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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
XYLOPHONE
Liszt
Non classifié
70
Piano & claviers
Piano, Voix
462
Piano seul
152
Orgue
5
Orgue, Piano (duo)
2
Piano Facile
2
Accompagnement Piano
2
1 Piano, 4 mains
2
Piano Trio: piano, violon, violoncelle
2
2 Pianos, 4 mains
1
Piano Quintette: piano, 2 violons, alto, violoncelle
1
Piano, Voix et Guitare
1
+ 6 instrumentations
Retracter
Guitares
Guitare
11
Guitare notes et tablatures
3
Ligne De Mélodie, (Paroles) et Accords
2
Ukulele
1
4 Guitares (Quatuor)
1
2 Guitares (duo)
1
Paroles et Accords
1
+ 2 instrumentations
Retracter
Voix
Chorale SATB
5
Chorale SSAA
2
Chorale 2 parties
1
Chorale TTBB
1
Chorale 3 parties
1
Vents
Flûte traversière et Piano
13
Saxophone Alto et Piano
12
2 Saxophones (duo)
12
Hautbois, Piano (duo)
11
2 Clarinettes (duo)
10
Saxophone Soprano et Piano
8
Clarinette et Piano
8
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
6
Saxophone Tenor et Piano
6
Saxophone Baryton, Piano
6
Quatuor de Clarinettes: 4 clarinettes
5
Clarinette Basse, Piano
4
2 Flûtes traversières (duo)
4
Quatuor de Flûtes : 4 flûtes
3
Flûte, Hautbois, Clarinette, Basson
3
Cor anglais, Piano
3
Flûte, Clarinette (duo)
3
Saxophone et Guitare
2
Flûte, Violoncelle
2
Trio de Flûtes: 3 flûtes
2
Clarinette
2
Clarinette, Basson (duo)
2
Flûte, Violon, Piano
1
Piccolo
1
3 Clarinettes (trio)
1
Flûte, Alto et Piano
1
Flûte traversière
1
Flûte, Hautbois (duo)
1
2 Hautbois (duo)
1
Quintette de Clarinettes: 5 clarinettes
1
Flûte, Clarinette et Basson
1
Hautbois, Basson (duo)
1
Clarinette Basse
1
Clarinette, Trombone (duo)
1
+ 29 instrumentations
Retracter
Cuivres
Trombone et Piano
7
Euphonium, Piano (duo)
6
Trompette, Piano
4
Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
3
Quatuor de cuivres: 4 cors
3
Cor anglais, Piano
3
Quatuor de Cuivres : 2 trompettes, trombone, tuba
3
Trompette
2
Trombone (partie séparée)
2
2 Trompettes (duo)
2
Cor et Piano
2
Tuba et Piano
1
2 Cors (duo)
1
Trompette, Trombone (duo)
1
+ 9 instrumentations
Retracter
Cordes
Violon et Piano
15
Violoncelle, Piano
13
Quatuor à cordes: 2 violons, alto, violoncelle
11
Alto, Piano
9
2 Violons (duo)
5
Trio à Cordes: 2 violons, violoncelle
4
Violon, Violoncelle (duo)
4
2 Violoncelles (duo)
2
Violon
2
2 Altos (duo)
2
Contrebasse, Piano (duo)
1
Trio à Cordes: violon, alto, violoncelle
1
Harpe, Violon, Violoncelle
1
Harpe
1
Violoncelle, Contrebasse (duo)
1
Violon, Basson (duo)
1
Trio à cordes
1
Piano Trio: Violon, Alto, Piano
1
+ 13 instrumentations
Retracter
Orchestre & Percussions
Orchestre
8
Orchestre d'harmonie
2
Orchestre à Cordes
1
Autres
Instruments
ACCORDEON
ALTO
AUTRES INST…
BALALAIKA
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
BUGLE
CHANT - CHO…
CHARANGO
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
CONTREBASSE
COR
COR ANGLAIS
CORNEMUSE
CORNET
DOBRO - GUI…
DULCIMER
EUPHONIUM
FANFARE - B…
FLUTE
FLUTE A BEC
FLUTE A DIX…
FLUTE DE PA…
FORMATION M…
GUITARE
GUITARE PED…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH, THEOR…
MANDOLINE
MARIMBA
ORCHESTRE
ORGUE
OUD
PARTITIONS …
PAS DE PART…
PERCU. ORCH…
PERCUSSION
PIANO
SAXOPHONE
SYNTHE
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIELLE A RO…
VIOLE DE GA…
VIOLON
VIOLONCELLE
XYLOPHONE
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TRI ET FILTRES
TRI ET FILTRES
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--INSTRUMENTS--
ACCORDEON
ALTO
AUTOHARPE
BANJO
BASSE
BASSON
BATTERIE
BOUZOUKI
CHORALE - CHAN…
CITHARE
CLAIRON
CLARINETTE
CLAVECIN
CLOCHES
COR
COR ANGLAIS
CORNEMUSE
CORNET
DEEJAY
DIDGERIDOO
DULCIMER
EUPHONIUM
FANFARE - BAND…
FLUTE A BEC
FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
GUITARE
GUITARE LAP ST…
HARMONICA
HARPE
HAUTBOIS
LIVRES
LUTH
MANDOLINE
MARIMBA
OCARINA
ORCHESTRE
ORGUE
PERCUSSION
PIANO
SAXOPHONE
SYNTHETISEUR
TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
XYLOPHONE
style (tous)
AFRICAIN
AMERICANA
ASIE
BLUEGRASS
BLUES
CELTIQUE - IRISH - S…
CHANSON FRANÇAISE
CHRISTIAN (contempor…
CLASSIQUE - BAROQUE …
COMEDIES MUSICALES -…
CONTEMPORAIN - 20-21…
CONTEMPORAIN - NEW A…
COUNTRY
EGLISE - SACRE
ENFANTS : EVEIL - IN…
FILM - TV
FILM WALT DISNEY
FINGERSTYLE - FINGER…
FLAMENCO
FOLK ROCK
FOLKLORE - TRADITION…
FUNK
GOSPEL - SPIRITUEL -…
HALLOWEEN
JAZZ
JAZZ MANOUCHE - SWIN…
JEUX VIDEOS
KLEZMER - JUIVE
LATIN - BOSSA - WORL…
LATIN POP ROCK
MARIAGE - AMOUR - BA…
MEDIEVAL - RENAISSAN…
METAL - HARD
METHODE : ACCORDS ET…
METHODE : ETUDES
METHODE : TECHNIQUES
NOËL
OLD TIME - EARLY ROC…
OPERA
PATRIOTIQUE
POLKA
POP ROCK - POP MUSIC
POP ROCK - ROCK CLAS…
POP ROCK - ROCK MODE…
PUNK
RAGTIME
REGGAE
SOUL - R&B - HIP HOP…
TANGO
THANKSGIVING
Vendeurs (tous)
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Note4Piano
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Vous avez sélectionné:
Liszt
intermédiaire
Flûte traversière et Piano
Partitions à imprimer
13 partitions trouvées
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1
Liszt: Liebestraume for Alto Flute & Piano
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Flûte traversière et Piano
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INTERMÉDIAIRE
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Franz Liszt
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James M
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Liszt: Liebestraume for Alto F
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jmsgu3
#
SheetMusicPlus
Flute,Piano - Level 3 - SKU: A0.550064 Composed by Franz Liszt. Arranged by James M. Guthrie. Concert,Holiday,Love,Romantic Period,Standards,Wedding. Sc...
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Flute,Piano - Level 3 - SKU: A0.550064 Composed by Franz Liszt. Arranged by James M. Guthrie. Concert,Holiday,Love,Romantic Period,Standards,Wedding. Score and part. 20 pages. Jmsgu3 #4592571. Published by jmsgu3 (A0.550064). Duration: 4:25 Score: 11 pages. Piano part: 6 pages, Solo part: 3 pages. Widely recognized recital piece. Dreams of Love - perfect for Valentine's Day.
$24.95
"Liebesträum No.3" (Asdur) Flute & Piano
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Flûte traversière et Piano
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INTERMÉDIAIRE
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Classique
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Fr
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pfkaori
#
PianoLiebesträum No
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"Liebesträum No.3&qu
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pfkaorimusic
#
SheetMusicPlus
Flute,Piano - Level 3 - SKU: A0.1371976 By Fr.Liszt . By Fr.Liszt . Arranged by pfkaori. Classical. Score and part. 8 pages. Pfkaorimusic #956158....
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Flute,Piano - Level 3 - SKU: A0.1371976 By Fr.Liszt . By Fr.Liszt . Arranged by pfkaori. Classical. Score and part. 8 pages. Pfkaorimusic #956158. Published by pfkaorimusic (A0.1371976). Composer: Fr.Liszt Song: Dream of love  / Liebesträum No.3 (Asdur) Flute & PianoLiebesträum No.3 Orchestration: Flute & Piano Range: concert flute Tone:Aflat *Part score included full ver.
$6.99
Mendelssohn: Song Without Words Op. 109 for Flute & Piano
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Flûte traversière et Piano
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INTERMÉDIAIRE
#
Felix Mendelssohn
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James M
#
Mendelssohn: Song Without Word
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jmsgu3
#
SheetMusicPlus
Flute,Piano - Level 3 - SKU: A0.549486 Composed by Felix Mendelssohn (1809 –1847). Arranged by James M. Guthrie, ASCAP. Instructional,Romantic Pe...
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Flute,Piano - Level 3 - SKU: A0.549486 Composed by Felix Mendelssohn (1809 –1847). Arranged by James M. Guthrie, ASCAP. Instructional,Romantic Period,Sacred,Standards. Score and part. 20 pages. Jmsgu3 #3500637. Published by jmsgu3 (A0.549486). CONCERT FLUTE & PIANO - Score: 11 pages, solo part: 3 pages, piano part: 5 pages. Duration: 4:20. This is a popular recital piece that would work well also in church or school programs. Mendelssohn Background Felix Mendelssohn (1809 –1847) was, by all means, a German mastermind composer, musician, and orchestra conductor of the Romantic period. Consequently, Mendelssohn composed in the usual forms of the time - symphonies, concertos, oratorios, piano music, and chamber music. To summarize, his most famous works include his music for A Midsummer Night's Dream, the Italian Symphony, the Scottish Symphony, The Hebrides Overture, his later Concerto for Violin & Orchestra, and his Octet for Strings. His most well-known piano pieces, by and large, are the Songs Without Words. Artistic Standing  Musical tastes change from time to time. Moreover, just such a change occurred in the late 19th and early 20th centuries. This plus rampant antisemitism brought a corresponding amount of undue criticism. Fortunately, however, his artistic inventiveness has indeed been critically re-evaluated. As a result, Mendelssohn is once again among the most prevalent composers of the Romantic era. Early Family Life Mendelssohn was, in fact, born into a prominent Jewish family. His grandfather was, notably, the philosopher Moses Mendelssohn. Felix was, in fact, raised without religion. At the age of seven, he was suddenly baptized as a Reformed Christian. He was, moreover, a child musical prodigy. Nevertheless, his parents did not attempt to exploit his talent. Early Adulthood Mendelssohn was, in general, successful in Germany. He conducted, in particular, a revival of the music of Johann Sebastian Bach, specifically with his presentation of the St Matthew Passion in 1829. Felix was truly in demand throughout Europe as a composer, conductor, and soloist. For example, he visited Britain ten times. There, he premiered, namely, many of his significant works. His taste in music was. To be sure, inventive and well-crafted yet markedly conservative. This conservatism separated him by all means from more audacious musical colleagues like Liszt, Wagner, and Berlioz. Mendelssohn founded the Leipzig Conservatoire which, to clarify, became a defender of this conservative viewpoint. Mature Adulthood Schumann notably wrote that Mendelssohn was the Mozart of the nineteenth century, the most brilliant musician, the one who most clearly sees through the contradictions of the age and for the first time reconciles them. This observation points to a couple of features in particular that illustrate Mendelssohn's works and his artistic procedure. Musical Features In the first place, his musical style was fixed in his systematic mastery of the style of preceding masters. This being said, he certainly recognized and even developed early romanticism from the music of Beethoven and Weber. Secondly, it indicates that Mendelssohn sought to strengthen his inherited musical legacy rather than to exchange it with new forms and styles or replace it with exotic orchestration. Consequently, he diverged his contemporaries in the romantic period, such as Wagner, Berlioz, and Liszt. Mendelssohn revered Liszt's virtuosity at the keyboard but found his music rather insubstantial.
$32.95
Mendelssohn: Song Without Words Op. 109 for Alto Flute & Piano
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Flûte traversière et Piano
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INTERMÉDIAIRE
#
Classique
#
Felix Bartholdy Mendelssohn
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James M
#
Mendelssohn: Song Without Word
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jmsgu3
#
SheetMusicPlus
Flute,Piano - Level 3 - SKU: A0.549493 Composed by Felix Bartholdy Mendelssohn. Arranged by James M. Guthrie, ASCAP. Instructional,Romantic Period,Sacre...
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Flute,Piano - Level 3 - SKU: A0.549493 Composed by Felix Bartholdy Mendelssohn. Arranged by James M. Guthrie, ASCAP. Instructional,Romantic Period,Sacred,Standards. Score and part. 20 pages. Jmsgu3 #3500855. Published by jmsgu3 (A0.549493). ALTO FLUTE & PIANO - Score: 11 pages, solo part: 3 pages, piano part: 5 pages. Duration: 4:20. This is a popular recital piece that would work well also in church or school programs. Mendelssohn Background Felix Mendelssohn (1809 –1847) was, by all means, a German mastermind composer, musician, and orchestra conductor of the Romantic period. Consequently, Mendelssohn composed in the usual forms of the time - symphonies, concertos, oratorios, piano music, and chamber music. To summarize, his most famous works include his music for A Midsummer Night's Dream, the Italian Symphony, the Scottish Symphony, The Hebrides Overture, his later Concerto for Violin & Orchestra, and his Octet for Strings. His most well-known piano pieces, by and large, are the Songs Without Words. Artistic Standing  Musical tastes change from time to time. Moreover, just such a change occurred in the late 19th and early 20th centuries. This plus rampant antisemitism brought a corresponding amount of undue criticism. Fortunately, however, his artistic inventiveness has indeed been critically re-evaluated. As a result, Mendelssohn is once again among the most prevalent composers of the Romantic era. Early Family Life Mendelssohn was, in fact, born into a prominent Jewish family. His grandfather was, notably, the philosopher Moses Mendelssohn. Felix was, in fact, raised without religion. At the age of seven, he was suddenly baptized as a Reformed Christian. He was, moreover, a child musical prodigy. Nevertheless, his parents did not attempt to exploit his talent. Early Adulthood Mendelssohn was, in general, successful in Germany. He conducted, in particular, a revival of the music of Johann Sebastian Bach, specifically with his presentation of the St Matthew Passion in 1829. Felix was truly in demand throughout Europe as a composer, conductor, and soloist. For example, he visited Britain ten times. There, he premiered, namely, many of his significant works. His taste in music was. To be sure, inventive and well-crafted yet markedly conservative. This conservatism separated him by all means from more audacious musical colleagues like Liszt, Wagner, and Berlioz. Mendelssohn founded the Leipzig Conservatoire which, to clarify, became a defender of this conservative viewpoint. Mature Adulthood Schumann notably wrote that Mendelssohn was the Mozart of the nineteenth century, the most brilliant musician, the one who most clearly sees through the contradictions of the age and for the first time reconciles them. This observation points to a couple of features in particular that illustrate Mendelssohn's works and his artistic procedure. Musical Features In the first place, his musical style was fixed in his systematic mastery of the style of preceding masters. This being said, he certainly recognized and even developed early romanticism from the music of Beethoven and Weber. Secondly, it indicates that Mendelssohn sought to strengthen his inherited musical legacy rather than to exchange it with new forms and styles or replace it with exotic orchestration. Consequently, he diverged his contemporaries in the romantic period, such as Wagner, Berlioz, and Liszt. Mendelssohn revered Liszt's virtuosity at the keyboard but found his music rather insubstantial.
$32.95
"Liebesträume No. 3" (Asdur) Soprano Flute & Piano
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Flûte traversière et Piano
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INTERMÉDIAIRE
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Classique
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Fr
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pfkaori
#
"Liebesträume No. 3&
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pfkaorimusic
#
SheetMusicPlus
Piano,Soprano Flute - Level 3 - SKU: A0.1371989 By Fr.Liszt . By Fr.Liszt . Arranged by pfkaori. Classical. Score and part. 8 pages. Pfkaorimusic ...
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Piano,Soprano Flute - Level 3 - SKU: A0.1371989 By Fr.Liszt . By Fr.Liszt . Arranged by pfkaori. Classical. Score and part. 8 pages. Pfkaorimusic #956175. Published by pfkaorimusic (A0.1371989). Composer: Fr.Liszt Song: Dream of Love - Liebesträume No. 3 Orchestration: Soprano Flute & Piano Key: Asdur (Flute inF) full ver. *Part score included.
$6.99
Dreams of Love No. 3 for Flute and Piano
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Flûte traversière et Piano
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INTERMÉDIAIRE
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Franz Liszt
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Diego Marani
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Dreams of Love No. 3 for Flute
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Diego Marani
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SheetMusicPlus
Flute,Piano - Level 3 - SKU: A0.1101811 Composed by Franz Liszt. Arranged by Diego Marani. Classical,Instructional,Romantic Period,Standards,Wedding. Sc...
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Flute,Piano - Level 3 - SKU: A0.1101811 Composed by Franz Liszt. Arranged by Diego Marani. Classical,Instructional,Romantic Period,Standards,Wedding. Score and part. 10 pages. Diego Marani #705192. Published by Diego Marani (A0.1101811). 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 flute with piano is suitable for classroom, repertoire, recital, wedding or simply for a beautiful encore.
$8.99
The Wedding Album, for Solo Flute and Piano
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Flûte traversière et 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 Fl
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David McKeown
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SheetMusicPlus
Flute,Piano - Level 3 - SKU: A0.587625 Composed by Various. Arranged by David McKeown. Baroque,Concert,Romantic Period,Standards,Wedding. Score and part...
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Flute,Piano - Level 3 - SKU: A0.587625 Composed by Various. Arranged by David McKeown. Baroque,Concert,Romantic Period,Standards,Wedding. Score and part. 24 pages. David McKeown #4594685. Published by David McKeown (A0.587625). The Wedding Album is a collection of four beautiful and timeless wedding favourites, arranged for Solo Flute 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
Scriabin: Prelude Op. 11 No. 2 for Alto Flute & Piano
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Flûte traversière et 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
Flute,Piano - Level 3 - SKU: A0.549473 Composed by Alexander Scriabin. Arranged by James M. Guthrie, ASCAP. Concert,Instructional,Romantic Period,Sacred...
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Flute,Piano - Level 3 - SKU: A0.549473 Composed by Alexander Scriabin. Arranged by James M. Guthrie, ASCAP. Concert,Instructional,Romantic Period,Sacred,Standards. Score and part. 12 pages. Jmsgu3 #3499833. Published by jmsgu3 (A0.549473). 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.BackgroundOp.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.FormsLikewise, 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.PhilosophyScriabin 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.SynesthesiaHe 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. MultimediaHence, 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 PerformancesIn 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
Scriabin: Prelude Op. 11 No. 2 for Flute & Piano
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Flûte traversière et 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
#
SheetMusicPlus
Flute,Piano - Level 3 - SKU: A0.549464 Composed by Alexander Scriabin. Arranged by James M. Guthrie, ASCAP. Concert,Instructional,Romantic Period,Sacred...
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Flute,Piano - Level 3 - SKU: A0.549464 Composed by Alexander Scriabin. Arranged by James M. Guthrie, ASCAP. Concert,Instructional,Romantic Period,Sacred,Standards. Score and part. 12 pages. Jmsgu3 #3499727. Published by jmsgu3 (A0.549464). 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
Die Zauberflöte
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Flûte traversière et Piano
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INTERMÉDIAIRE
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Classique
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Wolfgang Amadeus Mozart
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Die Zauberflöte
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Musikverlag Zimmermann - Digital
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SheetMusicPlus
Flute and piano - intermediate - SKU: S9.Q54660 From Opera Transcriptions op. 45“. Composed by Wolfgang Amadeus Mozart. Arranged by Karl Jo...
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Flute and piano - intermediate - SKU: S9.Q54660 From Opera Transcriptions op. 45“. Composed by Wolfgang Amadeus Mozart. Arranged by Karl Joachim Andersen and Werner Richter. This edition: Sheet music. Flöte im Salon. Downloadable. Duration 6 minutes, 30 seconds. Musikverlag Zimmermann - Digital #Q54660. Published by Musikverlag Zimmermann - Digital (S9.Q54660). German • English • French.Joachim Andersen's Operatic Transcriptions for Flute and Pianoforte, op. 45, though typical products of the bourgeois salons of the nineteenth Century, stand in a thoroughly respectable tradition whose origins reach far back into the past and which attained an unsurpassable culmination in the famous piano transcriptions of Franz Liszt. Potpourris, as this type of domestic music-making can be called, often gave bourgeois music lovers of the time their only opportunity to become acquainted with and to discuss important or popular works by prominent tone-poets of die day. (For further information see Count Gallenberg's Kleine Ballettmusik für zwei Flöten, available from the same publisher under the order number ZM 2625.) Carl Joachim Andersen (1847-1909) was one of the most important and internationally best regarded flautists of his day; in later years he also performed as a conductor. His numerous pedagogical and recital pieces for flute stand well above the qualitative level of the virtuoso and salon music being mass-produced at the time. These works reveal him to have been a composer with taste, a strong sense of form and a mastery of harmony.
$9.99
Saint-Saëns: The Swan for Flute & Piano
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Flûte traversière et 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-Saëns: The Swan for
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jmsgu3
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SheetMusicPlus
Piano,Soprano Flute - Level 3 - SKU: A0.1314255 Composed by Camille Saint-Saens. Arranged by James M. Guthrie. 19th Century,Chamber,Contest,Festival,His...
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Piano,Soprano Flute - Level 3 - SKU: A0.1314255 Composed by Camille Saint-Saens. Arranged by James M. Guthrie. 19th Century,Chamber,Contest,Festival,Historic,Romantic Period. Score and part. 11 pages. Jmsgu3 #902996. Published by jmsgu3 (A0.1314255). 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. Childhood It 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. Criticism On 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
Valentine Romance Medley
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Flûte traversière et Piano
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INTERMÉDIAIRE
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SCMusic
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SCMusic
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Rachmaninov
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Valentine Romance Medley
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SCMusic
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SheetMusicPlus
Piano,Soprano Flute - Level 3 - SKU: A0.1330355 Composed by SCMusic. Arranged by SCMusic. Chamber,Classical,Holiday,Romantic Period,Wedding. Score and p...
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Piano,Soprano Flute - Level 3 - SKU: A0.1330355 Composed by SCMusic. Arranged by SCMusic. Chamber,Classical,Holiday,Romantic Period,Wedding. Score and part. 8 pages. SCMusic #918224. Published by SCMusic (A0.1330355). A romantic classical medley suited for a Wedding, Valentine's Day or romantic occasion, featuring classical tunes from Tchaikovsky, Liszt, Elgar, Mascagni & Rachmaninov. Pieces include 'Romeo and Juliet - Love Theme', 'Sleeping Beauty Waltz', 'Liebestraum', 'Cavalleria Rusticana - Intermezzo', and a brief nod to Rachmaninov's 'Piano Concerto No. 2'. Separate flute part included in print out.
$6.99
Consolation No. 3
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Flûte traversière et Piano
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INTERMÉDIAIRE
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Classique
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Franz Liszt
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Timofei Dokshitser
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Piano
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Consolation No. 3
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Editions Marc Reift - Digital
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SheetMusicPlus
Composed by Franz Liszt (1811- 1886). Arranged by Timofei Dokshitser. Flute & Piano. Score and parts. 6 pages. Duration 3\'55. Editions Marc R...
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Composed by Franz Liszt (1811- 1886). Arranged by Timofei Dokshitser. Flute & Piano. Score and parts. 6 pages. Duration 3\'55. Editions Marc Reift - Digital #46649. Published by Editions Marc Reift - Digital
$11.95
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