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TRI ET FILTRES
TRI ET FILTRES
Tri et filtres :
--INSTRUMENTS--
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High Germany
Cor et Piano
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Luther: Out of the Depths for French Horn & Piano
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Cor et Piano
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DÉBUTANT
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Martin Luther
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James M
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piano
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Luther: Out of the Depths for
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jmsgu3
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SheetMusicPlus
French Horn,Piano - Level 1 - SKU: A0.548717 Composed by Martin Luther. Arranged by James M. Guthrie, ASCAP. Easter,Instructional,Standards. Score and p...
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French Horn,Piano - Level 1 - SKU: A0.548717 Composed by Martin Luther. Arranged by James M. Guthrie, ASCAP. Easter,Instructional,Standards. Score and part. 4 pages. Jmsgu3 #3411743. Published by jmsgu3 (A0.548717). Out of the Depths I Cry to You by Martin Luther arranged for French horn & piano. The first verses feature modified counterpoint and harmony proceeding at quarter = 82. The final verse is reharmonized for maximum dramatic effect at a more contemplative tempo such as quarter = 64. Features the entire range of the instrument. Very powerful selection for Lent or Easter. Duration (3 verses) 3:05, 36 ms. Score: 3 pg. Solo part: 1 pg. The piano reads from the score. Out of the Depths Aus tiefer Not schrei ich zu dir (From deep affliction I cry out to you), is, of course, a hymn composed by Martin Luther. Moreover, Luther also wrote the lyrics, essentially a paraphrase of Psalm 130. First published in 1524, it is also one of eight songs in the original Lutheran hymnal. It appears likewise in many hymnals and in different translations. The lyrics furthermore stimulated compositions from the Renaissance to the contemporary. Consequently, composers such as Johann Sebastian Bach built an entire chorale cantata on it. Other composers similarly contributed pieces, such as Felix Mendelssohn and Max Reger. Luther Background Martin Luther, (1483 –1546) was a German professor of theology, composer, priest, and moreover, an influential character in the Protestant Reformation. Luther had a momentous impact on church and society due to his contributions to the musical arts. He wanted to disseminate the gospel among mankind and with this intention thought that the best way to do that was through music. Influence It is important to realize that other musicians, and their descendants, were encouraged by Luther’s songs and wrote their own hymns. Luther, to be sure, had a thorough musical education. For example, he knew secular and sacred songs from an early age. He, in particular, played the lute well and sang in the monastery when he was a monk. That is to say, music was an essential part of his life. He in fact first began writing songs in 1523, sometimes writing the melody as well as the lyrics. Luther was certainly able to evaluate the composers of his time. He thought especially highly of Josquin des and Ludwig Senfl. He was also acquainted, with this in mind, with other composers and their works. Legacy The Lutheran musical ethos soon covered all of Germany and later significantly fashioned Protestant musical culture. Heinrich Schütz and Johann Sebastian Bach are the most compelling evidence of this Protestant musical culture. Additionally, as a point often overlooked, the pedal organ, first refined in northern Germany, became universally prevalent. As a matter of fact, Dieterich Buxtehude established a regular evening organ concert series in Lübeck. Another key point is that this concert series, in turn, spread North German Musical ideas worldwide. Luther was especially convinced that music is a beautiful and exclusive offering of the divine.
$24.95
Dichterliebe
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Cor et Piano
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AVANCÉ
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Classique
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Robert Schumann
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Layne Anspach
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Dichterliebe
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Songburd Music
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SheetMusicPlus
French Horn,Piano - Level 5 - SKU: A0.1416184 Composed by Robert Schumann. Arranged by Layne Anspach. Classical. Score and part. 62 pages. Songburd Musi...
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French Horn,Piano - Level 5 - SKU: A0.1416184 Composed by Robert Schumann. Arranged by Layne Anspach. Classical. Score and part. 62 pages. Songburd Music #997868. Published by Songburd Music (A0.1416184). ROBERT SCHUMANN was a German pianist, music critic and one of the great composers of the Romantic Period who, in an earlier part of his career, was generally critical of the compositional works for piano and voice of his day, and consequently the greater number of his compositions throughout the 1830s were written mostly for piano.  Then came the year of 1840, considered to be Schumann’s liedarjahr (year of song), when he composed nearly half of his life’s best-known works, featuring some of the greatest liederkreis (song cycles) ever written for voice and piano.  One of his widely celebrated song cycles is the well-known Dichterliebe, Op. 48, which is based on a fanciful story of a knight who experiences rejection and love lost, giving us an insight into Schumann’s interests as a ballad writer, melding dramatic irony with his introspective nature and musical style. Schumann’s talent for combining dramatic lyrics with pleasing melodies is clearly seen in the moving lieder (songs) of his repertoire, and his Dichterliebe (A Poet’s Love) is thought to be the paramount work among his song cycles.  Achieved in part by drawing upon the lyric poetry of Heinrich Heine, a German author, poet and literary critic whose political activism among the Junges Deutschland (Young Germans) of the 1830s and 1840s instigated at one point the banning of his works in Germany, leading him to become an expatriate who spent his final years living in Paris, France. Notably, the Romantic Period in Germany is thought to have had its roots in the Sturm und Drang (Storm and Stress) of the late 1700s and was certainly influenced to some degree by the French Revolution, which contrasted itself to the rationalism of the fading period of the Age of Enlightenment.  Thus, the ideological movement of the Young Germans, and its reactive stance to the Romanticism of the era, adds some contrast to Heine’s lyric poetry, which expressed personal emotions and the irony of love, solidified in his Buch der Lieder (Book of Songs) that was published in 1827. Divided into five sections, Heine’s Book of Songs dealt with issues of unrequited love, romanticism, and introspection, and it was from the more than 60 poems of the lyrical cycle Lyrisches Intermezzo (Lyrical Intermezzo) that Schumann found inspiration for his noteworthy song cycle, selecting 16 of Heine’s lyric poems for his Dichterliebe.  For this arrangement, German lyrics are included to assist the performer in connecting the music to the thoughts, feelings, and specific moments expressed in the words that might otherwise be lost if not aligned with the music.  Noting that changes in mood or tone of the music are better understood when aligned with the words, and by including the lyrics, the performer can phrase a passage while having a guide to see the end of the musical line. Romantic lieder allows for rubato in performance, as playing the piece exactly as written on the page will result in a less inspiring rendition.  To match the horn’s register with the vocal line, the piano part required alterations by moving some notation higher in the register.
$54.99
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