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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
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TROMBONE
TROMPETTE
TUBA
UKULELE
VIBRAPHONE
VIOLON
VIOLONCELLE
XYLOPHONE
The Scholar
Non classifié
62
Piano & claviers
Piano, Voix
52
Piano seul
27
1 Piano, 4 mains
4
Orgue
4
Piano Facile
1
Instruments en Do
1
Piano, Voix et Guitare
1
+ 2 instrumentations
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Guitares
Guitare
28
Banjo
2
Guitare notes et tablatures
2
4 Guitares (Quatuor)
1
Ligne De Mélodie, (Paroles) et Accords
1
Voix
Chorale SATB
37
Chorale 3 parties
7
Chorale Unison
4
Soli, choeur mixte et accompagnement
2
Voix Baryton, Piano
1
Chorale SSAA
1
Voix Soprano, Piano
1
+ 2 instrumentations
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Vents
Saxophone Alto et Piano
16
Flûte traversière et Piano
14
Clarinette et Piano
13
Hautbois, Piano (duo)
11
Saxophone Soprano et Piano
11
Quintette à Vent: flûte, Hautbois, basson, clarinette, Cor
9
Quatuor de Clarinettes: 4 clarinettes
8
Saxophone Baryton, Piano
5
Quatuor de Saxophones: 4 saxophones
5
Saxophone Tenor et Piano
5
Cor anglais, Piano
5
Clarinette Basse, Piano
4
Ensemble de Clarinettes
3
Clarinette
3
Flûte, Hautbois, Clarinette, Basson
2
Quatuor de Flûtes à bec
2
Ensemble de Flûtes
2
Piccolo, Piano
2
Flûte, Violon et Violoncelle
1
Flûte traversière
1
Clarinette Basse
1
Flûte, Clarinette (duo)
1
Flûte, Violoncelle
1
Flûte, Basson et Piano
1
Quatuor de Flûtes : 4 flûtes
1
Trio de Flûtes: 3 flûtes
1
Clarinette, Harpe (duo)
1
+ 22 instrumentations
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Quintette de Cuivres: 2 trompettes, Cor, trombone, tuba
11
Euphonium, Piano (duo)
7
Trompette, Piano
6
Cor et Piano
5
Trombone et Piano
5
Cor anglais, Piano
5
Ensemble de Trombones
4
Quatuor de Cuivres : 2 trompettes, trombone, tuba
4
Trompette
3
Quatuor de cuivres: 4 trombones
3
Trombone
2
Trombone basse et Piano
1
Tuba et Piano
1
2 Trombones (duo)
1
2 Cors, Piano
1
Tuba
1
Quatuor de Cuivres
1
3 Trombones (trio)
1
2 Tubas (duo)
1
+ 14 instrumentations
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Quatuor à cordes: 2 violons, alto, violoncelle
63
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15
Alto, Piano
9
Violoncelle, Piano
9
Violon
4
2 Violons (duo)
3
2 Harpes (duo)
3
Violon, Guitare (duo)
2
Trio à Cordes: violon, alto, violoncelle
2
Violon, Alto (duo)
2
Harpe
1
Violoncelle
1
Alto (partie séparée)
1
Trio à Cordes: 2 violons, violoncelle
1
Contrebasse, Piano (duo)
1
2 Violoncelles (duo)
1
Trio à cordes: 3 violins
1
Violon, Violoncelle (duo)
1
Contre Basse
1
2 Altos (duo)
1
Alto, Violoncelle (duo)
1
+ 16 instrumentations
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15
Orchestre à Cordes
8
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6
Orchestre de chambre
3
Ensemble de cuivres
2
Fanfare
1
Ensemble Jazz
1
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--INSTRUMENTS--
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AUTOHARPE
BANJO
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CORNET
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Clarinette Basse
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Saint-Saëns: The Swan for Bass Clarinet & Piano
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Clarinette Basse
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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
Bass Clarinet,Instrumental Solo - Level 3 - SKU: A0.1314265 Composed by Camille Saint-Saens. Arranged by James M. Guthrie. 19th Century,Chamber,Contest,...
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Bass Clarinet,Instrumental Solo - Level 3 - SKU: A0.1314265 Composed by Camille Saint-Saens. Arranged by James M. Guthrie. 19th Century,Chamber,Contest,Festival,Historic,Wedding. Individual part. 11 pages. Jmsgu3 #903006. Published by jmsgu3 (A0.1314265). 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.ChildhoodIt 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.CriticismOn 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.
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