century,Classical,Film/TV,Romantic Period,Wedding. Score and part. 19 pages. Sheet Music To Play Editions #1071879. Published by Sheet Music To Play Editions (A0.1495366). Liebestraum No.3 in Ab Major, S.541/3 by Franz Liszt. Arrangement for Viola and Piano. With Full Score and Individual Parts. Enjoy it! Franz Liszt (1811 – 1886) was a Hungarian composer, virtuoso pianist, conductor and teacher of the Romantic period. With a diverse body of work spanning more than six decades, he is considered to be one of the most prolific and influential composers of his era. Many of his piano pieces were harder to play than anything that had been written before. In this way he developed the technique of piano playing, setting new standards for the future.For Tutorials, Play Alongs or request New Arrangements, visit the YouTube Channel: Sheet Music To Play
$9.99
"Liebesträum No.3" (Asdur) Viola & Piano
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Alto, Piano
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INTERMÉDIAIRE
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Classique
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Fr
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pfkaori
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"Liebesträum No.3&qu
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pfkaorimusic
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SheetMusicPlus
Piano,Viola - Level 3 - SKU: A0.1371966 By Fr.Liszt . By Fr.Liszt . Arranged by pfkaori. Classical. Score and part. 8 pages. Pfkaorimusic #956152....
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Piano,Viola - Level 3 - SKU: A0.1371966 By Fr.Liszt . By Fr.Liszt . Arranged by pfkaori. Classical. Score and part. 8 pages. Pfkaorimusic #956152. Published by pfkaorimusic (A0.1371966). Composer: Fr.Liszt Song: Dream of love Liebesträum No.3 Orchestration: Viola & Piano Tone:Aflat *Part score included This will be full ver.
$6.99
Dreams of Love No. 3 for Viola and Piano
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Alto, Piano
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INTERMÉDIAIRE
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Classique
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Franz Liszt
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Diego Marani
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Dreams of Love No. 3 for Viola
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Diego Marani
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SheetMusicPlus
Piano,Viola - Level 3 - SKU: A0.1101738 Composed by Franz Liszt. Arranged by Diego Marani. Classical,Instructional,Romantic Period,Standards,Wedding. Sc...
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Piano,Viola - Level 3 - SKU: A0.1101738 Composed by Franz Liszt. Arranged by Diego Marani. Classical,Instructional,Romantic Period,Standards,Wedding. Score and part. 10 pages. Diego Marani #705111. Published by Diego Marani (A0.1101738). Liebesträume (German for Dreams of Love) is a set of three solo piano works by Franz Liszt, published in 1850. Liebestraum No. 3 (also called Nocturne) is the last of the three that Liszt wrote and the most popular. This easy/intermediate arrangement for viola with piano is suitable for classroom, repertoire, recital, wedding or simply for a beautiful encore.
$8.99
The Wedding Album, for Solo Viola and Piano
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Alto, Piano
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INTERMÉDIAIRE
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Various
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David McKeown
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The Wedding Album, for Solo Vi
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David McKeown
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SheetMusicPlus
Piano,Viola - Level 3 - SKU: A0.587634 Composed by Various. Arranged by David McKeown. Baroque,Concert,Romantic Period,Standards,Wedding. Score and part...
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Piano,Viola - Level 3 - SKU: A0.587634 Composed by Various. Arranged by David McKeown. Baroque,Concert,Romantic Period,Standards,Wedding. Score and part. 24 pages. David McKeown #4594711. Published by David McKeown (A0.587634). The Wedding Album is a collection of four beautiful and timeless wedding favourites, arranged for Solo Viola with Piano accompaniment. Whether for that Special Day, for a recital, or for your own entertainment, these arrangements are ideal for players at an intermediate level or higher. The 24-page file includes the piano accompaniments and the separate solo parts at the end. Ave Maria was written by Franz Schubert in 1825 as the sixth song in his song cycle based on Walter Scott’s poem The Lady of the Lake. It is perhaps the best known of all his melodies, adapted for piano by Franz Liszt, and for orchestra many times since. It is often sung with the Latin lyrics of the Catholic hymn of the same name and has been heard everywhere from the Disney movie Fantasia to the funeral of J.F. Kennedy. The Bridal March was written by Richard Wagner in 1850, scored for orchestra and chorus, and opening the third act of his opera, Lohingren. It is best known in the English-speaking world as Here Comes the Bride. Queen Victoria’s daughter used the music for her marriage in 1858, and its popularity has endured ever since.The Prince of Denmark’s March is better known nowadays as the Trumpet Voluntary and is often used in wedding ceremonies. It was in fact written for organ, with the melody played on thetrumpet stop. Written around 1700, for many years this piece was mistakenly attributed to Henry Purcell. Only recently has it been established that the composer was Jeremiah Clarke, organist at St Paul’s Cathedral. It is somewhat ironic that this composer of a wedding mainstay was himself a victim of unrequited love. He consequently shot himself in the cathedral graveyard. Felix Mendelssohn’s Wedding March was originally written in 1842 as incidental music to Shakespeare’s famousplay, Midsummer Night’s Dream. When Queen Victoria’s daughter used the music for her marriage in 1858, it became instantly popular and has remained a wedding favourite ever since.These four arrangements are also available as single titles for $3.99 each. You can find these along with many more top quality arrangements and compositions by David McKeown at http://www.sheetmusicplus.com/publishers/david-mckeown/6203
$9.99
Liebestraume No.3 - Notturno No.3 - Viola and Piano
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Alto, Piano
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INTERMÉDIAIRE
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Franz Liszt
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Anne Christopherson GRSM ARCM
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Liebestraume No.3 - Notturno N
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Music-Scores.com
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SheetMusicPlus
Piano,Viola - Level 3 - SKU: A0.722148 Composed by Franz Liszt. Arranged by Anne Christopherson GRSM ARCM. Concert,Holiday,Love,Romantic Period,Wedding....
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Piano,Viola - Level 3 - SKU: A0.722148 Composed by Franz Liszt. Arranged by Anne Christopherson GRSM ARCM. Concert,Holiday,Love,Romantic Period,Wedding. Score and part. 6 pages. Music-Scores.com #5865757. Published by Music-Scores.com (A0.722148). Liebestraume No.3. Notturno 3, 'O Lieb', based on the poem O Lieb by Freiligrath, depicts unconditional love. A much loved piece of music, perfect for the concert platform. Arranged and abridged for Viola and piano.Duration about 2 minutes.Arranged by Anne Christopherson GRSM ARCM at https://www.music-scores.com
$5.95
Scriabin: Prelude Op. 11 No. 2 for Viola & Piano
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Alto, Piano
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INTERMÉDIAIRE
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Alexander Scriabin
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James M
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Scriabin: Prelude Op. 11 No. 2
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jmsgu3
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SheetMusicPlus
Piano,Viola - Level 3 - SKU: A0.549462 Composed by Alexander Scriabin. Arranged by James M. Guthrie, ASCAP. Concert,Instructional,Romantic Period,Sacred...
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Piano,Viola - Level 3 - SKU: A0.549462 Composed by Alexander Scriabin. Arranged by James M. Guthrie, ASCAP. Concert,Instructional,Romantic Period,Sacred,Standards. Score and part. 12 pages. Jmsgu3 #3499711. Published by jmsgu3 (A0.549462). 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 Op.11/2 Alto Clarinet version. 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.
$19.95
Sullivan: The Lost Chord for Viola & Piano
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Alto, Piano
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INTERMÉDIAIRE
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Sir Arthur Seymour Sullivan
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James M
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dynamic control
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Sullivan: The Lost Chord for V
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jmsgu3
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SheetMusicPlus
Piano,Viola - Level 3 - SKU: A0.549441 Composed by Sir Arthur Seymour Sullivan. Arranged by James M. Guthrie, ASCAP. Instructional,Romantic Period,Sacre...
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Piano,Viola - Level 3 - SKU: A0.549441 Composed by Sir Arthur Seymour Sullivan. Arranged by James M. Guthrie, ASCAP. Instructional,Romantic Period,Sacred,Standards. Score and part. 14 pages. Jmsgu3 #3494681. Published by jmsgu3 (A0.549441). Score: 7 pages, solo part: 2 pages, piano part: 3 pages. Duration: 4:25. Not difficult, but requires sensitivity & dynamic control. Suitable for recitals, church meditations, or school programs. School Years First of all, Sullivan attended music school at the Royal Academy of Music. Because Sullivan was so talented, the Academy awarded him the Mendelssohn Scholarship for two years in a row. He, therefore, studied with John Goss, who studied with Thomas Atwood, who in turn studied with Mozart. Sullivan similarly studied the piano at the Academy with Arthur O’Leary. Study Abroad During his first year, he also earned money by singing solos in the Chapel Royal. At the end of his second year, the Academy consequently continued his scholarship and sent him to study at the Leipzig Conservatoire. He certainly studied composition, and likewise counterpoint and piano. Hence, during his final year in Leipzig, Sullivan finally completed his graduation composition project: Incidental Music for Shakespeare’s The Tempest. Association with Gilbert It seems like Sullivan built the bulk of his composing career largely in the 1860s. As a result, he became famous for his incidental music for the Tempest and his Irish Symphony. He, therefore, began collaborating with the poet W. S. Gilbert in the 1870s. Rather than focus on serious opera, Gilbert and Sullivan, in contrast, concentrated on comic operas such as H. M. S. Pinafore, the Pirates of Penzance, and the Mikado. Therefore, certainly as a result of his education and experience, Sullivan composed a total of 24 operas, 11 symphonic works, and 10 choral pieces. Even more, he wrote a large number of noteworthy hymns such as Onward Christian Soldiers. Lost Chord The general style of his music is maybe similar to Mendelssohn, Schumann, and perhaps Liszt. It seems like Sullivan was fond of writing distinct melodies for each character in his operettas. His melodies combine together as the characters did. Furthermore, he was a master orchestrator, and therefore played the flute, clarinet, trumpet, and trombone fluently. The Lost Chord Sullivan wrote his most noteworthy song the Lost Chord in 1877. As a result, it was a great success and was certainly performed all over the world by a variety of singers such as Enrico Caruso. Because Sullivan was the most famous composer in England, the Lost Chord became the most famous of all British or American songs of the 1870s and 1890s. Consequently, in 1888 Thomas Edison recorded The Lost Chord for the phonograph. It was one of the first songs ever recorded. Furthermore, Queen Victoria knighted Sullivan in 1883.  Â
$26.95
Saint-Saens: The Swan for Viola and Piano
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Alto, Piano
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INTERMÉDIAIRE
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Classique
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Camille Saint-Saens
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James M
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Saint-Saens: The Swan for Viol
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jmsgu3
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SheetMusicPlus
Piano,Viola - Level 3 - SKU: A0.1254033 Composed by Camille Saint-Saens. Arranged by James M. Guthrie, ASCAP. 19th Century,Chamber,Contest,Festival,Hist...
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Piano,Viola - Level 3 - SKU: A0.1254033 Composed by Camille Saint-Saens. Arranged by James M. Guthrie, ASCAP. 19th Century,Chamber,Contest,Festival,Historic,Romantic Period. Score and part. 9 pages. Jmsgu3 #847646. Published by jmsgu3 (A0.1254033). 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.
$34.95
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