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--INSTRUMENTS--
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ALTO
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1 367
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136
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117
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94
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24
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10
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9
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1
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1
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1
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5
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2
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1
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1
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15
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3
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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
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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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1
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4
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2
Harpe
2
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2
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1
2 Harpes (duo)
1
Trio à Cordes: 2 violons, violoncelle
1
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25
Orchestre à Cordes
8
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7
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5
Orchestre de chambre
4
Piano et Orchestre
2
Cloches
2
Ensemble de Percussions
1
Ensemble de cuivres
1
Percussion
1
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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
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FLUTE DE PAN
FLUTE TRAVERSI…
FORMATION MUSI…
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GUITARE LAP ST…
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2 pianos
Flûte traversière et Piano
Partitions à imprimer
4 partitions trouvées
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1
Germaine Tailleferre : Danse de la Tete for flute and 2 pianos
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Flûte traversière et Piano
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INTERMÉDIAIRE/AVANCÉ
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Germaine Tailleferre
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Germaine Tailleferre : Danse d
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Musik Fabrik Music Publishing
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SheetMusicPlus
Flute,Piano Accompaniment - Level 4 - SKU: A0.1394382 Composed by Germaine Tailleferre. 20th Century,Chamber,Classical,Contemporary. 15 pages. Musik Fab...
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Flute,Piano Accompaniment - Level 4 - SKU: A0.1394382 Composed by Germaine Tailleferre. 20th Century,Chamber,Classical,Contemporary. 15 pages. Musik Fabrik Music Publishing #977863. Published by Musik Fabrik Music Publishing (A0.1394382). This sequence was originally part of the 1948 ballet Paris-Magie. The present arrangement was conceived for one of the Caroline animated films by Marco de Gastyne during the late 1950s. Given the time period, it is probable that Tailleferre was writing this for Jean-Pierre Rampall, who performed on a number of Tailleferre film scores during this period.In the surreal ballet Paris-Magie, the spritely musique represents a fashionably dressed widow who believes that she has found her dead husband's stuffed head at the Paris Flea Market. A few dynamic markings have been added, although Tailleferre did not include many markings in her manuscript score.
$11.35
Heidi, for flute and piano by Simon Peberdy
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Flûte traversière et Piano
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FACILE
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Simon Peberdy
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Heidi, for flute and piano by
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Simon Peberdy
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SheetMusicPlus
Flute,Piano - Level 2 - SKU: A0.757044 Composed by Simon Peberdy. Contemporary,Standards. Score and part. 10 pages. Simon Peberdy #3517477. Published by...
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Flute,Piano - Level 2 - SKU: A0.757044 Composed by Simon Peberdy. Contemporary,Standards. Score and part. 10 pages. Simon Peberdy #3517477. Published by Simon Peberdy (A0.757044). Written for Heidi Widauer, a lovely lady and good friend in Maria Alm, for her 70th birthday.For more pieces, choral, instrumental, 2 pianos, duets, please visit my website:www.simonpeberdymusic.comIf you require an mp3 recording of the piano part, please contact me via my website.
$3.99
Le Cygne
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Flûte traversière et Piano
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INTERMÉDIAIRE/AVANCÉ
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Camille Saint-Saens
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James Pybus
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Le Cygne
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James Pybus
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SheetMusicPlus
Piano,Soprano Flute - Level 4 - SKU: A0.1465108 Composed by Camille Saint-Saens. Arranged by James Pybus. 20th Century,Chamber,Classical,Contest,Festiva...
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Piano,Soprano Flute - Level 4 - SKU: A0.1465108 Composed by Camille Saint-Saens. Arranged by James Pybus. 20th Century,Chamber,Classical,Contest,Festival. Score and part. 7 pages. James Pybus #1043796. Published by James Pybus (A0.1465108). Le cygne, or The Swan, is the 13th and penultimate movement of The Carnival of the Animals by Camille Saint-Saëns. Originally scored for a solo cello accompanied by two pianos, it has been arranged and transcribed for many instruments but remains best known as a cello solo. This arrangement for Flute and Piano of this well-known piece is an excellent choice for recitals, festivals and many other performance venues. The duration is 2:26. Contact me at james.pybus56@gmail.com.
$7.99
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
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2 pianos