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Tanz mit mir
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22 partitions trouvées
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1
Hänsel und Gretel
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Voix duo, Piano
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INTERMÉDIAIRE
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the way, the ‘cock-a-doo
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Engelbert Humperdinck
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Hänsel und Gretel
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Schott Music - Digital
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SheetMusicPlus
2 voices and piano - intermediate - SKU: S9.Q47807 Das Liederspiel. Composed by Engelbert Humperdinck. This edition: single sheet. Singspiel vers...
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2 voices and piano - intermediate - SKU: S9.Q47807 Das Liederspiel. Composed by Engelbert Humperdinck. This edition: single sheet. Singspiel version - fairy tale - Brothers Grimm - folk song - piano reduction - Hansel - Gretel - witch. Downloadable, Separate edition. Duration 55 minutes. Schott Music - Digital #Q47807. Published by Schott Music - Digital (S9.Q47807). German.When Engelbert Humperdinck’s fairy tale opera Hänsel und Gretel was premiered on 23 December 1893 in Weimar conducted by Richard Strauss, the work could look back on an extensive history of origin.Humperdinck’s younger sister Adelheid Wette (born in 1858) had displayed a great interest in literature in her youth and written a variety of poems for special occasions. In 1888, she wrote a fairy tale entitled Schneewittchen [Snow White] and her brother supplied some songs for this piece. Further fairy tale collaborations followed which were customarily performed within the family circle, and the first draft of the Hänsel und Gretel was begun in 1890. Adelheid’s husband would be celebrating his 34th birthday on 16 May of this year and his wife intended to surprise him with a performance of her version of this fairy tale. Her brother was allotted the task of composing the accompanying songs and, a month before the birthday, she wrote a letter to him in Mainz where Engelbert Humperdinck was among other activities working as an editor for the Schott publishing house, ordering a “very pretty folkloric†Tanzlied [Dance song], a Waldlied [Forest song] (or Echolied [Echo song]), a Schlummerlied [Lullaby] and a Kickericki-Lied [Cock-a-doodle-doo song] from her “dear sugar-sweet little brother... Engel-Bärtchen [angel beard]â€. She enclosed the corresponding verses with the letter and “for fun†also provided her own invented melody for the Schlummerlied and rhythmic suggestions for the Tanzlied. Humperdinck went straight to work and, as related in an entry in his diary, was already able to play the songs to the director of the publishing house, Dr Ludwig Strecker, by 19 April.This was the history of origin of the four songs published for the first time edited in form of their original versions in this edition Brüderchen komm’ tanz’ mit mir, Wer ruft mir im Walde doch alles nach, In den Zweigen die Vögelein und Tirelireli! ‘s ist nicht mehr früh “for two children’s voices and piano accompaniment†(see manuscript1). In his reply letter to his sister in which the fair copy of the songs were enclosed, Humperdinck wrote: “As you see, the pitch of the melodies is not too high and I have incorporated your melodies. Let me know soon whether you like the little songs. By the way, the ‘cock-a-doodle-doo’ can also be sung on one note(E flat) instead of on the four notes of the chord.â€The first performance of the song-play was held as planned within the family circle with Wettes’ two eldest daughters in the two principle roles. Spurred on by the success of the family performance, initial plans were forged to adapt the song-play into a singspiel with numerous musical numbers and rhymed dialogues; Hermann Wette participated in a draft of the text. The particell of this singspiel had been completed by Christmas 1890. Hugo Wolf and a few others however advised the composer to extend the singspiel into a through-composed fairy tale opera. Humperdinck followed this advice and worked on what he ironically termed as a “Kinderstubenweihfestspiel“ [sacred festive play for the nursery] during the next two summers in Bayreuth. Tanzliedchen [Dance song] and Morgenweckruf [Cock-a-doodle-doo song] were eventually included in the opera in a modified form.Bevor Engelbert Humperdincks Märchenoper Hänsel und Gretel zum Welterfolg wurde, hatte das Werk bereits eine vielschichtige Entstehungsgeschichte hinter sich. Humperdincks Schwester Adelheid Wette schrieb 1890 ein gereimtes Märchenspiel gleichen Namens, welches sie gemeinsam mit ihren Töchtern im Familienkreis aufführte. Ihr Bruder hatte die entsprechenden vier Lieder dazu beigesteuert. Während Brüderchen, komm tanz mit mir und Tirelireli in veränderter Form auch in die spätere Märchenoper eingingen, existieren das Schlummerliedchen und das Echo im Walde exklusiv in dieser Urfassung von Humperdincks Hänsel und Gretel. Diese Ausgabe umfasst Humperdincks vier ursprüngliche Lieder, die in dieser Fassung erstmals in editierter Form veröffentlicht werden, ebenso wie den vollständigen Text von Adelheid Wettes Liederspiel aus dem Jahr 1890.
$23.99
Brüderchen, komm tanz mit mir
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Piano seul
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DÉBUTANT
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Classique
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Engelbert Humperdinch
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Hans-Guenter Heumann
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Brüderchen, komm tanz mit
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Schott Music - Digital
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SheetMusicPlus
Piano - very easy to easy - SKU: S9.Q47431 From: Hansel and Gretel. Composed by Engelbert Humperdinch. Arranged by Hans-Guenter Heumann. This edi...
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Piano - very easy to easy - SKU: S9.Q47431 From: Hansel and Gretel. Composed by Engelbert Humperdinch. Arranged by Hans-Guenter Heumann. This edition: Sheet music. Copyright 2018 Schott Music GmbH & Co. KG, Mainz. Classical. Downloadable. 2 pages. Schott Music - Digital #Q47431. Published by Schott Music - Digital (S9.Q47431). Digital publication of the piece found in the following print music collection: La donna e mobile - 50 famous opera melodies.
$2.99
Tanz doch wieder mal mit mir
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Piano, Voix
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Pop musique
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Dietmar Schonherr, Heinz Gietz
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Tanz doch wieder mal mit mir
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Roba Music Verlag
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SheetMusicPlus
Piano/vocal/chords - SKU: RX.9783737804912 Composed by Dietmar Schonherr, Heinz Gietz, Joachim Relin, and Vivi Bach. Duet-Waltz. C Major. Pop. With Lang...
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Piano/vocal/chords - SKU: RX.9783737804912 Composed by Dietmar Schonherr, Heinz Gietz, Joachim Relin, and Vivi Bach. Duet-Waltz. C Major. Pop. With Language: German. 6 pages. Published by Roba Music Verlag (RX.9783737804912). ISBN 978-3-7378-0491-2. Key: C major.Duett-Walzer fur Klavier, Gesang und Akkordinstrumente.
$3.99
Límites
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Orchestre de chambre
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Contemporain
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William Grosvenor Neil
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Límites
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TheComposerStudio.Com, LLC
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SheetMusicPlus
Chamber Orchestra - SKU: A0.980599 Composed by William Grosvenor Neil. Contemporary. Score and parts. 59 pages. TheComposerStudio.Com, LLC #6712733. Pub...
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Chamber Orchestra - SKU: A0.980599 Composed by William Grosvenor Neil. Contemporary. Score and parts. 59 pages. TheComposerStudio.Com, LLC #6712733. Published by TheComposerStudio.Com, LLC (A0.980599). LÃmites (1979) for mezzo-soprano and Chamber Orchestra Borges’ poem greatly impressed me with its dreamlike images and its rich reflections on the limitations that we face in our lives. The poem mirrors Borges’ own acceptance of his impending blindness. I sought to capture musically the vivid revelations found in each of the stanzas of the poem. The music centers around the note A 440 which tries dramatically to rise to B-flat but is unsuccessful until the very end of the work, underscoring the lines space, time, and Borges now are leaving me. (Espacio y tiempo y Borges ya me dejan.) Rental of orchestra parts: https://www.thecomposerstudio.com/vocal/#tab-16335 More info email: thecomposerstudio@gmail.com Composer bio: williamneil.net.
$35.00
Br derchen, komm tanz mit mir from Hansel and Gretel - Easy Piano
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Piano Facile
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FACILE
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Br derchen, komm tanz mit mir
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Musicnotes
Engelbert Humperdinck - Br derchen, komm tanz mit mir - (from Hansel and Gretel) Digital Sheetmusic plus an interactive, downloadable digital sheet music file, ...
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Engelbert Humperdinck - Br derchen, komm tanz mit mir - (from Hansel and Gretel) Digital Sheetmusic plus an interactive, downloadable digital sheet music file, scoring: Piano/Vocal, instruments: Piano;Voice; 2 pages -- Classical~~Romantic~~19th-Century~~Opera
$4.99
Brunderchen, Komm, Tanz Mit Mir by Traditional German - Big Note, Easy Piano/Big Note;Easy Piano
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Piano, Voix
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Traditional German
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Brunderchen, Komm, Tanz Mit Mi
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Musicnotes
Traditional German - Brunderchen, Komm, Tanz Mit Mir Digital Sheetmusic plus an interactive, downloadable digital sheet music file (this arrangement contains co...
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Traditional German - Brunderchen, Komm, Tanz Mit Mir Digital Sheetmusic plus an interactive, downloadable digital sheet music file (this arrangement contains complete lyrics), scoring: Piano/Vocal/Chords, instruments: Piano;Voice; 1 pages -- Folk~~German~~Traditional
$3.95
Hammerchen-Polka
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Pop musique
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Heinz Gietz, Hans Bradtke, Chr
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Hammerchen-Polka
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Roba Music Verlag
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SheetMusicPlus
Small Band with Bb and Eb Voices/Vocal/Chords - SKU: RX.9783737802611 Das Sparschwein. Composed by Heinz Gietz, Hans Bradtke, Chris Howland. Text...
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Small Band with Bb and Eb Voices/Vocal/Chords - SKU: RX.9783737802611 Das Sparschwein. Composed by Heinz Gietz, Hans Bradtke, Chris Howland. Text language: German. Pop. 10 pages. Published by Roba Music Verlag (RX.9783737802611). Key: Bb-major.Marsch-Polka from the movie 'Tanze mit mir in den Morgen'.
$3.99
Hammerchen-Polka
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Piano, Voix et Guitare
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Pop musique
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Heinz Gietz, Hans Bradtke, Chr
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Hammerchen-Polka
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Roba Music Verlag
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SheetMusicPlus
Piano/Vocal/Chords - SKU: RX.9783737802604 Das Sparschwein. Composed by Heinz Gietz, Hans Bradtke, Chris Howland. Text language: German. Pop. 6 p...
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Piano/Vocal/Chords - SKU: RX.9783737802604 Das Sparschwein. Composed by Heinz Gietz, Hans Bradtke, Chris Howland. Text language: German. Pop. 6 pages. Published by Roba Music Verlag (RX.9783737802604). Key: Bb-major.Marsch-Polka from the movie 'Tanze mit mir in den Morgen'.
$3.99
Tanz mir nicht mit meiner Jungfer Käthen
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Chorale TTBB
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FACILE
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Jan Wilke
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Tanz mir nicht mit meiner Jung
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Schott Music - Digital
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SheetMusicPlus
TTBB chorus a cappella - easy to intermediate - SKU: S9.Q46804 Volksweise 17. Jh.. Arranged by Jan Wilke. This edition: choir book. Downloadable....
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TTBB chorus a cappella - easy to intermediate - SKU: S9.Q46804 Volksweise 17. Jh.. Arranged by Jan Wilke. This edition: choir book. Downloadable. Schott Music - Digital #Q46804. Published by Schott Music - Digital (S9.Q46804). German.
$1.99
Tanz mir nicht mit meiner Jungfer Käthen
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Ernst Pepping
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Tanz mir nicht mit meiner Jung
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Schott Music - Digital
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SheetMusicPlus
Mixed choir (SAMst) - SKU: S9.Q43739 Deutsches Volkslied; aus: Volkslieder, 1957. Composed by Ernst Pepping. This edition: Sheet music. Downloada...
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Mixed choir (SAMst) - SKU: S9.Q43739 Deutsches Volkslied; aus: Volkslieder, 1957. Composed by Ernst Pepping. This edition: Sheet music. Downloadable. Schott Music - Digital #Q43739. Published by Schott Music - Digital (S9.Q43739). German.
$2.99
Tanz mir nicht mit meiner Jungfer Käthen
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Chorale TTBB
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Valentin Haussmann
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Tanz mir nicht mit meiner Jung
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Schott Music - Digital
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SheetMusicPlus
Men's choir (TTBB) - SKU: S9.Q14893 Aus: Schott's Chorbuch II. Composed by Valentin Haussmann. This edition: Sheet music. Downloadable. Schott Mu...
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Men's choir (TTBB) - SKU: S9.Q14893 Aus: Schott's Chorbuch II. Composed by Valentin Haussmann. This edition: Sheet music. Downloadable. Schott Music - Digital #Q14893. Published by Schott Music - Digital (S9.Q14893). German.
$2.99
Tanz mir nicht mit meiner Jungfer Käthen
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Wilfried Fischer
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Tanz mir nicht mit meiner Jung
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Schott Music - Digital
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SheetMusicPlus
Mixed choir (SSABar) - easy to intermediate - SKU: S9.Q21915 Text und Melodie trad. (1609). Arranged by Wilfried Fischer. This edition: choral sc...
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Mixed choir (SSABar) - easy to intermediate - SKU: S9.Q21915 Text und Melodie trad. (1609). Arranged by Wilfried Fischer. This edition: choral score. Downloadable. Schott Music - Digital #Q21915. Published by Schott Music - Digital (S9.Q21915). German.
$2.99
Tanz mir nicht mit meiner Jungfer Käthen
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Quatuor de Flûtes à bec
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FACILE
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Valentin Haussmann
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Ehrenfried Reichelt
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Tanz mir nicht mit meiner Jung
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Schott Music - Digital
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SheetMusicPlus
SATB recorders - easy - SKU: S9.Q45372 Composed by Valentin Haussmann. Arranged by Ehrenfried Reichelt. This edition: performance score. Copyright 1991 ...
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SATB recorders - easy - SKU: S9.Q45372 Composed by Valentin Haussmann. Arranged by Ehrenfried Reichelt. This edition: performance score. Copyright 1991 Schott Music GmbH & Co. KG, Mainz. Downloadable. 1 pages. Schott Music - Digital #Q45372. Published by Schott Music - Digital (S9.Q45372). Digital publication of the piece found in the following print music collection: From Hassler to Bach.
$2.99
2 Coole Mäuse & 18 andere tolle Klavierstücke
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Piano seul
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DÉBUTANT
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Barbara Arens
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Barbara Arens
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2 Coole Mäuse & 18 an
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Barbara Arens
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SheetMusicPlus
Piano Solo - Level 1 - SKU: A0.1417915 By Barbara Arens. By Barbara Arens. Arranged by Barbara Arens. Blues,Children,Contemporary,Instructional,Jazz. Sc...
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Piano Solo - Level 1 - SKU: A0.1417915 By Barbara Arens. By Barbara Arens. Arranged by Barbara Arens. Blues,Children,Contemporary,Instructional,Jazz. Score. 30 pages. Barbara Arens #999459. Published by Barbara Arens (A0.1417915). Ich liebe es, für meine Klavierschüler Stücke zu schreiben, die sie begeistern, die sie ermutigen, ausdrucksvoll zu spielen, und die ihnen so viel Spaß machen, dass sie ÜBEN WOLLEN! Genau dafür sind diese 19 Stücke mit Tiermotiven gedacht! Inspiriert von meinen jüngsten Klavierschülern hatte ich viel Spaß beim Schreiben von diesen fantasievollen kleinen Stücken, die unsere Klavierstunden auf sinnvollerweise noch lustiger machen. Es hat mir besonders viel Freude gemacht, mir die Titel auszudenken: 2 Schweine diskutieren über ihr Mittagessen; Eine Schlangeträumt vom Bauchtanzen; 2 Dachse machen einen Mitternachts-Spaziergang; Ein Ameisenbär macht einen Freudentanz; Ein Tausendfüßler überlegt jemanden zu kitzeln; Eine Katze, die dich völlig ignoriert........ Es wurden verschiedene Stile verwendet - einige jazzige Stücke, mit geswungenen Achtelnoten, aber auch viele anschauliche Stücke für kleine Hände. Für die frühe Elementarstufe - späte Elementarstufe Alle Stücke sind in Youtube zu hören unter '2 Cool Mice'.
$12.99
Sieben Abgesänge auf eine tote Linde
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Joerg Widmann
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Sieben Abgesänge auf eine
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Schott Music - Digital
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SheetMusicPlus
Soprano, clarinet (in A and B), violin and piano - SKU: S9.Q6718 On poems by Diana Kempff. Composed by Joerg Widmann. This edition: score and par...
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Soprano, clarinet (in A and B), violin and piano - SKU: S9.Q6718 On poems by Diana Kempff. Composed by Joerg Widmann. This edition: score and parts. Downloadable, Score and parts. Duration 18 minutes. Schott Music - Digital #Q6718. Published by Schott Music - Digital (S9.Q6718). German.Es war 1996, als mir Christoph Poppen, der damalige Leiter des Münchener Kammerorchesters, von einem kuriosen Konzert in Münsing (Ammerland) erzählte: während eines seiner Konzerte mit dem Orchester in der dortigen Kirche gab es, für alle hör- und sichtbar, eines der größten Unwetter, das die Region je gesehen hatte. Dabei schlug der Blitz ein in eine Art Wahrzeichen des Ortes, eine mehrere Jahrhunderte alte Linde. Unter den Zuhörern damals: die dort lebende Dichterin und Schriftstellerin Diana Kempff. Sie war unmittelbar erschüttert vom Tod der Linde und schrieb unter diesem Eindruck einige Gedichte. Christoph Poppen wiederum war – wie in vielen anderen Zusammenhängen auch – genialer Vermittler und stellte alsbald den Kontakt zu mir her. Die Idee: am Ort des Geschehens, in der Münsinger Kirche, solle ein Jahr später die Uraufführung einer Art Requiem für diesen Baum, der so vieles „gesehen“ hatte, erklingen. Im Rahmen der Holzhauser Musiktagen mit den Texten von Diana Kempff und meiner (noch zu schreibenden) Musik. Es gab bald eine wunderbare, sehr intensive Begegnung von Diana Kempff und mir, bei der sie etwas für Schriftsteller nicht gerade Typisches tat: sie stellte mir frei, aus den vorliegenden Gedichten nach Belieben lediglich Teile, sogar nur Zeilenfragmente zu verwenden und auch die Reihenfolge nach meinen Bedürfnissen anzuordnen und zu gestalten. Sie begriff sofort (und wünschte!), dass durch die Musik ohnehin etwas Drittes, etwas ganz Anderes entstehen würde. Die Tatsache, dass wir Monate später eine sichtlich bewegte Diana Kempff auf die Bühne holen durfte, freute uns alle besonders. Ihre Lyrik ist Ausdruck einer offenkundig zutiefst gequälten Seele und kommt uns oft wunderlich-versponnen entgegen. Einer zerbrechlichen Zartheit steht eine bisweilen fast brutale Härte unversöhnlich gegenüber. Das Schubert’sche „Fremd bin ich eingezogen“ gilt für sie in besonderer Weise und äußert sich in ihren Versen in einer Nähe zu allem Fremden (trotz des gleichzeitigen manischen Umkreisens des Eigenen und der eigenen Erinnerung), Abseitigen und auch (bei aller gleichzeitigen Skepsis) Übernatürlichen. Dieses geisterhaft-spukige Element versuchte ich durch meine Textauswahl und mit musikalischen Mitteln in diesen nun „Sieben Abgesängen“ zu verdeutlichen. Das erste Stück ist eine karge Studie über das Verrinnen der Zeit, das Nichts; das Zweite beschwört den Regen (den heilbringenden) herbei, der dann später – wenngleich mit entsetzlicher Wirkung – auch kommt. Den dritten Abgesang habe ich „Tanz der toten Seelen“ betitelt; es ist ein Zwiefacher, der jedoch durch seine düster-halbseidene „Wiener“ Chromatik alles Liebenswürdig-Oberbayerische längst verloren hat. Das klanglich vielleicht avancierteste und dichteste Stück ist der vierte Abgesang, der ganz aus der Perspektive der Linde selbst erzählt wird. Der fünfte Abgesang zu den Worten „Und wenn der Tod so kommen mag“ ist im Stile einer traurigen Volksweise bewusst schlicht gehalten. Während der sechste Satz in seinem expressionistischen Gestus nicht ungefährlich das Monodram streift, ist es schließlich die Seele (die ausgehauchte, die weiterexistierende?), die wörtlich den letzten Abgesang über die Bäume und die Seelen prägt. Diana Kempffs Gedichte, der Enthusiasmus Christoph Poppens, die phantastischen Uraufführungs-Interpreten, allen voran die Sängerin Juliane Banse, haben mich zur Komposition dieser „Sieben Abgesänge auf eine tote Linde“ angeregt. Die „Sieben Abgesänge“ sind nunmehr auch eine Erinnerung an die erst jüngst verstorbene Diana Kempff. Jörg Widmann, im Juni 2008.
$57.99
Two german Folk Songs
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Chorale 3 parties
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INTERMÉDIAIRE
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Kurt Hessenberg
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Two german Folk Songs
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Schott Music - Digital
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SheetMusicPlus
Mixed choir (SABar) - intermediate - SKU: S9.Q8362 1. Tanz mir nicht mit meiner Jungfer Käthen, 2. Ich fahr dahin. Composed by Kurt Hessenberg...
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Mixed choir (SABar) - intermediate - SKU: S9.Q8362 1. Tanz mir nicht mit meiner Jungfer Käthen, 2. Ich fahr dahin. Composed by Kurt Hessenberg. This edition: choral score. Schott Choral Music. Downloadable, Choral score. Schott Music - Digital #Q8362. Published by Schott Music - Digital (S9.Q8362). German.Hessenberg studied in Leipzig with Günther Raphael and was a singer in the Bach Choir under the direction of Karl Straube. Later he was professor of music theory and composition at the Frankfurt Musikhochschule. It was particularly in the field of sacred and secular choral music that he created important and frequently sung works, among them the well-known motet 'O Herr mache mich zum Werkzeug deines Friedens' (C 37176). The present two three-part folk-song settings (SABar) are composed in a polyphonic style and are suitable even for small choirs. They would fit in a mixed choral music programme with old and new masters. Content: Tanz mir nicht mit meiner Jungfer Käthen - Ich fahr dahin.
$2.99
Tanz mit mir
flute, clarinet, trumpet, flugelhorn, bugle, trombone, tuba, drums, saxophone
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Gunter Klimowicz; Gustl Pfeife
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Tanz mit mir
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Lied der Zeit Musikverlag
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SheetMusicPlus
Composed by Gunter Klimowicz; Gustl Pfeifer. Waltz. With Language: German. 51 pages. Published by Lied der Zeit Musikverlag (RX.9783737805230). - - Waltz - Lie...
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Composed by Gunter Klimowicz; Gustl Pfeifer. Waltz. With Language: German. 51 pages. Published by Lied der Zeit Musikverlag (RX.9783737805230). - - Waltz - Lied der Zeit Musikverlag
$3.99
Ruth, tanze heut' mit mir kubanisch
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Piano, Voix
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Willy Rosen, Will Meisel
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Ruth, tanze heut' mit mir
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Edition Meisel
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SheetMusicPlus
By Willy Rosen, Will Meisel. For piano/voice. Main key: C-Major. Schlager. Single. Language: German. 2 pages. Published by Edition Meisel ...
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By Willy Rosen, Will Meisel. For piano/voice. Main key: C-Major. Schlager. Single. Language: German. 2 pages. Published by Edition Meisel
$3.99
Symphony No. 3 in A minor, op. 17 (parts)
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Orchestre
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AVANCÉ
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Adrian Gagiu
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Symphony No. 3 in A minor, op.
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Adrian Gagiu
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.1357497 Composed by Adrian Gagiu. 20th Century,Classical,Contemporary. 291 pages. Adrian Gagiu #942043. Published by ...
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Full Orchestra - Level 5 - SKU: A0.1357497 Composed by Adrian Gagiu. 20th Century,Classical,Contemporary. 291 pages. Adrian Gagiu #942043. Published by Adrian Gagiu (A0.1357497). The orchestral parts of the Third Symphony (2000, revised 2023), an ambitious, modernist/neoclassical composition for orchestra and chorus with four vocal soloists. It may represent a search for harmony within and/or without and is a huge, subtle variations form on a theme that appears clearly and in full only in the Finale.The chromatic, first movement (Andante maestoso) begins mysteriously with A's in the unaccompanied violins, like a tuning or a seed of what is to come. These A's are adorned with oscillations which gradually become wider leaps until they reach the fifth (as in the beginning of the future full theme), and the other instruments join gradually. The mood is dark, tragic, pensive, and somehow abstract, as the music wanders in an almost improvisatory manner through chromatic modes and goes crescendo-decrescendo back again to the bare, cryptic A's.The energetic second movement (Allegro) is an enormous scherzo toying with the second melodic cell of the full theme, a descending tetrachord. This vital, Dionysian frenzy (in strong contrast to the Apollonian, severe contemplation in the first movement) leads only to its exhaustion and to the disorientated, slow Trio: first, an almost atonal tenor monologue accompanied by harp (on verses from Dante's Purgatory), then a quotation from Beethoven's sketches for a planned overture on the B-A-C-H motif, followed by a fugal section on the same archetypal motif and again a tenor monologue (on verses from Eminescu's Satire No. 4), this time with organ accompaniment and more and more tortured until the choral exclamations and the final cymbal clash. The search seemed in vain, so the rhythmic fury of the scherzo returns, but in mirror, as minor modes replaced the major ones on the same material.The Finale (Larghetto-Allegro-Larghetto) was inspired by the last scene in Goethe's Faust, part 2. After a cryptic variation for choir a cappella, the full theme appears at last in the orchestra, setting a lyric, appeased mood and more diatonic harmonies, while it reconciles the introspection of the first movement and the emotional and vital aspects of the second, although occasional attempts are made to escape, striving more and more towards the ending (with four vocal soloists and chorus). The parenthetic structure of the finale is a holographic reflection of the general form of the whole symphony, alternating gentle, contemplative episodes with exuberant or majestic fugatos. Towards the ending, ecstatic, big, complex quartal chords suggest the limits of perception and language (on the final stanzas from Dante's Paradise), until the sonority becomes again more and more rarefied and the journey returns to its starting point from the first movement: the 'tuning' A's in the violins.Total duration: 54 min. Performing Rights Organization: SOCAN. The mp3 audio clip is the second movement.
$210.00
Symphony No. 3 in A minor, op. 17
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Orchestre
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AVANCÉ
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Contemporain
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Adrian Gagiu
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Symphony No. 3 in A minor, op.
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Adrian Gagiu
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SheetMusicPlus
Full Orchestra - Level 5 - SKU: A0.1356636 Composed by Adrian Gagiu. 20th Century,Classical,Contemporary. 215 pages. Adrian Gagiu #941262. Published by ...
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Full Orchestra - Level 5 - SKU: A0.1356636 Composed by Adrian Gagiu. 20th Century,Classical,Contemporary. 215 pages. Adrian Gagiu #941262. Published by Adrian Gagiu (A0.1356636). The score, parts and vocal score of the Third Symphony (2000, revised 2023), an ambitious, modernist/neoclassical composition for orchestra and chorus with four vocal soloists. It may represent a search for harmony within and/or without and is a huge, subtle variations form on a theme that appears clearly and in full only in the Finale. The chromatic, first movement (Andante maestoso) begins mysteriously with A's in the unaccompanied violins, like a tuning or a seed of what is to come. These A's are adorned with oscillations which gradually become wider leaps until they reach the fifth (as in the beginning of the future full theme), and the other instruments join gradually. The mood is dark, tragic, pensive, and somehow abstract, as the music wanders in an almost improvisatory manner through chromatic modes and goes crescendo-decrescendo back again to the bare, cryptic A's. The energetic second movement (Allegro) is an enormous scherzo toying with the second melodic cell of the full theme, a descending tetrachord. This vital, Dionysian frenzy (in strong contrast to the Apollonian, severe contemplation in the first movement) leads only to its exhaustion and to the disorientated, slow Trio: first, an almost atonal tenor monologue accompanied by harp (on verses from Dante's Purgatory), then a quotation from Beethoven's sketches for a planned overture on the B-A-C-H motif, followed by a fugal section on the same archetypal motif and again a tenor monologue (on verses from Eminescu's Satire No. 4), this time with organ accompaniment and more and more tortured until the choral exclamations and the final cymbal clash. The search seemed in vain, so the rhythmic fury of the scherzo returns, but in mirror, as minor modes replaced the major ones on the same material. The Finale (Larghetto-Allegro-Larghetto) was inspired by the last scene in Goethe's Faust, part 2. After a cryptic variation for choir a cappella, the full theme appears at last in the orchestra, setting a lyric, appeased mood and more diatonic harmonies, while it reconciles the introspection of the first movement and the emotional and vital aspects of the second, although occasional attempts are made to escape, striving more and more towards the ending (with four vocal soloists and chorus). The parenthetic structure of the finale is a holographic reflection of the general form of the whole symphony, alternating gentle, contemplative episodes with exuberant or majestic fugatos. Towards the ending, ecstatic, big, complex quartal chords suggest the limits of perception and language (on the final stanzas from Dante's Paradise), until the sonority becomes again more and more rarefied and the journey returns to its starting point from the first movement: the 'tuning' A's in the violins. Total duration: 54 min. Performing Rights Organization: SOCAN. The mp3 audio clip is the second movement.
$210.00
Die Forelle
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Chorale 2 parties
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INTERMÉDIAIRE
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Classique
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Franz Schubert
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D
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Die Forelle
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Tully Road Music
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SheetMusicPlus
Choral Choir,Choral (TB) - Level 3 - SKU: A0.1346467 Composed by Franz Schubert. Arranged by D. Jason Bishop. 19th Century,Classical,Instructional,Roman...
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Choral Choir,Choral (TB) - Level 3 - SKU: A0.1346467 Composed by Franz Schubert. Arranged by D. Jason Bishop. 19th Century,Classical,Instructional,Romantic Period. 8 pages. Tully Road Music #931253. Published by Tully Road Music (A0.1346467). Die Forelle (D. 550, Op. 32) is among Schubert’s early contributions to the genre of the Lied, a 19th-century German art song for solo voice and piano. Schubert composed over 600 Lieder, and although many of them became popular, Die Forelle was – and still is – one of the most widely recognized and performed. Composed in 1817, Die Forelle takes its text from a 1783 poem of the same name by Christian Friedrich Daniel Schubart. In it, a casual observer stands on the banks of a tranquil stream, admiring the movements of a “frisky†fish as it darts below the surface. The tone of the music changes when, to the observer’s horror, a fisherman puts an end to both his and the trout’s merriment by snagging the fish on his hook and reeling him in. In a final stanza which Schubert omits from his setting, we learn that Schubart’s poem is actually a metaphorical story intended to warn young women against the trickery of their young male suitors. As in Gretchen am Spinnrade and many other Lieder, Schubert “characterizes†the piano accompaniment, in this case through both the upward-winding sixteenth-note triplets representing the wriggling movements of a fish, and the abrupt shift towards agitated rhythms in measure 33 when the fish is hooked. The song gained such swift popularity that only two years after its composition in 1817, Schubert was commissioned to write an instrumental chamber work incorporating music from Die Forelle. The result was his Trout Quintet of 1819 (Piano Quintet in A Major, D. 667), the fourth movement of which is a set of variations on the Die Forelle tune.This arrangement is also available for 3-part treble (SSA) voices published by Hal Leonard Corporation, 10500871.
$2.50
Valentin Haussmann: Tanz mir nicht mit meiner Jungfer Kathen - recorder quartet
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Quatuor de Flûtes à bec
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FACILE
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Classique
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Valentin Haussmann
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Virtualsheetmusic
Instantly printable sheet music by Valentin Haussmann for recorder quartet of EASY skill level. Contents: From Haßler to Bach, From Haßler to Bach, From Hassler to Bach / classical,children...
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Instantly printable sheet music by Valentin Haussmann for recorder quartet of EASY skill level. Contents: From Haßler to Bach, From Haßler to Bach, From Hassler to Bach / classical,children
$4.99
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Tanz mit mir
