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166
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74
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72
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16
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16
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15
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9
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8
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5
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1
Piano Trio: piano, violon, violoncelle
1
2 Pianos, 4 mains
1
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32
Basse electrique
14
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13
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7
Mandoline
3
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2
Banjo
2
Dulcimer
1
Ukulele
1
2 Ukuleles
1
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19
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7
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4
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2
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1
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1
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15
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14
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12
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10
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9
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8
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2 Saxophones (duo)
8
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7
Saxophone Alto et Piano
6
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5
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4
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4
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Clarinette
4
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2
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2
2 Clarinettes (duo)
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2
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2
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Quatuor de Clarinettes: Clarinette, Violon, Alto, Violoncelle
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Flûte à bec Alto
1
Saxophone Tenor
1
3 Clarinettes (trio)
1
3 Flûtes à bec (trio)
1
Flûte à bec Alto, Piano
1
4 Hautbois
1
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1
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1
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1
Saxophone Alto
1
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19
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14
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7
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3
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3
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3
Tuba
3
2 Cors (duo)
3
2 Trompettes (duo)
3
Trompette, Piano
2
3 Tubas (trio)
2
2 Tubas (duo)
2
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2
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2
Ensemble de Cors
2
Instruments en Sib
2
3 Cors (trio)
2
Quatuor de cuivres: 4 trombones
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Trombone et Piano
2
Trompette, Trombone (duo)
2
3 Trombones (trio)
2
2 Trombones (duo)
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1
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Cor et Piano
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Quatuor de cuivres: 4 trompettes
1
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23
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18
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14
Harpe
10
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9
Violon, Violoncelle (duo)
8
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8
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7
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7
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6
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6
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6
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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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2
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2
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2
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2
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2
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1
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1
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1
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1
4 Violoncelles
1
Trio à Cordes: 2 violons, violoncelle
1
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23
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15
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4
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3
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2
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1
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1
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1
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1
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1
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1
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1
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It Method
Alto, Piano
Partitions à imprimer
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Viola Sonata No.1
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Alto, Piano
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AVANCÉ
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Han-Ki Kim
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Viola Sonata No.1
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Han-Ki Kim
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SheetMusicPlus
Piano,Viola - Level 5 - SKU: A0.518943 Composed by Han-Ki Kim. 20th Century,Classical,Contemporary,Instructional,Traditional. Score and part. 37 pages. ...
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Piano,Viola - Level 5 - SKU: A0.518943 Composed by Han-Ki Kim. 20th Century,Classical,Contemporary,Instructional,Traditional. Score and part. 37 pages. Han-Ki Kim #129615. Published by Han-Ki Kim (A0.518943). Viola Sonata No.1 “KangKangSullae†For Viola and Piano Sonata No. 1 has the name “KangKangSullaeâ€, and the composer is like any other composer. “What does it mean to be Korean music?†With the question, he is trying to compose such works. A Korean work means a work that contains Korean emotions and spirit, and the melody of “KangKangSullae†has been handed down through a long history to this day, so it can be said that it is a keepsake containing the soul of Korea. With this in mind, the theme of “KangKangSullae†was cited in the 4th movement, and it was named as a representative name for the sonata as an element that forms the basic character of this movement. For reference, the origin of “KangKangSullae†is from women's circular dance. It was because they valued the relationship between each other. They held hands, sang and danced, and it was a representative event to commemorate the full moon and the harvest. The first movement is in 6/8 time, and two contrasting themes, masculine and feminine, appear in normal sonata form. But, in this sonata, two contrasting themes, eastern and western, develop. The second movement crosses the natural harmonics of the violin and the normal playing method in 4/4 time, and expresses oriental excellence and emotion. The third movement is composed in a short ABA form with a humorous lightness and weight in 3/8 time. The fourth movement quoted the theme of “KangKangSullae†in 8/12 time, and was composed in the form of variations that change with various personalities, sometimes solemnly, sometimes sobbing, calmly, etc.
$14.99
Korsakov: Flight of the Bumblebee for Viola & Piano
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Alto, Piano
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AVANCÉ
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Classique
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Contemporain
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Nikolay Andreyevich Rimsky-Kor
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James M
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Korsakov: Flight of the Bumble
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jmsgu3
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SheetMusicPlus
Piano,Viola - Level 5 - SKU: A0.549240 Composed by Nikolay Andreyevich Rimsky-Korsakov. Arranged by James M. Guthrie, ASCAP. Instructional,Romantic Peri...
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Piano,Viola - Level 5 - SKU: A0.549240 Composed by Nikolay Andreyevich Rimsky-Korsakov. Arranged by James M. Guthrie, ASCAP. Instructional,Romantic Period,Standards. Score and part. 17 pages. Jmsgu3 #3473581. Published by jmsgu3 (A0.549240). Flight of the Bumblebee from Korsakov's Tale of Tsar Saltan Score: 11 pages, Solo part: 3 pages, Piano accompaniment part: 3 pages. Duration: ca. 1:15 Amaze your listeners with this short but great recital encore! Flight of the Bumblebee Flight of the Bumblebee is, to be sure, an orchestral interlude composed by Nikolai Rimsky-Korsakov for his opera The Tale of Tsar Saltan. Korsakov, of course, intended to musically portray the chaotic flying pattern of a bumblebee. Nowadays, this piece is one of the comparatively more famous classical works because it frequently appears from time to time in popular culture. In the opera, the piece appears notably at the close of Act III, Tableau 1. This is when the magic Swan-Bird, in fact, changes the Prince (the son of the Tsar) into a bee so he can fly away to visit his father. Interestingly, at this point in the drama, his father, in effect, does not know that he is alive.  Korsakov Background Nikolai Rimsky-Korsakov (1844 –1908) was a uniquely famous composer from Russia. He was likewise a member of an infamous assembly of composers called The Five. Korsakov was furthermore an expert in orchestration. His correspondingly most famous orchestral compositions-Capriccio Espagnol, the Russian Easter Festival Overture, and the Scheherazade suite-are important monuments of the standard music repertoire.  Also, comparatively very important are his suites and excerpts from his 15 operas. Korsakov was moreover fond of using Russian folklore and fairy tales in his music, such as Scheherazade. Nationalistic Style Korsakov believed, similarly to fellow outspoken composer Balakirev, in creating a nationalistic, Russia-centric style of classical music. The new style was in fact called Orientalism. It similarly relied on native Russian materials, exotic scales, and experimental harmonic, melodic and rhythmic procedures. This practice, conversely, ran counter to the developments in Western musical culture. Musical Developments Nevertheless, Korsakov developed an appreciation of Western musical techniques after he became a professor of musical composition, harmony, and orchestration at the Saint Petersburg Conservatory in 1871. Moreover, he undertook a rigorous three-year program of self-education and mastered Western methods, incorporating them in conjunction with the influences of Mikhail Glinka and other members of The Five. His techniques of composition and orchestration were additionally enriched by his exposure to the works of Richard Wagner. Naval Service Korsakov combined his music career accordingly with a career in the Russian military. He was in the first place an officer in the Russian Navy. In due time, he was appointed as a civilian Inspector of Naval Bands. As a result, Korsakov expanded his knowledge of woodwind and brass playing, which in turn heightened his capabilities in orchestration. Legacy Korsakov in due time contributed a significant number of Russian nationalist works. He also prepared, from time to time, compositions by The Five for presentation. This brought their works straightaway into the active classical repertoire as well. He also shaped an entire generation of younger composers during his time as a music educator. Therefore, music historians consider Korsakov as the foremost engineer of what the public considers to be the Russian style of composition. He served, all in all, as a transitional figure between The Five and the classically trained composers who became the norm over time. In addition to the Russians, he forthwith influenced non-Russian composers such as Ravel, Debussy, Dukas, and Respighi. Â
$32.95
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